The 23-year-old sensation Summer Walker recently released her debut album Over It and has turned the industry upside down with its debut, premiering at No 2. on the Billboard 200 amid garnering 134,000 equivalent album units in its first week, according to Billboard, thus earning this album one of the largest streaming weeks ever for an R&B album by a woman. Those numbers are not only impressive but virtually unheard of. The only other woman to top those numbers was Beyoncé with her infamous album Lemonade but let’s also take notice to the fact that, that was not The Queen B’s debut album but indeed her sixth. – There’s something unorthodoxly infectious about Summer Walker. She crafts R&B music like something straight out of the 90’s making this body of work inevitably nostalgic. It reminds me of The Beatles Sgt. Pepper's Lonely Hearts Club Band album in that this project sounds like one continuous record. I am not saying that each record sounds the same, but that they can be played together continuously – you don’t need to skip any records. In this generation, with its quick-whit attention span, it’s rare that most people listen to an album in its entirety. However, Summer Walker has cultivated a body of work that forces you to listen from beginning to end, each record a dose of another tale rather that be of love, betrayal, rage or acceptance.
Fan favorites like "Playing Games," featuring Bryson Tiller, marvel in her aptitude for creating bona fide hits alongside her beau and fabled producer London On Da Track. This record details a stringy relationship lacking in spicy fervor and public recognition. She sings, “All I ever asked was you to / Pick up the phone when you alone / All I ever asked was you to / Show me some love / Kisses and hugs.” It’s an anthem for the fed up and annoyed which is what’s led to its inescapable success garnering 11 million views on the YouTube audio alone. However, classic records like “Come Thru,” sampling Usher’s 1997 hit “You Make Me Wanna” while featuring the living legend as well, dabble in lyrical content of love and infatuation. She goes from heartbroken to love-soused. It’s a project of bi-polar scripting but drenched it hit records all the same – Efforts like “I’ll Kill You” featuring Jhene Aiko listen like the aftermath of when two scorned but Tina Turner-prone souls unite for one dynamite offering. Summer sings, “If them bitches find you, better be blind / If it ain't me or your mama, shouldn't be showin' you no love / Please forgive me, I know that I'm stingy / 'Cause baby I'm gang 'bout you /Ain't playing no games 'bout you / I'll go to hell and jail 'bout you boy.” It’s oozes with an undeniable but potentially fatal passion. While tunes like “Just Might” listen with a more laissez-faire approach to relationships and intimacy where she describes love as a losing game. She’d rather indulge without attachment than to love for eventual disappointment – Overall, this album marks as the dawn of what will be a very fruitful career for Summer Walker. She breathes with charisma and a quirkiness all her own. Some people view her as detached from a performance standpoint, but I believe that she’s tethered tightly to music like a baby in the womb. Her voice glistens with unfiltered perfection and she’s a definite character. The real question is: With such a classic, sure-fire debut, can she top it? Basking in the glow of iconic predecessors like Aaliyah, Ciara, Usher etc. she’s giving soul-music indulgers something to be happy about, an album to leave on repeat and a classic addition to R&B’s timeless discography.