Gerald Walker

Gerald Walker
Believers Never Die
One Step at a Time

An insightful lyricist, 24-year-old Milwaukee rapper Gerald Walker is a master of wordplay. Aside from his effortless delivery, he has an uncanny ability to switch his style and vocal tone at a moment's notice. It's amazing how easily he inserts a clever accent or smooth song-songy note to give his verses an added bit of flair.

With a new mixtape, "Believers Never Die," a sonically pleasing collection of mid-tempo musings about the world according to Walker, the young wordsmith is captivating on songs such as the intriguing, far-too-short "Scream" and candid and sarcastic "Um, Excuse Me,"

Walker's biggest flaw is that at times he becomes preoccupied with rapping about how good he is at rapping. "Haters" and "naysayers" consume much of Walker's focus on this 17-song project.

Regardless of his need to diversify his subject matter, Walker's humor and sincerity on the track "Part of Me" is an example of his potential.

- Geraud Blanks, Special to the Journal Sentinel - Milwaukee Journal Sentinel (Newspaper)

Gerald Walker freestyles on the "RapFix Live" anniversary show
Photo by Natasha Chandel/ MTV News - MTV

Gerald Walker’s been quietly making his rise in hip-hop over the last few years with his acclaimed Christmas mixtapes, The Other Side of Letting Go and On Your Side, so his latest product Believers Never Die brings on the full breakout reach aimed at what he calls a “practical” approach to using his music as a vessel to both project himself as an emcee and his artform into the surging independent underground scene that’s come to the be the primary focus of hip-hop fans.

The tape begins in Gerald’s roots with the diary-like track “Milwaukee,” where he spends series of self-talk and proclamations decoding the means of self-construction to establish himself as the archetypal dark horse running his own doctrine in an industry built to destroy. We find his softer style of hip-hop and R&B blends throughout Believers, with records like “Some Things Never Wash Out,” “Bulletproof Soul” and “Um, Excuse Me!” touching on the darker tropes of relationships, society and endeavors that provide a landing for the collective optimist theme to launch from.

Maturity is a central focal point in the project, as Gerald continues to reveal developing diversities, such as the double-time flow moments of the title track “Believers Never Die” and “Scream,” and quality of the penultimate chiller “’87 Corvette Wishes” with XV, Phil Ade and Skeme, showing off the ability to carry a central concept and charge while extending into multiple outlets of sound (the galvanic “Bonus I’d Rather make Mistakes Than Do Nothing” rides on an instrumental energy we’re not accustomed to).

While Gerald exhibits an ambition for extension, there’s also an apparent knowledge of niche discovery, as he shows us he’s continually drawn by the magnetism of the relaxed astral sounds RMB Justize (“A Part of Me”), Ric and Thaddeus (“Theme Music For My Real…” and “Girl, Oh No He Didn’t”) and other pieces the production credits provide for some of his more cathartic records. The easy tempos of “That Thing In Your Chest Doesn’t Beat. It Counts Down” and “Scream” give Believers the voltage that it needs to keep from being redundant, but the peak of success shows to be Gerald continuing to thrive in his lax sound lyric-focused style.

Believers Never Die is yet another accomplishment for Gerald to tack into his tome, and has already shown scene progression after only being on the free market for a week and change. If you’ve yet to figure out who Gerald Walker is, Believers will show you, and the sounds throughout are the filling sampler platter you’ll need to catch on to the proof that he’s one of the more humble emcees making the climb without the aid of cosigns or industry promotion. There’s a lot of ways of doing things “the right way,” and it varies from person to person, philosophy to philosophy; regardless, Gerald Walker’s well in his mode, and his means of making music radiate that his ambition will pay off.

SumOlogy: sometimes you need a change of flavor. Believers Never Die does the request.

B
- The-Ology.com

Having charmed some of the most influential rap magazines and blogs, Gerald Walker is the rare local rapper who's better known outside of the city than within it. Now's the time for the city to get acquainted with him, because if he continues to make music as dazzling and innovative as his soul-searching fall mixtape The Other Half of Letting Go, he could well become the Milwaukee rap scene's next breakout act. A one-man Bone Thugs-n-Harmony, rapping in a swift, shape-shifting double-time flow and singing his own hooks in a smooth croon, he's a rapper of rare talent and unusual vision.
- Shepherd Express

Coming from the Midwest, Gerald Walker follows in the footsteps of predecessors like Kanye West, Bone-Thugs-N-Harmony and Lupe Fiasco. Straying from the mainstream sound that radio airwaves have become accustomed to, the 24-year-old self-claimed alternative rapper and vocalist turns to acoustic ballads and head-bopping beats to differentiate himself from today’s general rap population.

