Track: #01
Title: “Attention”
Artist: Jadyn Ghalen
Genre: Hip-Hop • Rap • R&B
Length: 4:36
Studio: Penthouse Recording Studios, Manhattan, New York, USA
Writer: Jadyn Ghalen
Producer: Jadyn Ghalen • Younghood
Label: Tric-Jam Records • Dahlhouse Entertainment

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Background, Writing and Recording

“Attention” was written and recorded in March 2025 during recording sessions at the Penthouse Recording Studios in Manhattan, New York which served as the base for the New York recording sessions which took place alongside producer Younghood. Although the majority of the album was recorded in Atlanta, Miami and California this one alongside another couple of tracks were recorded in New York during the final stages of the albums recording process with Jadyn deciding to bring in Younghood to add the finishing touches to the overall album, resulting in an additional couple of tracks as well as various alternative takes that may see the light of day at some stage in the future. On working alongside Younghood, it was stated by Jadyn in a recent interview that Younghood’s production work on his own records “Gang Shit” and “The Bedroom Sessions (Vol. I)” showcased his abilities as a producer and made Jadyn want to tap into that mind for a couple of tracks. That combined with his respect for Younghood as a recording artist and his friendship with the rapper were the reasons for Jadyn bringing him in as a producer to add a couple of extra layers to the record in terms of sound and style, as well as offering a critical ear to the work as a whole.

Initially the tracks lyrics and content came from a more up-tempo and aggressive backbeat, but following consultation with Younghood it was decided to slow the track down in order to give the songs content and lyrics more space to breathe and be able to be focussed on and dissected a little more. The decision was one that came about with the songs lyrics being written and delivered in a confrontational style but the feeling was that the words lost a little of the impact when delivered against the higher tempo backdrop, the track was then slowed down and the vocal takes re-recorded in a more relaxed style that added and extra layer to the track and appeared to benefit the songs overall message. It’s been confirmed that the alternative takes of the track were also completed and could potentially see the light of day at some point, confirmation coming from Jadyn that a lot of alternatives were recorded during the sessions for the album as a whole. Hinting that a release with just the alternative takes could potentially happen someday.
The opening verse see’s the lyrics take aim at critics with Jadyn Ghalen stating that he will achieve everything he sets out to achieve and the negative attention just serves to inspire his output with the songs pre-chorus and chorus ramming home that message. While the second verse appears to shift focus to the female attention that comes when you’re famous and how you become spoilt for choice when living that sort of high-status lifestyle. On the whole, the track is a showcase of Jadyn playing up to the image that he is largely labelled with in the public eye.

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Songwriter’s Commentary

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Song Description

The track begins with a low-fi keyboard and soft drum beat, with added sound effect of crowds faintly heard in the background for around fifteen seconds before the opening vocal comes in. Jadyn delivers his vocals in a style somewhere between rap and a relaxed singing vibe as he delivers the opening lyrics, “Look at you, gassed cause I did all I said I would/Took some shit from the haters that kept telling you I was gon fall off/Look at me, standing tall with that big dick energy (Uh)/I like my Cohiba with a fifth of Hennessey (Fuck)/They say the apology should be as loud as the disrespect/Bitch, I’m only getting started/You should see what’s coming next/I ain’t one to forget a name/Got a mind like a rolodex/I like the finer things, like a moth to a flame.” as he highlights his mindset of being confident in his own ability and lifestyle to stand tall and back up everything he does and says. He continues to focus on the lifestyle and his determination to be the best at what he does and as the songs title suggests, play up to the attention that his position in the industry gives him, “Gold chains on my neck, Rolex on my wrist/I’mma sit at the head of the table and throw you all my scraps from it/I don’t fuck around with this shit/I’mma be all that I say I am and then some/Put my name in the headlines/Blowin’ up their mentions/I can’t seem to stay away from the spotlight/I’m just a sucker for attention/Sucker for attention.” and with the end of the opening verse, it feels prevalent that he highlights that he’s aware that he’s a sucker for attention as it’s been one of the things that have been thrown against him as a negative in his career.

As the track comes to the end of the opening verse and moves into the pre-chorus and chorus, the sound of the music continues with the low-fi energy with the keyboard and soft drum beat combination, giving the song a hazy almost VIP club-lounge type of feeling as he sounds a little more assertive in the chorus, his vocals turned up slightly and feeling slightly more aggressive and dominant, “I ain’t fear this shit/As long as you speak my name/Put some motherfucking reverence on it/I ain’t fear this shit/As long as you speak my name/Put some motherfucking reverence on it.” which not only plays into the message of the opening verse, being confident in his own ability and being self-aware enough to know that he’s addicted to attention, good, bad or indifferent so long as his name is being said with some sort of weight behind it. He follows the pre-chorus up with the songs chorus, “I’mma be all that I say I am and then some/Put my name in the headlines/Blowin’ up their mentions/I can’t seem to stay away from the spotlight/I’m just a sucker for attention/Sucker for attention.” as he takes the catchy and repetitive run from the final bars of his opening verse and repeats them for the chorus, just to ram home the songs overall theme a little more, just in case it wasn’t clear enough where his mindset is.

The songs pre-chorus plays once more before the energy of the music increases only slightly, still maintaining the same sort of hazed out at the club type of vibe, he plays on the words used in the opening verse to begin the second verse. But where the opening verse appeared to take aim at the haters obsessed with giving him attention, the second verse seems to take focus on the women that are obsessed with giving him attention, showcasing the different types of attention that he garners most in his career, “Look at you, gassed cause you found yourself close to a legend/Out here wildin’ cause you wanna taste of heaven/Look at me, surrounded by options like a kid in a candy store (Uh)/Can’t just decide on one, cause this sweet tooth keep me coming back for more (Fuck)/Got a weakness for that thicc shit/For that ass bounce and those big tits/I can’t lie, I’m a sucker for that bad bitch or that stripper shit/Fighting over who gets to go first/Just to get a glimpse of it.” which shows focus on the type of attention that he receives from women that are all too eager to catch his eye. Cleverly contrasting the two different types of attention that he receives the most of and how they are both often seen as negatives against his name, taking the opportunity in the song to highlight his self-awareness and deliver home the message that he craves the spotlight and attention on him, however it comes.

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“Attention”

“Look at you, gassed cause I did all I said I would
Took some shit from the haters that kept telling you I was gon fall off
Look at me, standing tall with that big dick energy (Uh)
I like my Cohiba with a fifth of Hennessey (Fuck)
They say the apology should be as loud as the disrespect
Bitch, I’m only getting started
You should see what’s coming next
I ain’t one to forget a name
Got a mind like a rolodex
I like the finer things, like a moth to a flame
Bandz on bandz on bandz
Rackz on rackz on rackz
Gold chains on my neck, Rolex on my wrist
I’mma sit at the head of the table and throw you all my scraps from it
I don’t fuck around with this shit
I’mma be all that I say I am and then some
Put my name in the headlines
Blowin’ up their mentions
I can’t seem to stay away from the spotlight
I’m just a sucker for attention
Sucker for attention

I ain’t fear this shit
As long as you speak my name
Put some motherfucking reverence on it
I ain’t fear this shit
As long as you speak my name
Put some motherfucking reverence on it

I’mma be all that I say I am and then some
Put my name in the headlines
Blowin’ up their mentions
I can’t seem to stay away from the spotlight
I’m just a sucker for attention
Sucker for attention

I ain’t fear this shit
As long as you speak my name
Put some motherfucking reverence on it
I ain’t fear this shit
As long as you speak my name
Put some motherfucking reverence on it

Look at you, gassed cause you found yourself close to a legend
Out here wildin’ cause you wanna taste of heaven
Look at me, surrounded by options like a kid in a candy store (Uh)
Can’t just decide on one, cause this sweet tooth keep me coming back for more (Fuck)
Got a weakness for that thicc shit
For that ass bounce and those big tits
I can’t lie, I’m a sucker for that bad bitch on that stripper shit
Fighting over who gets to go first
Just to get a glimpse of it
I say I’mma live this lifestyle
I’mma be all I say I am and then some
Put my name in the headlines
Blowin’ up their mentions
I can’t seem to stay away from the spotlight
I’m just a sucker for attention
Sucker for attention

I ain’t fear this shit
As long as you speak my name
Put some motherfucking reverence on it
I ain’t fear this shit
As long as you speak my name
Put some motherfucking reverence on it

I’mma be all that I say I am and then some
Put my name in the headlines
Blowin’ up their mentions
I can’t seem to stay away from the spotlight
I’m just a sucker for attention
Sucker for attention”

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Credits & Personnel;

CREDITS

Produced by Jadyn Ghalen, Younghood
Engineered by Aniyah Jordan
Mixed by Aniyah Jordan
Mastered by Leon Ferreira
Production Management by Imani Jasmine Woods
Recorded at Penthouse Recording Studios, Manhattan, New York, USA

Production Assistant: Zariah-Devi Khabib
Art Director: Vincent Cooper Jr.

