I’ve been listening to Logic since early 2020, when Spotify first recommended Keanu Reeves to me. I had that song on repeat for hours — it ended up becoming the soundtrack to a big moment in my life as I moved out of my parents’ house for the first time. Since then, Logic’s music has been tied to so many memories that writing this post felt long overdue.
Most of my listening has been on Spotify, so when I decided to rank his discography I did a bit of digging — and realised there were a bunch of early mixtapes and projects I’d never even heard because they aren’t on streaming. Discovering those for the first time has genuinely made me appreciate his journey and growth even more.
Before we jump into everything, just a quick note: Logic puts out both albums and mixtapes, and until recently I didn’t actually know the difference myself.
Here’s the simple version:
- Albums are the polished, official releases — more structured, more intentional, often following a theme or story.
- Mixtapes are looser and more experimental. He samples freely, switches styles, and just has fun with it. They show the early raw talent that shaped everything he did later.
This post isn’t a professional review — it’s just my personal thoughts, feelings, favourite tracks, and what stood out to me as I listened through every project he’s ever released.
So… let’s get into it.
Psychological (2009)
Before he was Logic — this is where everything began.
Before the world knew him as Logic, Bobby Hall released this early mixtape under the name Psychological. At the time, his life was still incredibly unstable: a difficult home environment, no money, no real support system, and pretty much no path forward except the one he was trying to carve out through music. He was recording wherever he could, teaching himself everything from scratch, and just trying to stay afloat while figuring out who he was as an artist.
What makes Psychological so interesting is how clearly you can hear the spark, even though the project itself is unpolished. The production is rough, the mixes are uneven, and you can tell he didn’t have the resources he’d later gain — but the raw talent is there immediately. There are moments where his voice, flow, and tone already sound like the Logic we’d eventually get on later mixtapes and albums, which honestly surprised me considering how early this was.
The mixtape bounces through different styles as he experiments and tries to find his lane, and that actually makes it a really fun listen. You can hear the Eminem influence, the storytelling instincts, and the hunger to improve. It feels like you’re listening to someone building the foundations of their future career in real time.
For me, The Dream is the clearest example of that potential. It has a maturity and focus that stands out from the rest of the tape, and it feels like the first time we get a real glimpse of the artist he was going to become. It’s easily the standout moment and the one that stuck with me the most.
For a first mixtape made under tough circumstances, Psychological is surprisingly compelling — not because it’s perfect, but because you can hear the beginning of everything that would come after it.
Standout Track: The Dream
Overall: 7/10
Young, Broke & Infamous (2010)
The moment Logic started to break through.
By the time Young, Broke & Infamous came out, Logic’s life was still far from easy. He was broke, bouncing between living situations, and completely focused on trying to escape the environment he grew up in. But this was also the era where he became far more serious about making music a real career. He’d finally settled on the name Logic, started building a small online following, and was beginning to attract the attention of the underground hip-hop scene.
What stands out most about this mixtape — right from the first listen — is how huge the jump in quality is compared to Psychological. The production feels cleaner, he sounds more confident, and everything has a much clearer sense of direction. You can tell he’s starting to find his identity rather than just experimenting.
This is also the first time the Young Sinatra persona really appears, and it’s honestly one of the biggest surprises of the project. The smooth, laid-back flow and Sinatra-inspired style feel fully formed, even at this early stage. It’s easily one of my favourite moments on the mixtape, and the track has stuck with me well after listening.
The tape also shows Logic becoming more playful and comfortable with sampling. The flip of Billie Jean on Wordplay is so natural and fun, and it feels like the first time he really leans into the clever, bouncy style that would become a huge part of his later sound. It’s one of those tracks where you can hear the spark of what he would eventually become.
What I love about this mixtape is how it captures Logic right on the edge of something — still young, still improving, but suddenly taking huge strides. You can feel the hunger and the belief starting to kick in. And you can also feel why people started paying attention; this was the project that first got blogs talking and ultimately led to the early industry interest that helped launch his career.
Standout Track: Young Sinatra
Overall: 7.5/10
Young Sinatra (2011)
The moment Logic truly found his sound.
With Young Sinatra, everything suddenly clicked for Logic. By this point, he had signed with Visionary Music Group, was performing more consistently, and was finally getting support from people who believed in what he was doing. His life was still far from comfortable, but for the first time he had momentum — and you can hear that confidence all over this mixtape.
What immediately stands out is how dramatically the sound evolves from his earlier work. Logic leans heavily into jazz, soul, and old-school hip-hop influences, and the shift suits him perfectly. This is where the Young Sinatra persona truly comes to life — smooth, nostalgic, soulful, and far more refined than anything he’d made before. It feels like he discovered a style that genuinely fits him, and he runs with it.
