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Artist: Vince Staples

Album: Ramona Heart Broke My Heart

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Background by u/djreshiram

Vince Staples has been a staple of my music listening since I was 17 years old. He and I grew up in the same city, Long Beach. Vince is from the northside of town, where I lived from 2006-2008. It was a rough couple of years, as within that time I was in 3rd through 5th grade. We had been robbed in that house in broad daylight. My grandmother passed away in Arizona when we were living there. A relative from that side moved in with us and made things rough for the family. North Long Beach wasn’t my favorite place. Ironically, I would spend a lot more time in North Long Beach when I was in High School, as most of my school friends lived up there. It’s a place you learn to love, because at the end of the day, it’s the people that come from North Long Beach that you love. There’s great people who come from all walks of life in the Northside. While there’s no denying it’s another dangerous neighborhood in the greater Los Angeles area, it’s just another factor of life that shapes you to who you become.

I may have a different ear to Vince’s music because of my background, but Vince is by far my favorite rapper. Him and System of a Down are my two favorite artists ever. Forever, 18 year old u/djreshiram was convinced that Summertime ‘06 was one of the greatest albums ever. In hindsight I don’t fully agree, but at that age, to hear someone who came from where I came from, make art like that? I was hooked. I saw Vince in 2015 at Flog Gnaw when they didn’t even announce he was playing until we checked the app that day. He opened with the full version of “06” before going into “Blue Suede”. I immediately saw him again at the El Rey. That was the only time I saw him play Nate.

I followed Vince through the years as he remained in my rap hierarchy alongside K. Dot, Tyler, Earl, Denzel, Q, Danny, Rocky and Mac. Prima Donna and Big Fish Theory were regular listens for me as I took the train to Hollywood for college from 2016-2018. I greatly appreciated what Vince was doing compared to everyone else. He was, in my opinion, pushing the genre forward with these unconventional, and quite experimental rap projects. What separates Vince the most from other experimental hip-hop artists was his ability to be mainstream. Albeit a Sprite campaign helps, Vince has been able to find a more mainstream audience than just the pigeonhole of experimental rap fans.

The reason? Vince has always made pop music. As in, Vince’s music has always followed pop song structures while holding his production and engineering value to the par. “Norf Norf” constantly resurfaces to new audiences time and time again, and it’s probably due to Vince’s infectious hook tied with Clams Casino simplistic spooky production. The E-40 assisted, Kenny Beats produced “FUN!” off of Vince’s west coast tribute FM!, saw commercial placement. His latest smash, “MAGIC”, off the album I’ll be diving into in a sec, led a Beats marketing campaign. Then Vince led an Acura campaign with several songs off said album. There’s no denying the mainstream appeal of Vince Staples.

To present time, it feels like we’ve entered a new era for the Long Beach rapper. Of course, age and the pandemic we all just endured will shape you as a person, but Vince’s evolution has been a sight. His self-titled fourth album is a special album for me personally. It’s by far his most beautiful album, and in the most haunting ways. In my opinion, Vince captures what growing up in Long Beach is, in musical form, very well with the self titled. The album lyrically deals with growth and reflection, with the production very 808 heavy and modern. “Taking Trips” had teleported me to a specific time in my life. Back when I was living in the Northside, I remember hiding under my bed playing my Gameboy Advance as my parents were arguing. The almost 8-chip synth from Monte Booker paired with the Kenny Beats 808 sounded exactly like that moment in time for me.

Much like Summertime 06 felt for me when I was 18, Vince Staples feels like some monumental work of art that is untouchable, and it has become one of my favorite albums. So to say I was excited that Vince’s follow-up came a year later, would be an understatement.

Ramona Park Broke My Heart is the 5th studio album by Vince Staples. The album sees the artist take on the west coast sound again. While FM was a homage, Ramona Park Broke My Heart is another reflection of Vince’s life, much in the vein of Vince Staples. Given both albums were being made at the same time (he mentions this during an interview I cannot for the life of me remember or I’d source that statement), the lyrical consistencies of the two projects make sense. The main difference is that on Vince Staples, the artist focuses on himself, whereas Ramona Park is about his surroundings, neighborhood and the people close to him.

Furthermore, Ramona Park Broke My Heart is a very tongue in cheek album, with Vince playing heavily into the theme of love. Vince cleverly disguises his LA street talk with more theatrically romantic lyrics, while touching on his experience with women. To say the least, Vince enjoys the bachelor life. Love however, comes in other forms with Vince appreciating those around him, like family and friends, specifically those from his set.