PERSONNEL

Jadyn Ghalen – vocals, lyrics, composition, production
Younghood – composition, production
Aniyah Jordan – engineering, mixing
Leon Ferreira - mastering
Imani Jasmine Woods – production management
Zariah-Devi Khabib – production assistant
Vincent Cooper Jr. – art director

Track: #03
Title: “High Risk”
Artist: Jadyn Ghalen
Genre: Hip-Hop • Trap
Length: 4:44
Studio: Bay Eight Recording Studios, Miami, Florida, USA
Writer: Jadyn Ghalen
Producer: Jadyn Ghalen • BLOOM
Label: Tric-Jam Records • Dahlhouse Entertainment

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Background, Writing and Recording

Written and recorded around February 2025 at Bay Eight Recording Studios in Miami, Florida the production process was a collaborative effort between Jadyn Ghalen and BLOOM, who co-produced the track in a single late-night session. According to interviews, the instrumental was built around an atmospheric synth loop and layered with 808s and hi-hats. Ghalen wrote much of the song on the spot, the general tone of the track coming from an initial freestyle before he stepped away from the recording booth and refined the tracks lyrics further. He confirmed that he drew from recent personal experience following Orion’s rapid ascension within the music industry. The final track was recorded in under four hours, with minimal overdubs and retakes to preserve the raw intensity of the performance. BLOOM later added subtle production flourishes during mixing, enhancing the track’s atmospheric quality without sacrificing its club-ready bounce and energy. The result is a polished yet urgent sound that reflects both the unpredictability and allure of the lifestyle Ghalen raps about.

Following a breakout year in 2023 with the release of his debut E.P that showcased his ability as a solo artist away from rap group ‘Orion’, he began working on the possibility truly launching a solo career once ‘Orion’ had released their sophomore album before hiatus. Wanting to stretch himself beyond the confines of the traditional hip-hop and rap sounds that the group had come to be known for, it was always his aim to experiment with trap and electronica elements as well as other sounds. Ghalen made a point to work in different environments with producers that he knew would bring something different to the table, Young Khalifa, DeAndre Patton, Younghood and BLOOM all bringing their own distinctive qualities to the mixing booth.
“High Risk” was conceived during a creative period in Miami, working with a producer who’s natural instinct wasn’t immediately drawn to hip-hop and trap but one that was an expert in cultural sounds and club anthems. Ghalen has said that the song draws influence from Miami’s own vibrant nightlife and Ghalen’s personal experiences navigating fame, desire and recklessness within that very nightlife. It’s lyrics exploring themes of risk-taking, hedonism, and the emotional volatility that accompanies a high-stakes lifestyle, making it both a club anthem and a veiled commentary on the consequences of the lifestyle that so many people desire.

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Songwriter’s Commentary

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Song Description

The track begins with an uplifting dreamy electronic trap beat, immediately recognizable with an infectious feel to it which sets the tone for an energetic and uplifting club banger type of track, as Jadyn delivers the intro with a blended rapping and singing tone, “Wings out, I been flyin’ through the storm, no cap/Burnt the past down to ash, now I ain’t ever lookin’ back (nah)/Lit like kerosene, I’m always the one to strike a match/Like a moth to the flame, always attract but I never get too attached (nah).” and the combination of the electronic high energy with the self-confident independent focused lyrics provide a backdrop and intro to what feels like a club staple for years to come from the offset.
The songs chorus arrives immediately after the intro and follows in the same vein, almost blending the two together with a slight increases in bpm which brings the energy up slightly higher, with lyrics once again drenched in self-aggrandising and confidence, “City flowin’, when I move (move)/Gold drippin’ from my neck to my shoes (drip)/Running midnight in a Phantom Coupe (whip, whip)/Hands on the wheel, supermodel on my dick/Yeah, I live this life on high risk (risk)” giving the song an immediate catchy hook within the first minute of the track.

As the track arrives at its first verse, the music continues almost seamlessly at the same pace, drenched in synths and hi-hats throughout the entire song, the addition of a kick-drum adds a little more atmosphere and rhythm into the songs opening verse which allows Jadyn’s vocals to flow perfectly, the tone of his voice with a laid-back self-confident energy, “Shit, I been in the dark, now my diamonds lit the path up/Luxury life, yeah, that’s the new-age mantra/These bitches ain’t vibing unless you rich and handsome, so I got em’ all ridin’ wit me in my phantom/Loyal to the grind, but I’m married to the vibe (vibe)/Penthouse view, but I prefer the view inside/Hundred missed calls, looking for attention every night/I ain’t one to boast/But I always leave em’ satisfied.” as he delivers his soliloquy on the luxury lifestyle he leads, highlighting the independent free-spirit mantra that he chooses to life his life and the benefits that his lifestyle and success brings him, “Scratches on my neck but they don’t show up on the leather seats/Passion fills the air, writhing around on satin sheets/Whispers from your breath, can we play this song on repeat/Eyes roll back, when she deep in ecstasy/Fiends for this lifestyle, cause they know this motherfucker don’t run it cheap/High risk, high speed, woke up in a daydream/Butterfly effect got me blessed, but I don’t know what it mean/High risk, high reward, spin it like roulette/Rollin’ like a storm/But I ain’t crashing yet/Ain’t crashing yet.” which doubles down on the themes of excess and luxury, the final lines of the opening verse capturing the thrill and danger of living on the edge.

The songs hook and chorus combination repeats as a follow-up to the opening verse, again bringing the tracks infectious club banger style to the forefront in order to make sure that the track sticks with you long after its finished. The energy remains high as we arrive at the second verse, with the lyrical content switching focus from the female attention and those benefits of fame and success to the broader sense of success and those that want to ride the journey with you but ultimately are there for the success not the individual at the center of it, “This shit could have been different, but I don’t focus on the past/Yeah, they used to doubt me on the low, now they only watching from the back/Used to ignore my name, now they peering through the glass/I used to bring em’ all up with me/Till’ I was surrounded by snakes in the grass/Now I’m all luxury/Ain’t ever turning back.” which cleverly shows independence so positively championed in the opening verse and the double edged nature of independence in the second verse that shows that you can’t truly trust, “Yeah, I just move on my own terms, no pressure/Saint Laurent lace hangin’ off the dresser/I took all my own pain and turned that shit to scripture with a trap hook/Trophies and accolades keep me out their bad books/Designer shit and private planes, city lights and penthouse views/Everything’s an accolade/When you’ve came from nothing/You got nothing to lose.” which showcases an added weight to the lyrics and how there’s positives and negatives from this independent, high success lifestyle. Posing some important talking points, before the songs hook and chorus return once more to close the track out on a catchy note.

