As a debut project, I wanted THIS IS NOT A JOKE to prove why I should be taken seriously as both a rapper and artist. The concept of my debut had been a long time coming–and in that time, there was many changes. Not only did I grow and evolve as anyone does coming from their early twenties in the midst of a pandemic with the eagerness and naivete that stage of life had to offer. Fast forward a few years and I felt a lot more sure of myself, and with that–it became clearer the type of artist I wanted to be.

But even when I felt I had it all figured out, I dropped a song that threw everything I knew about myself as an artist out the window… I guess we’ll have to see where that song ends up on what is my definitive personal ranking of all songs on the tape!

10 tracks. No features. But which song takes the #1?

10. AUTHENTICITY (INTRO)

This snapshot of a longer conversation between myself and Stephen w/ the Reason (AKA the tape’s appointed executive advisor) serves its purpose as an introduction to the thesis of the project. The track’s semi-ambient backing marks my first (and only) producer credit, but it’s an introspective motivational speech more than a song, hence taking last place.

9. MISSIONS

Recorded in 2023 in a session with Toddla T, MISSIONS was built around an unreleased guest verse that’s included in the extended mixtape cut. The original single marked my sonic departure from bedroom/hyperpop inspired demos of my SoundCloud era and my arrival as a rapper. I originally omitted MISSIONS from the tape, but at the last minute I decided it was integral to my personal evolution, and it was the first release to lyrically respond to the sense of desperation for success that runs prevalent throughout the TINAJ era

8. CALL ME PAPI

The gap between #8 and #4 is incredibly thin, and CALL ME PAPI could easily challenge for top 4. The experimental yet hypnotically melodic Spanglish hook can easily overshadow the lyrical prowess of the second half, which in my opinion is one of the tape’s most intricate rap performances.

7. BIG ONE

How can you tell me go do your big one?! Of the 6 unreleased songs at the time of TINAJ’s launch, BIG ONE was definitely an early fan favourite. I had originally intended for the song to be a follow up single to BATSHIT CRAZY in place of ALL PINK EVERYTHING, but I think it served a much better purpose as the opening song. Multiple flows, dialect switch ups, high energy. And there might finally be some visuals on the way…

6. THIS IS NOT A JOKE (TITLE TRACK)

The title track was written during an intense final writing session, and in many ways it became the thesis of the entire project. At this point I was 8 songs in, and I felt like I needed a single song I could point to that would sum the tape up, whilst also being a love letter to my city.

London smoke, tell your bros THIS IS NOT A JOKE

5. LINE OF ASSAULT

I don’t think a ranking could exist without LINE OF ASSAULT, the eras true catalyst, anywhere outside of the top 5. This song achieved what MISSIONS was supposed to – it made people pay attention. My official debut, my first iTunes placement and it all came from a diss. Gag on that.

4. BATSHIT CRAZY

Just when I thought I was on a high with LOA, I dropped BATSHIT CRAZY. It was sort of instantaneous, I knew this song was big as soon as I came up with the first 2 bars. And when I previewed it at my house party, my friends’ reaction was the confirmation I needed. Fast forward to release and it became my first song broadcast on national radio, shout out to BBC 1xtra

3. SNEAKY LINK

Sneaky Link deserves props for being the only song from my SoundCloud-era writing sessions to make it onto the project. It takes a softer take to the theme of being taken seriously, but in a subversive way that allows for an (albeit guarded) vulnerability. The most melodic-led track, it definitely has the highest universal replay value.

2. ALL PINK EVERYTHING

Now this is the song that changed everything. Without APE doing what we did, we wouldn’t have the second half of TINAJ as we know it, and it would have probably ended up being 10 tracks of me shouting veiled threats at anyone who dares to doubt me. But the success of APE granted permission for aggression on my terms, and in my colour. My first No.1 song on iTunes and highest streamed solo song to date!

1. DAYS GO SLOW

Days Go Slow was the last song I wrote for TINAJ, and the reason for its slightly delayed submission. It brings together the songwriting, the melodies and the rapping, but more importantly it’s the most stripped back, authentically BLEU. Coming midway through the project, it launches the more introspective second half with a reflective yet assured shift in tone. I knew immediately that this was worth delaying, and it ranks unanimously amongst the top songs in every metric.