The title is also very literal. Ramona Park is the neighborhood in North Long Beach Vince grew up in. The rapper has expressed his appreciation for his hood throughout the career, but this is the first project where Vince’s outlook is more constructive. As the title suggests, Vince has had turmoil with where he’s from, and even though he’s shown his love for the city, it hasn’t been the best. The comparison of being in a toxic relationship and living the LA Street life isn’t far-fetched. I couldn’t think of a better person for the task than Vince Staples to execute such an analogy.

As someone who has also experienced heartbreak from North Long Beach, I greatly enjoyed Ramona Park Broke My Heart. The album is my number 2 AOTY (Rosalía’s Motomami was 1) and my hip-hop AOTY. Vince’s 5th album is unique from his others, as the 28 year old gives us more maturity tied with his lowkey pop sensibility.

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Review by u/djreshiram

THE BEACH

Seagulls, waves and a roaring crowd looming; the album opener is a short one minute prelude, setting the tones and themes of the album immediately. As the title suggests, Vince takes you to the shores of California, but not in the vein they’re often depicted in movies. Vince’s shores are full of struggling people trying to make it to the top, as well as street violence that seems like it will never end. His performance comes off more as a warning than a threat, as he raps well in sync with the minimal organ-sounding keys produced by Mingo.

While Vince has consistently talked about Long Beach throughout his career, this time he seems more reluctant than inclined to dive through his past. Vince sounds as mature as ever, as we move onto track 2 with gunshots and laughter.

(AYE!) FREE THE HOMIES

Angelic vocals over west coast synths and delayed guitars open up “(AYE!) FREE THE HOMIES”. Snippets from a young boy are heard throughout the album, the first being about the emotions felt through the hood. The loss of friends, both to the prison system and to gang violence, is a sentiment heard often in Vince’s music, yet here, Vince reveals his true feelings.

The feel-good west coast production, lavished with bouncy synth bass and snaps, brought by LeKen Taylor is juxtaposed by Vince’s life reflections, leading to his current outlooks on life. As the hook goes, it seems the rapper has everything he could need. He has a successful career and is getting money. Unfortunately, it means little when the people he loves aren’t with him.

The verses dissect the truths about Vince, that he is forever a product of his environment. He stands with the streets he came up with, and will continue to do so until the end of time. As he discusses his trials and tribulations, the grim outlook is the same. Vince is down with his cause, no money or success could ever change his feelings. His yearn for revenge for his deceased friends and his outlook on retaliation is what made him the man he is today, and nothing can change that. Vince is ever honest as he is sharp with the pen.

DJ QUIK

Very few west coast artists are as legendary and essential as DJ Quik. His iconic diss track “Dollaz + Sense” is the centerpiece of this song, with the man himself supplying the scratches.

The lowkey beat produced by Nami, DJ Dahi and Coop the Truth features down-tuned keys, with a booming bass and a unique swing in the drums.

Vince opens the song with a verse with similar sentiments as the previous track. He’s about his set and about his money. Vince throughout the album mentions how he cannot be with a woman. The first essence of that appears here as he insists on getting money over chasing girls.

The hook echoes DJ Quik further, as Vince interpolates the iconic lyrics “If it don’t make dollars, then it don’t make sense”, showing his agreement with the line. Verse 2 continues the money talk as well as opens up some more cold truths. One of the most striking lines in the track is Vince saying to close your mouth while talking to a killer, following with a conflicting statement, as he claims innocence after being accused. The track concludes after another hook.

MAGIC

One of the lead singles, the Mustard produced (co-produced with My Best Friend Jacob and Twice As Nice) banger is Vince doing what he does best. A fantastic catchy hook tied with his unique west coast language leads to one of the hottest moments on the albums. Mustard and Vince made a special record.

Vince’s verses are full of slick street talk. Leaning into the west coast influence, Vince opens the verse with a rewrite of Kurupt’s iconic opening line on Snoop Dogg’s posse cut “Ain’t No Fun”. The lyrics continue with themes of needing magic in order to make it out of the street environment. The second verse follows suit ending with a clever play-on of a 38. special pistol.

The song ends with a spoken word bit from Mustard over grand horns and a blistering synth solo. This song is a rare hit that you can tell is made to be one, but unlike most circumstances, the people pulling the strings know what they’re doing. “MAGIC” is made for radio play, and it’s done with taste and precision.