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“High Risk”

“Wings out, I been flyin’ through the storm, no cap
Burnt the past down to ash, now I ain’t ever lookin’ back (nah)
Lit like kerosene, I’m always the one to strike a match
Like a moth to the flame, always attract but I never get too attached (nah)

City flowin’, when I move (move)
Gold drippin’ from my neck to my shoes (drip)
Running midnight in a Phantom Coupe (whip, whip)
Hands on the wheel, supermodel on my dick
Yeah, I live this life on high risk (risk)

Shit, I been in the dark, now my diamonds lit the path up
Luxury life, yeah, that’s the new-age mantra
These bitches ain’t vibing unless you rich and handsome, so I got em’ all ridin’ wit me in my phantom
Loyal to the grind, but I’m married to the vibe (vibe)
Penthouse view, but I prefer the view inside
Hundred missed calls, looking for attention every night
I ain’t one to boast
But I always leave em’ satisfied
Scratches on my neck but they don’t show up on the leather seats
Passion fills the air, writhing around on satin sheets
Whispers from your breath, can we play this song on repeat
Eyes roll back, when she deep in ecstasy
Fiends for this lifestyle, cause they know this motherfucker don’t run it cheap
High risk, high speed, woke up in a daydream
Butterfly effect got me blessed, but I don’t know what it mean
High risk, high reward, spin it like roulette
Rollin’ like a storm
But I ain’t crashing yet
Ain’t crashing yet

Wings out, I been flyin’ through the storm, no cap
Burnt the past down to ash, now I ain’t ever lookin’ back (nah)
Lit like kerosene, I’m always the one to strike a match
Like a moth to the flame, always attract but I never get too attached (nah)

City flowin’, when I move (move)
Gold drippin’ from my neck to my shoes (drip)
Running midnight in a Phantom Coupe (whip, whip)
Hands on the wheel, supermodel on my dick
Yeah, I live this life on high risk (risk)

This shit could have been different, but I don’t focus on the past
Yeah, they used to doubt me on the low, now they only watching from the back
Used to ignore my name, now they peering through the glass
I used to bring em’ all up with me
Till’ I was surrounded by snakes in the grass
Now I’m all luxury
Ain’t ever turning back
Yeah, I just move on my own terms, no pressure
Saint Laurent lace hangin’ off the dresser
I took all my own pain and turned that shit to scripture with a trap hook
Trophies and accolades keep me out their bad books
Designer shit and private planes, city lights and penthouse views
Everything’s an accolade
When you’ve came from nothing
You got nothing to lose

Wings out, I been flyin’ through the storm, no cap
Burnt the past down to ash, now I ain’t ever lookin’ back (nah)
Lit like kerosene, I’m always the one to strike a match
Like a moth to the flame, always attract but I never get too attached (nah)

City flowin’, when I move (move)
Gold drippin’ from my neck to my shoes (drip)
Running midnight in a Phantom Coupe (whip, whip)
Hands on the wheel, supermodel on my dick
Yeah, I live this life on high risk (risk)”

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Credits & Personnel;

CREDITS

Produced by Jadyn Ghalen, BLOOM
Engineered by Aniyah Jordan
Mixed by Aniyah Jordan, Leon Ferreira
Mastered by Leon Ferreira
Production Management by Imani Jasmine Woods
Recorded at Bay Eight Recording Studios, Miami, Florida, USA

Production Manager: Imani Jasmine Woods
Production Assistant: Zariah-Devi Khabib
Art Director: Vincent Cooper Jr.


PERSONNEL

Jadyn Ghalen – vocals, lyrics, composition, production
BLOOM – production, composition
Aniyah Jordan – engineering, mixing
Leon Ferreira – mastering, mixing
Ignacio Santos – synthesizer
Augustine Francis – programming
Imani Jasmine Woods – production management
Zariah-Devi Khabib – production assistant
Vincent Cooper Jr. – art director

Track: #05
Title: “Champagne Tastes”
Artist: Jadyn Ghalen
Genre: Hip-Hop • Rap • R&B
Length: 5:34
Studio: Sonic Lounge Studios, Atlanta, Georgia, USA
Writer: Jadyn Ghalen
Producer: Jadyn Ghalen • Young Khalifa
Label: Tric-Jam Records • Dahlhouse Entertainment

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Background, Writing and Recording

“Champagne Tastes” was written and recorded in August 2024 during early recording sessions for Jadyn Ghalen’s debut album, recorded at a time where Jadyn was in the midst of post-production on the sophomore album by Orion. Created in the studio by Jadyn and his producer Young Khalifa, the pair had been experimenting with various different instrumental ideas and found that the combo of melodic piano and powerful drum beats created a unique soundscape that gave off a combination of soulful R&B with a strong backbeat that lent itself to Jadyn’s hip-hop stylings. Although it was recorded during the earliest solo sessions, it was at a time when they were just demoing ideas to potentially put aside for Jadyn’s future solo recording sessions, but feeling too enamoured by the track they had created, Jadyn wanted to get some vocals and lyrics locked in for the track while he was feeling the tracks instrumentation, this led to Jadyn and Khalifa focussing entirely on this one track for a couple of days until they had it completely finished, a way of working that continued throughout the recording sessions for what would eventually become Jadyn’s debut solo album.

The tracks lyrical content was confirmed by Jadyn as a true picture of the lifestyle of the rich and famous and the specific detailed references in the song are believed to be from personal experience including the reference early on in the track hinting at people telling him to “slow down when my foot’s firmly on the peddles” both believed to be at his eagerness to accelerate his solo career and his NSFW activities that have been reported and rumoured in the media ever since his breakthrough into the music industry.
The track was one of the first recorded at Sonic Lounge Studios in Atlanta, Georgia where the majority of Jadyn’s debut album was recorded, the studio was chosen as the main central hub for the studio sessions with other sessions taking place in Florida and California as well as a handful of brief sessions taking place in New York. This was due to the busy schedule of Jadyn’s between working on his own stuff and recording the sophomore album from ‘Orion’ as well as other various commitments that took him to different cities. It was decided early on that the bulk of things would take place in Atlanta, Georgia where his primary producer for the record ‘Young Khalifa’ would be permanently based throughout the whole process.

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Songwriter’s Commentary;

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Song Description;

The track begins with a piano and drum combination, the melody of the piano’s almost lounge music tones combined with a slightly more up-tempo drum beat make for a relatively unique production choice for the track but as the opening vocal delivery from Jadyn Ghalen comes in, somewhere between singing and rapping he showcases a slightly more soulful vibe to his vocal range, it’s a low-energy lounge singer sort of tone as he delivers the opening lines, “We ain’t on the same vibe, it’s different levels/Tellin’ me to slow down when my foot’s firmly on the peddles/One fifteen is how I run it in the hills, so reckless/You know how I live for these cheap thrills, always flexin’/Always lookin’ for attention/Fashion Week bitches all up in my mentions/Met Gala elite in my bed, messin’ up my silk sheets, legs up in the air/I guess I like their company/They like to play it classy, but they just rich girls from the valley/They don’t let an opportunity go to waste/Only fuck with the elite/Guess we both got champagne tastes.” as the tone continues throughout the entirety of the opening verse via the piano and drum combination, increasing slightly in speed as we arrive towards the final bars of the opening verse, but not to the point where it’s instantly noticeable as he continues just adding a slight feeling of urgency combined with the vocal tone of Jadyn getting slightly more sharp and assertive sounding with a slight hint at a slightly more dark or aggressive tone, “Smoke clouds with a coke crowd/Top shelf liquor and a relentless vigour/None of this goes to waste/When you fuckin’ with the elite/You’re fuckin’ with their champagne tastes.”

The drums play a big part as the songs chorus arrives, the tone of the piano keys are still prominent as the main musical aspect of the track but the drums begin beating more repetitive and aggressively during the songs chorus as Jadyn sings completely, “I live for the moment, let’s get lost in the haze/Tell your friends all about it/How you’ve fucked with one of the greats/I live for the moment, let’s get lost in the haze/Fuckin’ with Met Gala elite/We call this Champagne Tastes.” showcasing a side to his artistry that has only been hinted at briefly in past tracks but never fully highlighting his ability to sing when required, being known primarily for his rap delivery and cadence.

Following on from the songs chorus that hinted at a slightly more aggressive and faster paced musical backdrop, the songs music ramps up the bpm as Jadyn falls back into rap mode with his second verse, having showed his ability to sing with a strong sense of melody and tone, he shifts back into his most befitting position, where the opening verse blended elements of rap and singing, the second verse is Jadyn back to his fully realised rap lane, with a faster backbeat and lyrical content that demand confidence and assertiveness in the his delivery, “I ran that shit up in the last year, stamina maxed out/So many hits just from my name, made these motherfucking strangers rich, no doubt/Racking up the dollars in double quick time/Wanting me to fuck em’ on their socials but I ain’t gonna see a dime/Bitch, I’m primetime/Motherfucker you know my dick sublime/But maybe I’mma go down on these bitches, let em’ post it online/Just so their boyfriend knows/That her pussy mine.” which delivers the more familiar side to the rapper that we’ve come to know over recent years. The songs chorus then follows once more, serving as a link into the songs final verse.