The Windy City residing artist opens his 13-track release with a mellow, Sunday-drive-down-the-coast track titled, “Entrance,” a soft-toned ballad that defines The Other Half of Letting Go. Mixing a smooth, alternative, neo soul sound with production by Cardo, Sledgren, Rosthschild and an old Timbaland beat (“What’s So Different”), there’s no question that Walker’s cuts are impeccable, but beats aren’t everything.

As a young MC from the Wisconsin, GW is still finding his niche in the flow world. Constantly switching between a choppy staccato flow, a drawn-out legato melody and a sted fast rap, Walker takes on the personalities of Nicki Minaj, Bone Thugs-N-Harmony, Drake and Twista, never letting his audience hear one true sound. The relentless change is pace and tone usually shows artistic versatility, but, at times, it can be distracting and take away from the song (“It’s Not A Coincidence,” “The Missing Piece”). But as a newbie in the game, his talent can only grow.

The mixtape might be titled The Other Half Of Letting Go, but Gerald Walker is shaping up to be an artist that hip-hop shouldn’t let go unnoticed. —Amber McKynzie - XXL Magazine

"Where’s the rest of the track?!” – yeah that’s exactly what I thought. And boy! what a title – it’s like a slap in the face. Imagine hearing that from someone … dayum! If you dig Gerald Walker as I do, then you either (a) have his latest project already or (b) intend to get it –> go here! - illVibes

Chicagoan Gerald Walker delivers a new track recently made in light of the absurd amount of murders we have seen here in Chicago during the past week. Gerald explains,

"Killer Season" is a time in Chicago when robberies, murders, prostitution and crime is on the rise. It Represents a time where winter has passed and summer has emerged. In Chicago last Thursday & Friday the weather was +70 degrees and by Saturday is was reported 41 people shot, 4 homicides in 50 hours. This is not a matter of glorification but an eyewitness account of the things I see while living in Chicago's West Side.

And he follows through on those ideas with a song (shouts 2 YK2) that illustrates these evils from a third person perspective. Walker's flow is tight throughout the short, yet concise record. Props to Gerald Walker for conveying the clear message to become more aware of these senseless killings and take a step in the right direction of preventing the violence. Chicago, let's go!!

- ChicagNOW

Gerald Walker puts pen to pad about a few of the things on his mind with his latest track. Listen to "Thinking," as we wait for the next project from the Chi-Town emcee. You can check out his last mixtape, I Remember When This All Meant Something, here. - Okayplayer

Okay, so I got an e-mail from this dude and onnastremf of the title of the attached song, I listened to it. I loved the song, and offered to review. Here it is.

Gerald Walker’s I Remember When This All Meant Something

Track 1- Everything People Say I Am, That’s What I’m Not…

Kind of a Drake vibe here, not feeling that. Funny, he just mentioned that people were saying he bites Drake’s shit. The Drake is there, but so is KanYe’s influence. He’s better lyrically than Drake, so I’m gonna give the pass. Not a bad introduction.

Track 2- I Remember When This All Meant Something Part 1

Okay, the Drakeness is super-apparent here. He has, once again, addressed that people say he’s like CuDi, Drake & Wale. Duder… This is not a good sign. Again, he’s more substantial than Drake, and so far I’m digging this one. Beat is “ehh”, but the young spitter (no) has a little something to him. Sounds like pain in his voice. I respect that. Also? The emo-length song titles are great. Did he just reference New York Undercover? Nice. Points for that. Ohh! Some great singing and layering at the end.

Track 3- The Journey (Sweet Chin Music)

This is the song that made me wanna check out the project. Beat is stellar, and it proves the boy can rap. The synths on this have more of a point than on Drake’s Thank Me Later, and the synths on this song are epic and triumphant. “I don’t believe in bad luck, but I keep my sideview mirrors clean so I’m hard to pass up.” Bravo. Holy Moley… The second verse is fucking DOPE. Synths at the end are epic. This song is making my Go Time Gym Playlist.

Track 4- Not At All (featuring Bryant Stewart)

Beat has me bouncing, and Bryant Stewart’s singing is good, like a more-vocally talented Chris Brown. Remember all that Drake stuff I said? Ignore it. I’m really enjoying this. I wonder where this guy is from, because he’s switched from that Drake-esque stuff, to almost a midwest/southern kinda flow on this. I like this. Track’s taking me somewhere.

Track 5- Ready to GO!

Nice jazzy feel to this beat, some early 90's N.Y. ish. This is some skraight 90s rap, just after some skraight 00s Southern rap. *rubs eyes* Is this really happening? It is, in a great way. This is lyrically great, reminiscent of pre-The Cool Lupe Fiasco, only with Rocafella-era KanYe inflections. This guy’s references are all over the place, with nary a glimpse of “bottles and models” nonsense.