NAMELESS

A short interlude before the next song, “Nameless” is another spoken word part following the boy from the opening of “(AYE!) FREE THE HOMIES”. The boy sounds grown and rather intelligent for his age, as he discusses the possibility that he shot somebody. However much like Vince on “DJ QUIK”, the boy claims innocence as “bullets have no names”.

WHEN SPARKS FLY

A standout track to most and for good reason, “WHEN SPARKS FLY” is a love song like no other. The trip-hop-esque beat produced by Frano features a down-tuned sample hook, taking from UK artist Lyves’ song “No Love”.

Vince’s lyrical storytelling takes a tour de France on the track. On the surface this is a broken love song about having somebody and then losing them. However, as Vince will state in a later track, he doesn’t make love songs.

The song is about Vince’s burner AKA his gun. The lyrically cleverly alludes to this through slick wordplay. Vince talks about how the author of the song is the real thing, and not a ghost, referring to ghost guns. He talks about not wanting to use protection but putting a glove on. An innuendo on protective sex, Vince is actually being literal, talking about needing a glove when shooting the gun, to not leave behind fingerprints.

The song is filled with smart wordplay like that as the entendres continue with the story. In the first verse we establish the love relationship between the author and another person. The second verse takes a turn, as the author was abandoned with no reason given by the other person. Yet the author still misses the person, waiting for the return. In reality, Vince is referring to hiding the gun after using it for illegal activities. The author, while showing some remorse and anger for being put away, is all in all worried and confused.

The humanizing of a weapon is meek and grim. However, Vince’s ability to captivate the listener, miraging it as a relationship, is truly the craftsmanship of a great writer.

The song ends with another spoken word snippet, this time featuring a woman. Through context we can assume the woman may have been in a relationship with the boy from “NAMELESS” as she mentions her person is in jail for killing someone. Allegedly. The beach is heard in the background and through the next track.

EAST POINT PRAYER

The next song on the album is produced by Kenny Beats. Kenny and Vince have been an undefeated combo for sometime. The vocal sample and piano ridden beat is paired with a more sentimental performance from Vince.

“EAST SIDE PRAYER” is about Vince’s time in Atlanta, which he left for after getting into some trouble in California. His verse further cements the themes of sticking by your hood and never wanting to leave it, being, in a way, in love with it.

A second verse comes from Atlanta’s own Lil Baby. Much like Vince, he reminisces on his past life in the hood. Both artists seem contemptuous with the decisions they made in life, afterall it got them to where they are today.

SLIDE

Setting the tone for “SLIDE”, the song opens with a snippet of a man discussing a drive-by shooting that had occurred previously. The Mike Hector and Zack Sekoff produced track is a nod to the drive-by. The spooky piano and vocal samples lay for a more energetic Vince performance.

Vince gives us the familiar street talk, once again alluding to being a killer, but claiming innocence after. Vince spits 2 short 8 bars on the shortest full length song on the album.

PAPERCUTS

“PAPERCUTS” features more production from DJ Dahi. The beat focuses on a vocal sample from bedroom pop artist Hether before turning into a bouncy trap record with a quirky synth lead on the hooks. The song has plenty of other synth sounds to accompany it.

Lyrically, we see Vince evolve into a more elder figure, as he’s a veteran in the streets. He once again preaches the message of money over everything, but touches on deeper topics such as how he doesn’t care how people will feel about him when he’s dead. Vince gets into his distastes such as the music industry, and the questions he’s asked about his past. All in all, he gives a sentiment of just wanting to be left alone. He tells everyone to say what’s up if they see him and that’s it, as money is his only motivation.

Vince delivers more clever entendre such as the one in the second verse, where he discusses the one who got away. He is not referring to a woman, as he refers to someone from his past he shot at, but missed. He also mentions how hard it is to have love for anything when you’re broke, solidifying his message further than money fixes problems.

LEMONADE

Thematically, “LEMONADE” is another well placed track in the fantastically sequenced album. Produced by LeKen Taylor, District Yori and Beat Gang Worldwide, the song is an uptempo summer feel record with a filtered sample, west coast percussion and a feature from Ty Dolla $ign.

Vince used Lemonade as an analogy for life in the hood. As he says in the hook, sometimes life is bittersweet. The rapper continues his street talk, expressing his ice cold demeanor time and time again. He once again, expresses money is king, and speaks on how people with no money are the ones with nothing to lose. Vince remains wary of stuff like women, believing a promiscuous girl is attempting to set him up.