As the songs final verse arrives, again the beat feels more intense and dominant over the piano backdrop that feels has now faded slightly into the background, the drums beat aggressively into the rapid-fire rhythm that sets Jadyn off into his most comfortable position, delivering the final verse with the rap delivery that he’s slowly becoming known for, “Hands running all over my body, ain’t even flexin’/She grabbin’ that dick with a tight grip/While her man’s at home blowin’ up her phone, quit textin’/She safe with me, satisfaction guarantee/And you know we gon’ be up all night on some relentless head spinning shit/Sippin’ wine and trading lines/Coke on her titties, she got me cleaning up/Pussy laid bare, hardcore she wants me going in raw/Supermodel face/Perfect body, legs for days/Screaming out my name, too close to the flame/Getting lost in the haze (Oh!).” which leads perfectly into the songs chorus, repeated twice over the songs beat to close out the track.

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“Champagne Tastes”

“We ain’t on the same vibe, it’s different levels
Tellin’ me to slow down when my foot’s firmly on the peddles
One fifteen is how I run it in the hills, so reckless
You know how I live for these cheap thrills, always flexin’
Always lookin’ for attention
Fashion Week bitches all up in my mentions
Met Gala elite in my bed, messin’ up my silk sheets, legs up in the air
I guess I like their company
They like to play it classy, but they just rich girls from the valley
They don’t let an opportunity go to waste
Only fuck with the elite
Guess we both got champagne tastes
Smoke clouds with a coke crowd
Top shelf liquor and a relentless vigour
None of this goes to waste
When you fuckin’ with the elite
You’re fuckin’ with their champagne tastes

I live for the moment, let’s get lost in the haze
Tell your friends all about it
How you’ve fucked with one of the greats
I live for the moment, let’s get lost in the haze
Fuckin’ with Met Gala elite
We call this Champagne Tastes

I ran that shit up in the last year, stamina maxed out
So many hits just from my name, made these motherfucking strangers rich, no doubt
Racking up the dollars in double quick time
Wanting me to fuck em’ on their socials but I ain’t gonna see a dime
Bitch, I’m primetime
Motherfucker you know my dick sublime
But maybe I’mma go down on these bitches, let em’ post it online
Just so their boyfriend knows
That her pussy mine

I live for the moment, let’s get lost in the haze
Tell your friends all about it
How you’ve fucked with one of the greats
I live for the moment, let’s get lost in the haze
Fuckin’ with Met Gala elite
We call this Champagne Tastes

Hands running all over my body, ain’t even flexin’
She grabbin’ that dick with a tight grip
While her man’s at home blowin’ up her phone, quit textin’
She safe with me, satisfaction guarantee
And you know we gon’ be up all night on some relentless head spinning shit
Sippin’ wine and trading lines
Coke on her titties, she got me cleaning up
Pussy laid bare, hardcore she wants me going in raw
Supermodel face
Perfect body, legs for days
Screaming out my name, too close to the flame
Getting lost in the haze (Oh!)

I live for the moment, let’s get lost in the haze
Tell your friends all about it
How you’ve fucked with one of the greats
I live for the moment, let’s get lost in the haze
Fuckin’ with Met Gala elite
We call this Champagne Tastes

I live for the moment, let’s get lost in the haze
Tell your friends all about it
How you’ve fucked with one of the greats
I live for the moment, let’s get lost in the haze
Fuckin’ with Met Gala elite
We call this Champagne Tastes”

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Credits & Personnel;

CREDITS

Produced by Jadyn Ghalen, Young Khalifa
Engineered by Aniyah Jordan
Mixed by Young Khalifa, Aniyah Jordan, Leon Ferreira
Mastered by Leon Ferreira
Production Management by Imani Jasmine Woods
Recorded at Sonic Lounge Studios, Atlanta, Georgia, USA

Production Manager: Imani Jasmine Woods
Production Assistant: Zariah-Devi Khabib
Art Director: Vincent Cooper Jr.

PERSONNEL

Jadyn Ghalen – lyrics, vocals, composition, production
Young Khalifa – composition, production, mixing
Aniyah Jordan – engineering, mixing
Leon Ferreira – mixing, mastering
Imani Jasmine Woods – production management
Zariah-Devi Khabib – production assistant
Vincent Cooper Jr. – art director

Track: #07
Title: “Top Shelf”
Artist: Jadyn Ghalen
Genre: Hip-Hop • Rap • Trap
Length: 5:02
Studio: Bay Eight Recording Studios, Miami, Florida, USA
Writer: Jadyn Ghalen
Producer: Jadyn Ghalen • BLOOM
Label: Tric-Jam Records • Dahlhouse Entertainment

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Background, Writing and Recording

“Top Shelf” was created during recording sessions in Miami between Jadyn Ghalen and producer BLOOM, with Ghalen wanting to put a focus on the image that he has within the wider cultural landscape, through press articles and paparazzi sites and offer his own take on the playboy lifestyle that he’s generally labelled with in the press. Highlighting the main theme of an inability to trust when you have a lot of benefits on offer to people and hinting at the fact that the women that he associates with have just as similar a lifestyle to Ghalen in terms of their free spirited lifestyles. It touches on themes of bravado throughout but highlights that it’s difficult to maintain a high level lifestyle without having trust issues.

The writing of the track reportedly came together during a late-night studio session in late May 2025, during which Ghalen worked closely with producer BLOOM, known primarily for his ambient, Latin-influenced production style. The track’s minimalist beat, with it’s moody synths and subdued trap percussion allowed Ghalen’s vocals to linger and manifest itself as the centre piece of the track, finding a balance in tone between confession and deflection and the contrasting elements of indulgence and emptiness.
During the recording of the track, Ghalen performed multiple takes to eventually capture a mix of laid-back cool and emotional rawness. One take saw the tracks tone and inflection almost completely change due to the vocal delivery, with Ghalen adopting a more aggressive and confrontational vocal delivery throughout the track before Ghalen alongside producer BLOOM and studio engineer Aniyah Jordan opted for the more laid-back vocal take which they felt combined well with a lot of previously recorded tracks for the album, eventually opting to nestle the track in with a more introspective track “In Your Mind” to provide a more centred one-two punch feel during the early portion of the album’s runtime.

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Songwriter’s Commentary

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Song Description

The track opens with a moody, atmospheric beat that fuses moody trap drums and eerie, spacey synths which create a dreamy soundscape, instantly evoking a trippy trap anthem. Jadyn’s vocal enters the fray with his signature half-sung, half-rap tone for the tracks intro, “I don’t always play nice, but I know how to have a good time/I like to fuck around/But I always treat my women right/It’s gotta be non-exclusive cause I ain’t got the free time to dedicate/I’m workin’ real hard for everything I’ve got/In the studio every day/Choice between the two, I can’t hesitate.” which immediately sets the tone for a confident emotionally detached confessional track as Jadyn hints that he’s aware of his own flaws but he’s also aware of his own worth and the dedication required on his side of things not to get too distracted from his own game plan.
The chorus arrives early and blends seamlessly with the intro, production skills creating a hypnotic loop that feels like you’re in a trance with it’s repetition as the instrumental pulses slightly heavier and more urgent, with the sound of a subtly layered bass combined with 808s and hi-hats as Jadyn delivers his message emphatically, “If I’m gonna live it top shelf/Ain’t able to trust anybody else/If I’mma run this shit and raise some hell/I’mma do it by myself/Ain’t trustin’ /Anybody, anybody else.” which captures the tracks overall theme from the outset, emotionally cold with a slight vulnerability as the track captures it’s central theme on the hollowness that comes with fame, attention and emotional disconnection.