Track 6- Wait A Minute (Ode To The Little Homie) featuring Add-2 and Slot-A

Some great synths to open up, and some snaps. Hooks on this are great. This track is strictly top down, feel good music. Ohhh, he’s from the Chi! Sweet. The second guy rapping (not sure if he’s Add-2 or Slot-A) is droppin’ jewelry all over the beat. Third guy up is dope too. So nice to see featured rappers kick something substantial instead of spitting some bullshit. Both men stayed on concept, and really gave the track some gravitas.

Track 7- Selah(Ups & Downs)

Kind of a bounce on this, some Timbo-esque synth waves on it. Different flow, staccato on it. Kind of monotone on this one in spots, then some exaggerated tones. Wish he’d pick one and go with it (preferably the exaggerated ones, as monotone is not the business). I don’t mean to compare the kid to anyone, but the CuDi vibe is present on this. I like the beat to this, and lyrically it’s fine, but this isn’t a favorite.

Track 8- Silent

Some creepy, fantasy elements on the beat, followed by some heavy Lil’ Jon synths. Soft drums, more of a sing-songy flow. Oooh, this is a booty song? This beat is really kind of awesome. Dope song, about keeping an encounter on the hush, but in a classy way. Uh Oh… Minaj flow. That was unfortunate, considering how I hate her. Still, can’t blame dude. If you listen to my first album, I’m definitely trying to sound like Marshall Mathers, so he doesn’t lose points. Autotune? *shrug* I can live with autotune. This song is good, the concept is good, but if I had my druthers, I’d re-do the vocals. It’s like he’s afraid to just spit. He’s doing too much with the inflections. Lyrically, beat-wise, it’s on point tho’.

Track 9- Gotta Work (featuring Mr. Robotic)

A lot of these songs are opening up with synths, but they’re all friggin’ cool, and it helps keep a uniform feel to the album. Also? This is most definitely an album. Cohesive in theme and sounds. This middle third of the album is dope. Mr. Robotic is up for the second verse. Okay, Mr. Robotic “I’ll get you black-balled like ni**a nuts” WOW! That was great! At first I was “ehh”, but the feature holds his own, and it’s a great change of pace. I’m thoroughly enjoying this album.

Track 10- We Used To Talk For Hours On End & Now It’s Like We Never Knew Each Other

The title of this song made me sad. Beat has a completely different vibe. Some cool piano, different drums. Beat drops in and out. Minimalist. Aww, he’s talking to a girl here! I always give bonus points for that. “I never cha - It Aint That Serious

Most of the fun in Milwaukee/ Chicago rapper/ singer Gerald Walker‘s new mixtape, Evening Out With Your Girlfriend, can be had in just reading the titles (samples: “You Don’t Pay A Prostitute For Sex…You Pay A Prostitute To Leave When You’re Done”; “Your Mother Made Me Change The Name of This Song So Your Father Wouldn’t Realize Who It’s About”) or figuring out the source of his backing beat choices (production “swipes” include tracks from Matt & Kim, Arctic Monkeys and Will.I.Am), which is probably why we can’t get enough of “Half of Life Is Fucking Up…The Other Half Is Dealing With It”, a featured cut set to the tune of Amy Winehouse’s “He Can Only Hold Her”. But before you get to thinking that we’re completely losing it, know that there’s more appeal to the song beyond the entertainment value of it’s title and sample.

A charming, and occasionally witty, ditty that finds his conversational flow rested well atop Mark Ronson’s retro-hued soundbed, “Half of Life…” follows Walker coming clean to his “love ‘em and leave ‘em” ways. “They sayin’ that I’m ruthless/ I’m just addicted to the newness/ Of a chick/ So after the first couple weeks of us dating/ They all get dismissed”, he confesses at one point, elsewhere cruelly finding humor in how he leaves women feeling like “whores”, or the way they “try to block my retreats” when only a short while before they “resisted my advances”.

His heartless braggadocio is probably not a laughing matter to the long line of women he’s left confused and emotionally bruised over time, but for us, it’s definitely a hoot to listen to over and over.

Check it out below alongside what’s become our second favorite Girlfriend entry: “Get Your Money”, one of two great whole song-jackings from will.i.am’s 2007 solo flop Songs About Girls. Honestly, we don’t know where will’s voice ends and Walker’s contribution begins on it, but it’s festive celebration of strippers over a sample of M.A.N.D.Y. & Booka Shade’s 2005 Ibiza staple “Body Language” definitely gets us anxious to hit the closest strip joint armed with pocketfuls of single bills every time.

Pick up the rest of Evening Out With Your Girlfriend here. - Mixtape Maestro 2.0