Ty closes the song out with some excellent vocal chops, as both artists continue the west coast hip-hop homage theme. Vince in verse one shoutouts Suga Free, and Ty makes reference to the classic Dove Shack song “Summertime in the LBC”.

PLAYER WAYS

Up until this point on the album, Vince hasn’t discussed his relationship with women outside of expressing the belief that most women are about money. On “PLAYER WAYS” he sees himself as the title suggests, a player.

Produced by Jonas Koch, SAINT MINO and LBambino, the song follows the production tread of filtered samples, smooth keys and modern drums but in more traditional hip-hop patterns.

Vince discusses how he still likes to be with women, he just doesn’t want to be tied down or involved with a single woman. Vince uses sex as a vice for his past, and keeps a pimp aesthetic.

Truthfully we see the root of Vince’s ways, as he expresses trust issues amongst other things. He writes about how he knows a woman he’s interested in wouldn’t stick around and further was talking to another man. Yet Vince still shows some hope, as he states they might work it out later. On his second verse he finds himself pleading with the person, stating that she’d have to get over his past woman if she ever wanted it to work.

The song is revealing to Vince’s true nature towards relationships. He clearly sees something in an individual but due to a history of trauma and trust issues, it’s hard to stay committed, not to mention his appreciation for being a player.

The song ends with another spoken word snippet of a woman talking about how willing she was to do anything for her man. In the end though, it was all an illusion, as the woman expresses her feelings of being used.

MAMA’S BOY

This song is not the loving tribute to a mother most would expect. On “MAMA’S BOY” Vince doesn’t talk about how much he loves his mom, he talks about how he loves the streets as much as his mom.

The Nami and Coop The Troop produced track again features lush organ chords and filtered, mind altering sounds throughout. After doing an Outkast reference in the beginning, Vince opens up the first verse with more money and street talk. He continues this energy through the song.

The short song ends with a sample of a mother discussing how if she spent more time with her song, he might have turned out better, but due to her needing to work multiple jobs to support her family. It was difficult. This further goes with the theme that money can solve problems.

BANG THAT

The second Mustard offering, also produced by Cardo and Johnny Juliano, is “BANG THAT”. Vince shows his allegiance for all things money and all things streets by stating he’ll rep it to the fullest.

The song comes right in with the hook, featuring piano chords and a vocal synth line. The drums are more trap than west coast but still has some of that bounce you expect from those 3 iconic producers.

With all the talk of cash and gang banging throughout, this song doesn’t bring any new themes. However, Vince gives us more of a structured song, with 2 verses and a bridge. The bridge in particular is an excellent performance from the rapper, who dubs his voice in a very melodic way, almost singing on his main vocal track.

THE SPIRIT OF MONSTER CODY

The final interlude on the album is an insert from a Kody Scott interview. The interlude ties one of the underlying messages of Vince Staples, which is to free everybody locked up in the prison system.

Vince clearly believes in second chances, as some can say music gave him a second chance. He understands that he’s more fortunate than other people who get caught up in the tropes of the ghetto. Kody’s speech exemplifies these ideas that people can change and deserve a chance at it. Scott talks about how he feels he was set up to fail from the beginning, and that those around him gave up on him before he could have a chance. As disheartening as that is, Cody uses the thug spirit, alla Tupac’s Thug Life, to overcome the hardships he had, such as being involved in gangs and being in prison.

The rapper’s beliefs on prison reform get highlighted in one of the best interludes in recent memory as it leads into track 15.

ROSE STREET

Vince opens this song with the line “I don’t do no love songs”, which remains a true statement. The Tommy Parker and SAINT MINO produced track features one of the bounciest 808s on the album, alongside effect-driven vocal samples and chords.

Vince’s outlook on love is truly highlighted here, almost as a grand finale. The trust issues he scratches the surface on are fully revealed in the hook, as Vince states he can only bring flowers to his deceased friend’s grave, further showing his allegiance to his set over anything else.

Still in the verse, Vince seems to be talking to whoever the one for him is, laying down his guidelines for his ideal relationship. To no surprise, he lets it be known that the set comes first then money comes next. Even if she begs, Vince would leave if there’s a dollar to make or a rival to slay. He makes it clear to her in the second verse as well, that it might not all be okay. It’s the life he lives and nothing can stop it, not even a person he might like or love. The song ends with a phone answer, as Vince calls the local flower shop to get some flowers.