As the first verse begins, the beat remains in the same sort of tone, moody with an otherworldly spacey element to the sound, allowing Jadyn’s voice to continue in that rhythmic style between rap and singing, his tone feeling distant, almost numb as he highlights trust, loyalty and jealously throughout, “Uh, trust, trust, trustin’/I got trust issues but I’m the one that’s truthful/I make it clear I ain’t out here for a relationship, I ain’t out here to be faithful/I know how to pick em’/I guess I like my plateful/I got a big appetite/Ya’ll should be grateful/Eating, feasting, that shit’s what I do/Let’s get it real though, we’re one and the same/I got a roster blowin’ up my phone/You out here checking off all the biggest names in the game.” as he perhaps hints at a double standard within the industry and hinting at how he’s often labelled as a player but the type of women he interacts with are running the same type of lifestyles, he elaborates further as the verse continues, “I know you fucked two rappers before me/The first time we met was an orgy/You suck on that dick like an O.G/Tryna convince me to go back to the old me/And I can’t lie, I thought about it/Couldn’t take your eyes off of me when you was getting pounded/I was ten inches deep into a model/Jealousy on your face/Watching me going full throttle/Got em’ lining up cause they know my word is gospel/Yeah, they know my game is colossal.” which see’s the verse go from a distant, numb vocal delivery to the more confident and confrontational rap delivery, with a little more energy as the opening verse closes out.
The chorus repeats once more to follow the opening verse, again placing an emphasis on the trust issues you have when you reach a certain level of fame within the industry. As we arrive at the second verse, the tone shifts slightly as his tone appears to be more confrontational, ”You say I’ve got trust issues/That shit is a fact/I’m good on my own shit with no rules/I’m fuckin’ em stacked/We can fuck on the regular like you want it, baby/Can’t have your cake and eat it/Cause I know we both be out there fuckin’ daily/Got yourself a roster close to mine/Racking up those numbers like they racking up the dimes.” as the music matches the change in attitude and confidence, “Just know I’m drillin’ pussy/But you never too far from my mind/I know that I got you/But I can’t commit to this full time/Can’t trust anybody/If you want a top shelf lifestyle.” which is then followed up by the chorus once more before fading out.

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“Top Shelf”

“I don’t always play nice, but I know how to have a good time
I like to fuck around
But I always treat my women right
It’s gotta be non-exclusive cause I ain’t got the free time to dedicate
I’m workin’ real hard for everything I’ve got
In the studio every day
Choice between the two, I can’t hesitate

If I’m gonna live it top shelf
Ain’t able to trust anybody else
If I’mma run this shit and raise some hell
I’mma do it by myself
Ain’t trustin’
Anybody, anybody else

Uh, trust, trust, trustin’
I got trust issues but I’m the one that’s truthful
I make it clear I ain’t out here for a relationship, I ain’t out here to be faithful
I know how to pick em’
I guess I like my plateful
I got a big appetite
Ya’ll should be grateful
Eating, feasting, that shit’s what I do
Let’s get it real though, we’re one and the same
I got a roster blowin’ up my phone
You out here checking off all the biggest names in the game
I know you fucked two rappers before me
The first time we met was an orgy
You suck on that dick like an O.G
Tryna convince me to go back to the old me
And I can’t lie, I thought about it
Couldn’t take your eyes off of me when you was getting pounded
I was ten inches deep into a model
Jealousy on your face
Watching me going full throttle
Got em’ lining up cause they know my word is gospel
Yeah, they know my game is colossal

If I’mma live it top shelf
Ain’t able to trust anybody else
If I’mma run this shit and raise some hell
I’mma do it by myself
Ain’t trustin’
Anybody, anybody else

You say I’ve got trust issues
That shit is a fact
I’m good on my own shit with no rules
I’m fuckin’ em stacked
We can fuck on the regular like you want it, baby
Can’t have your cake and eat it
Cause I know we both be out there fuckin’ daily
Got yourself a roster close to mine
Racking up those numbers like they racking up the dimes
Just know I’m drillin’ pussy
But you never too far from my mind
I know that I got you
But I can’t commit to this full time
Can’t trust anybody
If you want a top shelf lifestyle

If I’mma live it top shelf
Ain’t able to trust anybody else
If I’mma run this shit and raise some hell
I’mma do it by myself
Ain’t trustin’
Anybody, anybody else”

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Credits & Personnel;

CREDITS

Produced by Jadyn Ghalen, BLOOM
Engineered by Aniyah Jordan
Mixed by Aniyah Jordan, Leon Ferreira
Mastered by Leon Ferreira
Production Management by Imani Jasmine Woods
Recorded at Bay Eight Recording Studios, Miami, Florida, USA

Production Manager: Imani Jasmine Woods
Production Assistant: Zariah-Devi Khabib
Art Director: Vincent Cooper Jr.

PERSONNEL

Jadyn Ghalen – lyrics, vocals, composition, production
BLOOM – composition, production
Aniyah Jordan – engineering, mixing
Leon Ferreira – mixing, mastering
Imani Jasmine Woods – production management
Zariah-Devi Khabib – production assistant
Vincent Cooper Jr. – art director

Track: #09
Title: “Feast or Famine”
Artist: Jadyn Ghalen
Genre: Hip-Hop • Rap
Length: 5:12
Studio: Studio 60 Recording Studios, West Hollywood, California, USA
Writer: Jadyn Ghalen
Producer: Jadyn Ghalen • DeAndre Patton
Label: Tric-Jam Records • Dahlhouse Entertainment

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Background, Writing and Recording;

“Feast or Famine” was written and recorded around October 2024 during the California recording sessions for Jadyn Ghalen’s upcoming debut album which took place at Studio 60 Recording Studios and was helmed by the production team of Jadyn Ghalen and DeAndre Patton. The earliest recording sessions for his debut solo album took place in Atlanta, Georgia while alternating between ‘Orion’ duties and his own solo recording sessions during a busy period of creativity for Jadyn. However, the California recording sessions only begun after the recording of the sophomore ‘Orion’ album was complete, while that album was in post-production Jadyn ramped up his solo sessions and began his own California recording sessions alongside DeAndre Patton who produced his previous solo effort the 2023 solo E.P. “Mentality Monster”, with the two sharing a deep love of late eighties and early to mid-nineties west coast rap and forging a second-nature partnership within the recording studio on that initial solo release as well as a strong brotherly bond with DeAndre offering a mature and wisdom-infused older brother type of bond to Jadyn’s young and ambitious attitude, making their production partnership one that has helped shape Jadyn’s creativity throughout the five years both as a producer for ‘Orion’ as well as a producer for Jadyn’s first solo efforts.

The track was written by Jadyn in October 2024 while working on the primary instrumental of the song with DeAndre, as opposed to the traditional freestyle and freeform recording techniques Jadyn has a preference to work on the instrumental to a song first and sit and write lyrics for the instrumental before stepping into the recording booth. Much in a similar way to how a movie director will have a scene laid out exactly how they want with the dialogue locked in. Once the track has been laid down with the vocals and lyrics that have been originally written for the song, Jadyn will then go back into the recording booth and freestyle over that same beat which creates alternative versions of single tracks to work with, allowing for new ideas to breed life into the originally penned lyrics. This way of working was recently showcased in full as the leak of an alternative verse of his previous single “Don’t Get Too Comfortable” found its way online, which showcased a different side to a track that audiences had already become familiar with through the official release and also showcased the slightly more freeform and relaxed nature of these alternative takes.

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Songwriter’s Commentary;

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Song Description;

The track begins with the sound of static and it’s quickly followed by a combination of orchestral strings, most prominently the sound of a violin and cello highlighting the piece for the songs intro, it serves a purpose in creating a large cinematic sounding opening to the track with the sound of an all-female choir ‘Pacific Empire Chorus’ singing the songs intro and latterly the songs pre-chorus, adding a feeling of grandiose while also adding an element of the unexpected as they deliver the songs opening intro beautifully, “Oh, baby don’t come any close/I’m on a winning streak/Please don’t come any close/On a winning streak, I will get us what we need.” with the beautifully delivered harmonies an unexpected element to the track, creating a sense of anticipation and intrigue at what is to follow as the lyrics play off themes of gambling, ambition and luck.

As the final vocal delivery from the opening intro finish, the tone of the track immediately shifts as the orchestral strings are replaced by a strong driving hip-hop beat, making use of a prominent snare and kick-drum combination to add a little aggressive energy into proceedings and subsequentially ramping up the pace of the song tenfold as Jadyn immediately fires out his lyrics on beat with a tone that feels assertive and confrontational, “Hustle in my veins, you know I’ve been grindin’ from the ground up/Late nights, bright lights, watch em’ all surround us/Always took my chances, poker face, chips in play, all or nothing glances, we call it dumb luck/When you ain’t got nothing, it’s only win or lose when you’re young/Nothing in-between, you learn to play it tough/Ain’t nobody earn your trust.” which sets the tone for the songs primary theme’s of proving yourself and putting in the work to ensure you’re on the right side of the two options mentioned in the songs titled “Feast or Famine”.
Jadyn continues, delivering about the all or nothing nature of the industry that he’s part of and the obsession with achieving more and more once you get that initial taste for success, “Spent the longest time on that win steak, flyin’ too close to the sun/No matter what you earn, that shit just ain’t enough/I’ve been known to risk it all/When the high’s so good, ain’t afraid to face the freefall/Just to secure my place at the table/Ready for the feast/I’ve gone through the famine/Now I’m aiming for the belly of the beast.” which sets the track up with an aggressive drum heavy tone and a message about the fragility of ambition and the obsession of chasing success against the risk of an all or nothing outcome.

