Many people nowadays have been more inclined to look at more underground, unprecedented rappers, especially white hip hop artists. The most recognizable, of course, is Eminem, and recently, there has been an uprising in white rappers among the music industry, such as Chris Webby, Mac Miller, Asher Roth, Macklemore, and Hoodie Allen. One rapper, in particular, stands out with his clean cut raps and rhythmic mixes: G-Eazy. He achieved recognition with his 2011 breakout mixtape The Endless Summer, marking his first notable success. Now, with his first-ever commercial album Must Be Nice, G-Eazy has developed even more success, with his smart sampling, popular featured guests, and millions of Youtube viewers. The first track off his first smash-hit album is “Hello,” an electronic-induced tune with a hip-hop vibe and G-Eazy’s effervescent lyrics, his voice sounding similar to the aforementioned Asher Roth and Macklemore. G-Eazy reflects his soft side in “Plastic Dreams,” which provides beautiful echoes and featured vocals of guest Johanna Fay, her voice also similar sounding to an indie pop artist, such as Lily Allen or Regina Spektor. “Lady Killers” is a head-bopping, laid-back jam, featuring eminent hip-hop artist Hoodie Allen. It gives a great collaboration between the two white rappers, making the song a definite high point in Must Be Nice. “Mad” features some nice old-school R&B, echoing some Motown samples, as well as a balanced hip-hop beat, G-Eazy’s fluid rhymes, and featured American Idol contestant Devon Baldwin’s alluring falsetto. “Interlude,” like every interlude within a rap album, provides a soft yet irresistible piano playing, which transitions perfectly into “Marilyn,” another soft tune that helps contrast G-Eazy’s intentions and mood throughout the album. “Stay High,” although staying true to G-Eazy’s relaxed charismatic rap, isn’t a high point in Must Be Nice, providing a dreamy but repetitive beat, a featured Travis-McCoy sounding Mod Sun, and overall dullness. “Breathe” is another mediocre rap, but a slightly better improvement from “Stay High,” utilizing a somewhat intense piano and hip hop effects, which is a bit unlike G-Eazy’s style. Again, we hear Johanna Fay’s beautiful quasi-Lily Allen voice in the title’s track “Must Be Nice,” which thankfully goes back to G-Eazy’s steady flow. His last track, “Loaded,” presents an indifferent appearance by DJ Carnage and an okay ending to Must Be Nice.
G-Eazy provides enough to make Must Be Nice a great start for his career, demonstrating a smooth style, intriguing rhythms, and enjoyable raps. Although most of his work has been compared to other similar white hip-hop artists, G-Eazy provides a sufficient amount of diversity that will hopefully make him stand out through the crowd.