THE BLUES

In rare form, Vince finds himself at the most introspective point in his life on “THE BLUES”. As the title would suggest, the final track has him feeling sad. With guitar and whirly keys over a crashing tide, in a melancholic performance, Vince reveals his true feelings on himself.

Through the whole album, Vince is damn near proud of his affiliation to the streets and his ability to make ends meet, but he seems troubled on the means of his existence and how he got there. The heartbreak truly sinks in, as Vince realizes these things he loved can’t be forever. Gang life is becoming more and more his past as he reaches new levels of success in his career.

The truth is, Vince’s past has molded him into an individual that may not align with his current life. He realizes that no matter how much money he makes, how big his house is, there’s still unresolved turmoil from his past. There’s always a chance that he’ll have to pay for something he might have done. There’s no true escape, and yet due to his success he must take the higher road, even if that isn’t what Vince wants.

“THE BLUES” is an important song in understanding Vince Staples. Not the artist Vince Staples, not the gang member Lil Fade, but the human being, Vincent Jamal Staples.

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Favorite Lyrics by u/djreshiram

THE BEACH

Send ’em up to Heaven gates, now his mama sellin’ plates

Now his homies washin’ cars ’cause he out here actin’ hard

Please don’t try to get involved ‘less you wanna prove it

‘Cause my gangsters really movin’, hold on cuh, them niggas shootin’, wait

(AYE!) FREE THE HOMIES

Triflin’ in the hood?, ayy

Wish a nigga would, ayy

Got my weight up (My weight up)

Now I’m feelin’ good, ayy (Feelin’ good tonight, yeah)

Now a nigga on, ayy (Feelin’ on tonight)

I done came a long way

If I had one wish, (Free the homies)

I’d free the homies

DJ QUIK

Close your mouth when you talkin’ to a killer, bitch

They say I murder cuh, I say, “I’m innocent”

This ain’t suburbia, these niggas ignorant

I always get my man, I only miss my bitch

MAGIC

If I gave a fuck about a citch, I’d always be broke

I’d never get to pull up in a Benz with my locs

Growin’ up, we was poor, so we hopped off that porch

With a gun, tryna blow, tryna kick down your door

WHEN SPARKS FLY

You know I’m down for whatever, protective of you

I don’t wanna use protection with you

But the glove’ll keep you safe if you ever get loose

Never put you in a jam, hold whatever for you

EAST POINT PRAYER

Kept the sticks lit, I’m a factor

I was out there, when it mattered

Had the chopstick with the ladder

Made it count, made it to Atlanta

SLIDE

Made ’em proud but I never made a million

I’m talkin’ net, I heart the set, I’m tryna raise the children

From the Naughty where we ain’t pretendin’

Made a lot of niggas die but I ain’t admitting

PAPERCUTS

Still thinkin’ everyday about the one that got away, ayy

You know I’m crazy ’bout you, right?

LEMONADE

Yeah, money talk, broke niggas talk louder (Yeah)

That’s why they face so sour (Yeah)

Ain’t shit sweet, ask Suga Free (Ask Suga Free)

Still bust a nigga head, that’s the hood in me (Hey)

PLAYER WAYS

I don’t know that girl and if I do, it’s not like that

And if I did, it was a while ago, before you took me back

You always focused on the past when I be all about that ass

When I be all up in them guts, you know you love to throw it back

MAMA’S BOY

Money ain’t everything (Nah, it’s not)

But I promise, it help the pain (On God)

BANG THAT

Real as they come, I don’t gotta pretend

Live by the gun, die by the sand

ROSE STREET

She said she in love, what’s that?

Trust, what’s that?

Us, what’s that? Yeah (You know the deal)

I’m married to the gang, don’t be playing games (Yeah)

Only bringing flowers to the homie’s grave

(To the homies’ graves, yeah)

THE BLUES

This shit harder than I make it look, what have I become?

I ain’t never been no open book

Money made me numb

Talking Points by u/djreshiram

Where does this album place in Vince’s discography?

Do you feel similar sentiments as Vince? Do you think money would solve most problems?

In comparison to other street rap artists, how does Vince compare and what does he bring that separates him from others?

After “MAGIC” do you think Vince will get more radio-play and become bigger in the mainstream world?

Did your neighborhood break your heart?