The tracks intro makes its return, this time serving as the songs pre-chorus with the ‘Pacific Empire Chorus’ and the strings of the ‘Pacific Symphony’ returning briefly once more before being followed by a piano led chorus, with a strong drum and bass backbeat as Jadyn raps over the instrumental combination, “Ain’t no way you can half-ass this shit/I’m either gonna take it all or take none of this/Ain’t never been one to be protective over my own fuckin’ chips/I’m always gonna be all in/Take the risk/Take the hit/Feast or Famine/Is all there ever really is.” which delivers a brief but effective pre-chorus and chorus combination that serves a purpose in breaking up the song and also allowing a further opportunity for Jadyn to articulate the clear-cut and risk-averse attitude and commitment required to achieve such mighty ambitions in order to succeed in a very cut-throat business.

The track moves back into the soundscape delivered in the opening verse, with the primary elements focussed on and highlighted by the drum sequencing that dictates the rhythm of the song overall. The kick drum and snare combination give the song its pulse, with a rhythmic backbeat setting the tempo. Melodic elements appear deep within the instrumental mix with soft piano tones underlying in the second verse that add a slight element of melody, but relatively unnoticeable unless you’re searching for it due to the overpowering rhythmic elements to the second verse as Jadyn again raps over with a confident and assertive tone throughout, “Been on a winning streak for a while now, but I ain’t forget my old lifestyle/Grew up appreciating every scrap thrown my way/Learning how to work hard for everything that I got piled up on my plate/But I ain’t got the time to sit and relax cause there’s always some young gunner waiting to launch their attack/Right now that young gunner’s the reflection looking back at me/I’m carrying this weight, like it’s my destiny/After years of decline in the culture, I’m setting the standard back in this industry/The past is just that, the past is history/Recency bias got me thinking nobody was pissed to watch em’ leave.” which see’s him talking about an awareness of where he came from compared to where he is now but also acknowledging that the success and lifestyle he has now comes from putting in the work. As well as referencing the decline of hip-hop and rap music in the mainstream during his youth, the early to mid-twenty tens being a barren spell for a while until resurgence began in the late twenty-tens.
He remains on beat throughout, as he rounds out the track finishing off his second verse, “I like my business on notice/I like the fire under me roaring/I like the flight to be soaring/And the fight to be the highest scoring/Both sides on that level/Bring out the best of the devil/If the opportunity is there then believe that I’mma fuckin’ take it/If there’s reward to the risk watch me risk it/I don’t go for small wins, motherfucker believe that I’m all in/All there really is in this game/Is a feast or famine.” which delivers the clearest indication of the way that he hopes to see the genre flourishing with artists pushing each other to strive to be better and push their limits. The pre-chorus and chorus combination repeats another couple of times before fading out.

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“Feast or Famine”

“Oh, baby don’t come any closer
I’m on a winning streak
Please don’t come any closer
On a winning streak, I will get us what we need

Hustle in my veins, you know I’ve been grindin’ from the ground up
Late nights, bright lights, watch em’ all surround us
Always took my chances, poker face, chips in play, all or nothing glances, we call it dumb luck
When you ain’t got nothing, it’s only win or lose when you’re young
Nothing in-between, you learn to play it tough
Ain’t nobody earn your trust
Spent the longest time on that win steak, flyin’ too close to the sun
No matter what you earn, that shit just ain’t enough
I’ve been known to risk it all
When the high’s so good, ain’t afraid to face the freefall
Just to secure my place at the table
Ready for the feast
I’ve gone through the famine
Now I’m aiming for the belly of the beast

Oh, baby don’t come any closer
I’m on a winning streak
Please don’t come any closer
On a winning streak, I will get us what we need

Ain’t no way you can half-ass this shit
I’m either gonna take it all or take none of this
Ain’t never been one to be protective over my own fuckin’ chips
I’m always gonna be all in
Take the risk
Take the hit
Feast or Famine
Is all there ever really is

Been on a winning streak for a while now, but I ain’t forget my old lifestyle
Grew up appreciating every scrap thrown my way
Learning how to work hard for everything that I got piled up on my plate
But I ain’t got the time to sit and relax cause there’s always some young gunner waiting to launch their attack
Right now that young gunner’s the reflection looking back at me
I’m carrying this weight, like it’s my destiny
After years of decline in the culture, I’m setting the standard back in this industry
The past is just that, the past is history
Recency bias got me thinking nobody was pissed to watch em’ leave
I like my business on notice
I like the fire under me roaring
I like the flight to be soaring
And the fight to be the highest scoring
Both sides on that level
Bring out the best of the devil
If the opportunity is there then believe that I’mma fuckin’ take it
If there’s reward to the risk watch me risk it
I don’t go for small wins, motherfucker believe that I’m all in
All there really is in this game
Is a feast or famine

Oh, baby don’t come any closer
I’m on a winning streak
Please don’t come any closer
On a winning streak, I will get us what we need

Ain’t no way you can half-ass this shit
I’m either gonna take it all or take none of this
Ain’t never been one to be protective over my own fuckin’ chips
I’m always gonna be all in
Take the risk
Take the hit
Feast or Famine
Is all there ever really is

Oh, baby don’t come any closer
I’m on a winning streak
Please don’t come any closer
On a winning streak, I will get us what we need

Ain’t no way you can half-ass this shit
I’m either gonna take it all or take none of this
Ain’t never been one to be protective over my own fuckin’ chips
I’m always gonna be all in
Take the risk
Take the hit
Feast or Famine
Is all there ever really is”

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Credits & Personnel;

CREDITS

Produced by Jadyn Ghalen, DeAndre Patton
Engineered by Aniyah Jordan
Mixed by DeAndre Patton, Aniyah Jordan and Leon Ferreira
Mastered by Leon Ferreira
Production Management by Imani Jasmine Woods
Recorded at Studio 60 Recording Studios, West Hollywood, California, USA

Production Manager: Imani Jasmine Woods
Production Assistant: Zariah-Devi Khabib
Art Director: Vincent Cooper Jr.

PERSONNEL

Jadyn Ghalen – vocals, lyrics, composition, production
DeAndre Patton – production, mixing
Leon Ferreira – mixing, mastering
Aniyah Jordan – engineering, mixing, bass, drums, percussion, programming, composition
Imani Jasmine Woods – production management
Pacific Empire Chorus - vocals
Pacific Symphony – instrumentation, strings, composition
Zariah-Devi Khabib – production assistant
Vincent Cooper Jr. – art director

Track: #11
Title: “Permanent Vacation”
Artist: Jadyn Ghalen
Genre: Hip-Hop • Trap
Length: 4:50
Studio: Bay Eight Recording Studios, Miami, Florida, USA
Writer: Jadyn Ghalen
Producer: Jadyn Ghalen • BLOOM
Label: Tric-Jam Records • Dahlhouse Entertainment

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Background, Writing and Recording

“Permanent Vacation” was written by Jadyn Ghalen around May 2025 and produced by Ghalen alongside Latin producer BLOOM during the Miami recording sessions for his debut album “No Pressure, No Diamonds”. The track continues a theme of Ghalen experimenting more into the Trap genre and use of its trademark moody, atmospheric beats and explicit lyricism. The combination with producer BLOOM once more combining traditional Latin percussion and rhythm with modern southern hip-hop sensibilities and aesthetics.
Lyrically Ghalen confirmed recently in an interview that everything that comes out of him comes from a place of reality and highlighted that even further ahead of the album’s impending release date, stating, “There’s people in my life that can listen to a track and pinpoint an exact scene where the track comes from. It ain’t just shit-talkin’ or bluffing just for the kudos but I ain’t even think I try to hide that. It’s usually pretty clear what I mean. I don’t think I’m really smart enough to dress all this shit up in subtleties and easter-eggs, I think I’m way more obvious than that.”

The track was recorded at Bay Eight Recording Studios in Miami, Florida during a brief three day stay which Ghalen describes as “Probably the most creative and productive period of this whole recording process.” in which he is rumoured to have recorded around six or seven tracks, not all of which will appear on the final cut of the debut album but considered a productive period regardless.
Rumours have swirled immediately following the track being released on the subject of the song, with the most common theory pointing towards Ghalen’s on-off fling with RnB singer Amy-Jayne being the inspiration of the track with the theme’s of keeping things low-key and out of the public view being linked to the notoriously private RnB star. The pair are believed to be expecting a child together despite an official relationship between the pair never being confirmed and very little known publicly around the situation. However, the references to keeping things private and passion exploding behind closed doors is believed to be a true representation of their connection with one another. Additionally, fans have unearthed a social media post from Amy-Jayne where she appears to be photographed at Ghalen’s own Miami villa with the caption “Miami villa vibes.” which has led to increased speculation that this track appears to be a not-so-subtle reference to their own undefined union.

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Songwriter’s Commentary

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Song Description

The track kicks off with a woozy, atmospheric trap beat, blending dreamy ambient textures with hard-hitting 808s and crisp hi-hats, creating a soundscape that feels both luxurious and laid-back, giving off the feeling of cruising through neon-lit streets at midnight with the roof down and no destination. There’s an immediate sense of indulgence in the production, setting the stage for what becomes a slow-burning, hyper-confident anthem. Jadyn enters with his signature blend of melodic rapping and smooth vocal delivery, setting the tone from the very first bar, “Babe, I’ve got some free time for us to spend/I’mma fly down on the weekend/We can keep it low-key in your City/Cause I know you don’t want this shit out there publicly/And you’ve been burnt before with your ex/And I know all about my rep/So if you wanna keep it on the down low/You can keep calling my name behind those closed doors.” which immediately showcases the tracks general theme and tone, with themes of secrecy, lust and detachment wrapped in the allure of champagne fuelled nights, private jets and secretive hookups as Jadyn continues the opening verse, “I can keep you my dirty little secret/With you suckin’ like a Queen/And fuckin’ like it’s needed/Baby you a demon/You like those mirrors on the ceiling/Champagne on ice/Pussy so tight/Your ass got that bounce/And this dick got you screaming.” which delivers the sort of intro that doesn’t just build a vibe, it transports you directly into Jadyn’s world, drenched in pleasure and intimacy with zero strings attached.

The pre-chorus adds to the lyrical theme of the song, adding additional details and layers, blending perfectly out of the intro and seamlessly into the songs chorus as the BMP increases slightly upward, the drums a little more prominent and Jadyn’s voice carried it’s usual confidence bordering on arrogance tone, “She say she wants to keep it low-key/Every time we meet she drops to both knees/Say’s she don’t want love/Yeah, she just wants to fuck/She loves to give it up, likes to be fucked rough/Screaming out my name/Every time she comes.” it’s explicit, unapologetic and built for late-night club rotation. The hook delivering a catchy, no-filter earworm which is just added to perfectly as it’s followed on by the songs chorus.
As the chorus arrives, it truly ramps up the energy and transports the track into the realm of club-ready banger territory and an after-party anthem. Self-indulgent and running with sensuality and confidence throughout, “We always on a permanent vacation/Fuckin’ on the private jet, we fuckin’ in the limo/Arms around my neck/Looks like I got myself a nympho/Yeah, we always on that permanent vacation shit/Ain’t no serious talk/When we can just fuck/Ain’t no need for a relationship.”

The songs hook returns once more before the second verse is upon us, the lyrical focus highlight specific references for fans of the artist to indulge themselves. The production maintains its energy as synths come in and out throughout the final verse, hi-hats keep the songs rhythm ticking over and the sound of a deep bass underneath the more prominent production pieces keep the listener switched on as Jadyn delivers his final offering, “Private villa in Miami, we can keep it on the down-low/Keep it from the family, don’t want no press talk/I know you got a clean rep, but we all know nobody’s perfect/Behind those closed doors/Passion explodes/Feel it erupt/Beauty Queen on all fours/We don’t make love, we relentlessly fuck.” is as vivid and explicit as you’d come to expect from Jadyn but adds a layer of personal specifics within it to form a very particular image, “Putting that ass to work/Watching her back those cheeks up/Pussy so tight, driving me wild, feeling her grind till I’m deep inside/She love a little of that hair pull, ass stretch/Legs spread, Pussy wet/Good head, orgasmic faces, shower sex/No regret, catch your breath/Insatiable appetite/I like to see her come again.” the track closes with one final hook and chorus combination, looping back into that insatiably rhythm as the track eventually fades out.

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“Permanent Vacation”

“Babe, I’ve got some free time for us to spend
I’mma fly down on the weekend
We can keep it low-key in your City
Cause I know you don’t want this shit out there publicly
And you’ve been burnt before with your ex
And I know all about my rep
So if you wanna keep it on the down low
You can keep calling my name behind those closed doors
I can keep you my dirty little secret
With you suckin’ like a Queen
And fuckin’ like it’s needed
Baby you a demon
You like those mirrors on the ceiling
Champagne on ice
Pussy so tight
Your ass got that bounce
And this dick got you screaming

She say she wants to keep it low-key
Every time we meet she drops to both knees
Say’s she don’t want love
Yeah, she just wants to fuck
She loves to give it up, likes to be fucked rough
Screaming out my name
Every time she comes

We always on a permanent vacation
Fuckin’ on the private jet, we fuckin’ in the limo
Arms around my neck
Looks like I got myself a nympho
Yeah, we always on that permanent vacation shit
Ain’t no serious talk
When we can just fuck
Ain’t no need for a relationship

She say she wants to keep it low-key
Every time we meet she drops to both knees
Say’s she don’t want love
Yeah, she just wants to fuck
She loves to give it up, likes to be fucked rough
Screaming out my name
Every time she comes

Private villa in Miami, we can keep it on the down-low
Keep it from the family, don’t want no press talk
I know you got a clean rep, but we all know nobody’s perfect
Behind those closed doors
Passion explodes
Feel it erupt
Beauty Queen on all fours
We don’t make love, we relentlessly fuck
Putting that ass to work
Watching her back those cheeks up
Pussy so tight, driving me wild, feeling her grind till I’m deep inside
She love a little of that hair pull, ass stretch
Legs spread, Pussy wet
Good head, orgasmic faces, shower sex
No regret, catch your breath
Insatiable appetite
I like to see her come again

She say she wants to keep it low-key
Every time we meet she drops to both knees
Say’s she don’t want love
Yeah, she just wants to fuck
She loves to give it up, likes to be fucked rough
Screaming out my name
Every time she comes

We always on a permanent vacation
Fuckin’ on the private jet, we fuckin’ in the limo
Arms around my neck
Looks like I got myself a nympho
Yeah, we always on that permanent vacation shit
Ain’t no serious talk
When we can just fuck
Ain’t no need for a relationship”

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Credits & Personnel;

CREDITS

Produced by Jadyn Ghalen, BLOOM
Engineered by Aniyah Jordan
Mixed by Aniyah Jordan, Leon Ferreira
Mastered by Leon Ferreira
Production Management by Imani Jasmine Woods
Recorded at Bay Eight Recording Studios, Miami, Florida, USA

Production Manager: Imani Jasmine Woods
Production Assistant: Zariah-Devi Khabib
Art Director: Vincent Cooper Jr.

PERSONNEL

Jadyn Ghalen – vocals, lyrics, composition, production
Keshia Love – vocals, lyrics
BLOOM – production, composition
Leon Ferreira – mixing, mastering
Aniyah Jordan – engineering, mixing, piano, composition
Ignacio Santos – synthesizer, composition
Augustine Francis – drums, percussion, programming
Imani Jasmine Woods – production management
Zariah-Devi Khabib – production assistant
Vincent Cooper Jr. – art director

Track: #13
Title: “Nothing for Granted”
Artist: Jadyn Ghalen
Genre: Hip-Hop • Rap
Length: 5:02
Studio: Sonic Lounge Studios, Atlanta, Georgia, USA
Writer: Jadyn Ghalen
Producer: Jadyn Ghalen • Young Khalifa
Label: Tric-Jam Records • Dahlhouse Entertainment

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Background, Writing and Recording

“Nothing for Granted” marks a pivotal moment in the album as Ghalen offers a different perspective to the status and fame, while generally known for creating songs of excess and flexing this track see’s Ghalen shine a light on the other side, the inability to truly trust the intentions of those that attach themselves to him. A deep analysis that highlights both worlds, the high-gloss life of success and the shadows it casts behind the lights and attention. It’s a rare change of pace from Ghalen, one of the most ambitious and personal tracks on the entire project, layered with emotional complexity but maintaining Ghalen’s typical confidence and bravado throughout.
The origins of the track trace back to the early Atlanta recording sessions at Sonic Lounge Studios, where Jadyn had set up for a two week stay, away from the distractions of California and a place where he could shift the balance of work and play more evenly and really find a productivity. He described that stretch of recording as “a reset and realignment”, flying in minimal personnel to work with him in the studio, staying offline and locking himself into 12 to 14 hour recording sessions daily. The ideas for “Nothing for Granted” came to him while listening to old voice messages during a period of intense introspection, noting that almost every message was about something somebody needed from him or wanted from him, whether it was monetary, whether it was contacts or time. He noticed the emerging pattern, those he had been surrounding himself were doing it for the things they could get out of the situation. Originally the track was freestyle, conceptualised as “Risk & Reward”, reworked and rewritten over the same beat, Ghalen stated, “But the more I wrote, the more it became about the people, the pressure and the lack of trust that comes with this lifestyle. It turned into something bigger. It became about not forgetting.”

Working alongside frequent collaborator and producer Young Khalifa, the two built the sonic landscape from scratch. Jadyn had a vision for the track that felt cinematic yet grounded, the ambition of Hollywood with the underlying tone of destructiveness that it also carries. Khalifa began crafting the instrumental with layered synth pads, ambient textures and a deep drum and bass pulsating underneath things which not only accentuated the overall tone of Ghalen’s lyrics but also the delivery in which he performed them.
Khalifa described the initial vibe as “that moment where you see sunlight peaking through grey clouds”, a longtime friend of Ghalen he had seen a lot of these elements first hand and encouraged Ghalen to look inward and put something out that shows that he see’s it himself and isn’t to be fucked with, describing the whole recording session for the track as “storm in it’s nature.”

The track was completed within a couple of days from idea inception to complete recording, mixing and mastering. The track was one of the first to be finalized for the album, knowing the bulk of material for the album would likely highlight the excessive nature of the industry and the success that comes with it. Both Ghalen and Khalifa agreeing that there needed to be a couple of tracks within the album that shone a light on the other side of things. It’s a track that leans more towards the traditions of hip-hop and rap as opposed to the club anthem element of trap music that flows throughout the album.

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Songwriter’s Commentary

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Song Description

The track opens with an ambient loop, deep bass and snare combination giving the song an immediate hip-hop feel to it, dreamlike and cinematic with an aggressive beat pulsating underneath from the very start. Jadyn’s laid-back vocals come into the track early, delivering an intro-hook in order to set things up, “I don’t take nothin’ for granted/Took all my losses, now look how I’m standin’/Came from the mud, now the moon’s where I’ve landed/Angels on guard while the devil still dancin’.” while it’s brief it does its job in setting the tone for the overall theme of the track.
The rhythm and pacing of the instrumental elements increase slightly in intensity and bpm adding a little more urgency to the track while Ghalen comes back into things pretty swiftly, this time the laid-back tone replaced with something a little more assertive, “I was raised where the screams echo louder than sermons/Where promises turn into burdens/And smiles are just diversions/You learnin’ or burnin’, no excuses, no servings’/Man, I’ve lost too much to be petty/Where we never show love, never do hugs, cause our arms are too heavy/Too many of these snakes got the grip of a yeti.” which highlights the some of the battles it took to get to the place he’s at now, making reference to why Ghalen is reserved in trusting, it’s a deeper introspective track than we’re generally used to from the artist, but as the opening verse finishes, it offers a message of resilience, “Used to pray for shade in the sun/Now I’m permanently iced out but wanna feel more numb/The weight of expectation weighs down/I know I got a lot more to come.” which ends the opening verse.

The songs chorus arrives, repeated to an infectious degree as Ghalen repeats the phrase, “Nothing for granted, nothing for granted/Nothing for granted, nothing for granted/Nothing for granted, nothing for granted/Nothing for granted, nothing for granted.” and is then immediately followed by the songs intro-hook, “I don’t take nothin’ for granted/Took all my losses, now look how I’m standin’/Came from the mud, now the moon’s where I’ve landed/Angels on guard while the devil still dancin’.” which works well as a one-two punch combination, a slight upturn in tempo and energy makes the repetitive nature of the chorus with the smooth flow of the hook to follow a highlight of the track and gives the track a middle section that feels catchy and memorable.

There’s a brief instrumental break as the beat thickens with layered hi-hats and a subtle kick-drum rhythm before Ghalen delves into the second verse with an urgency, almost spitting out the lyrics perfectly on beat, “I’ve had plenty day one’s switch, just for a lil’ bit of clout/Throw dirt on my name, then asked for a shout/Said that we run it til the wheels come off, then went runnin’ his mouth/Learnt trust is just an empty phrase, so I just go without.” which sets the tone for the second verse and Ghalen’s confrontational nature of his lyrical content, offering another view into the industry and the constant battle on knowing where to place your trust, he expands on this theme as the verse continues, “Never forget who ghosted the mission/Never forget who laughed at the vision/Never forget the nights they didn’t listen/Now I only speak with authority, experience and wisdom/Ain’t ever forget the ones that stayed/Ain’t ever forget the price I paid/Ain’t ever forget the dues that I weighed/Every day I walk through fire/But I ain’t ever fade.” offering out the idea at the very end of the verse that he’s the one putting himself out in the firing line and those that come along for the ride are just there to reap the rewards that may come from their association with him. An interesting hint and view into the inner workings of fame and status.
The outro comes with the return of the chorus and hook combination, adding one final layer of infectious ear-worm to remain ringing in the listeners ears long after the song has come to an end.

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“Nothing for Granted”

“I don’t take nothin’ for granted
Took all my losses, now look how I’m standin’
Came from the mud, now the moon’s where I’ve landed
Angels on guard while the devil still dancin’

I was raised where the screams echo louder than sermons
Where promises turn into burdens
And smiles are just diversions
You learnin’ or burnin’, no excuses, no servings’
Man, I’ve lost too much to be petty
Where we never show love, never do hugs, cause our arms are too heavy
Too many of these snakes got the grip of a yeti
Used to pray for shade in the sun
Now I’m permanently iced out but wanna feel more numb
The weight of expectation weighs down
I know I got a lot more to come

Nothing for granted, nothing for granted
Nothing for granted, nothing for granted
Nothing for granted, nothing for granted
Nothing for granted, nothing for granted

I don’t take nothin’ for granted
Took all my losses, now look how I’m standin’
Came from the mud, now the moon’s where I’ve landed
Angels on guard while the devil still dancin’

I’ve had plenty day one’s switch, just for a lil’ bit of clout
Throw dirt on my name, then asked for a shout
Said that we run it til the wheels come off, then went runnin’ his mouth
Learnt trust is just an empty phrase, so I just go without
Never forget who ghosted the mission
Never forget who laughed at the vision
Never forget the nights they didn’t listen
Now I only speak with authority, experience and wisdom
Ain’t ever forget the ones that stayed
Ain’t ever forget the price I paid
Ain’t ever forget the dues that I weighed
Every day I walk through fire
But I ain’t ever fade

Nothing for granted, nothing for granted
Nothing for granted, nothing for granted
Nothing for granted, nothing for granted
Nothing for granted, nothing for granted

I don’t take nothin’ for granted
Took all my losses, now look how I’m standin’
Came from the mud, now the moon’s where I’ve landed
Angels on guard while the devil still dancin’”

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Credits & Personnel;

CREDITS

Produced by Jadyn Ghalen, Young Khalifa
Engineered by Aniyah Jordan
Mixed by Young Khalifa, Aniyah Jordan, Leon Ferreira
Mastered by Leon Ferreira
Production Management by Imani Jasmine Woods
Recorded at Sonic Lounge Studios, Atlanta, Georgia, USA

Production Manager: Imani Jasmine Woods
Production Assistant: Zariah-Devi Khabib
Art Director: Vincent Cooper Jr.

PERSONNEL

Jadyn Ghalen – vocals, lyrics, composition, production
DeAndre Patton – production, mixing
Leon Ferreira – mixing, mastering
Aniyah Jordan – engineering, mixing, bass, drums, percussion, programming, composition
Imani Jasmine Woods – production management
Zariah-Devi Khabib – production assistant
Vincent Cooper Jr. – art director