One of the biggest surprises for me while listening was just how strong some of these tracks are so early in his career. One is honestly one of my top Logic songs across his entire discography; the blend of musical styles is beautiful, and it’s still a track I return to years later. The same goes for All I Do — an absolute banger, iconic within the fanbase, and wild to think it was created at this stage of his career. I first heard both of these on The YS Collection, so hearing them in their original context really highlighted just how impressive this mixtape is.
I also found myself loving the little touches throughout the project — skits like Sell Out Records that are funny but still fit the upbeat vibe of the mixtape, and stylistic experiments like Beggin, which absolutely blew me away. The sample choice is insane, and I genuinely can’t believe I hadn’t heard it before; it’s easily one of the standouts for me.
Not everything is perfect — I liked Mind of Logic, but the feature didn’t fully land for me, and Stewie Griffin felt slightly out of place stylistically. Still, the overall cohesion of the project and the insane sample selection more than make up for those minor dips. The entire tape just feels alive, creative, and confident.
What impressed me most is how timeless a lot of this music feels. The sample choices, the jazz influence, the warm soulful production — it’s all aged incredibly well, especially for a mixtape made this early in his journey.
Standout Track: Beggin (though One and All I Do came close)
Overall: 8.5/10
Young Sinatra: Undeniable (2012)
Logic proving he wasn’t just promising — he was undeniable.
By the time Logic dropped Young Sinatra: Undeniable, things in his life were starting to shift. He was touring more, building a real fanbase, and finally seeing the payoff from all the grinding he’d been doing throughout his teens. But with that momentum came pressure — he’s talked a lot about how this was the era where he felt the weight of expectation for the first time. He wasn’t just trying to be heard anymore; he was trying to prove he deserved the attention he was getting.
This mixtape feels like the moment he leans fully into that mindset. It’s bigger, more polished, and more confident than anything he’d released before. The production is cleaner, the storytelling sharper, and the whole vibe feels like Logic levelling up in real time. It’s also the project that really solidified the Young Sinatra identity in the eyes of fans — lyrical, soulful, introspective, and rooted in classic hip-hop energy.
A lot of the tracks I already knew from The YS Collection, and hearing them in their original context made me appreciate them even more. The opening track, Inception, immediately sets a strong tone, and Dead Presidents III is peak Logic — lyrically sharp, confident, and one of his most iconic early songs. It’s the kind of track that just screams hunger.
What really stood out to me during this listen was how consistently enjoyable the mixtape is. Set The Tone was a pleasant surprise, one I hadn’t heard before, and it instantly became one of the highlights. The Spotlight is another favourite — upbeat, smooth, and exactly the kind of track that makes the Young Sinatra era so fun to revisit.
We Get High is still one of my favourite YS-era songs, and hearing it here reminded me again just how special this early run of Logic’s music really is. There’s something raw but warm about these tracks that feels completely unique to this period of his career.
The skits continue to add personality too — ThirstMail gave me a good laugh, especially as a callback to the earlier skits from the first Young Sinatra mixtape. It’s silly in a charming way and fits the vibe perfectly.
Not everything hit for me — Aye Girl was one of the weaker tracks, and felt a little out of place compared to the rest of the tape. But moments like Do Ya Like more than made up for it; the smooth R&B influence, the impressive lyricism, and yes — that sample (which I’m pretty sure is Adele!) — made it one of the standout discoveries for me.
What I loved most about Undeniable is how heartfelt it is. Logic shares more of his personal story here, and the mixture of confidence and vulnerability makes the whole mixtape feel grounded and genuine. Ending the project with World Wide, featuring clips from fans all over the world, was a really sweet touch — a reminder of how much impact he was already starting to have.
Standout Track: We Get High (with Set The Tone and Do Ya Like as close runners-up)
Overall: 7.5/10
Young Sinatra: Welcome to Forever (2013)
Logic’s breakout moment — the mixtape that put him on the map.
Young Sinatra: Welcome to Forever marks a huge turning point in Logic’s career. By this stage, he had fully settled into the Visionary Music Group family, was gaining real traction online, and had just started selling out shows on tour. There was a sense of momentum around him that hadn’t existed before — and this mixtape was the moment he went from “promising underground rapper” to someone the industry genuinely had to pay attention to.
This project was received massively well in the hip-hop blog era. It was downloaded millions of times, praised for its polish and maturity, and was even described by some outlets as “album-level quality” — which is wild for a free mixtape. It’s also the project that led to Logic signing his record deal with Def Jam later that year. So even though it’s still technically a mixtape, it feels like the closing chapter of his come-up.
For me, listening to this after going through the earlier tapes highlighted something interesting: by this point, the Young Sinatra sound is extremely refined, but it also starts to feel a bit familiar. Not in a bad way — more like Logic had perfected this version of himself. But it meant some tracks didn’t hit me as strongly on first listen.
The opening didn’t grab me as much as I expected. Welcome to Forever felt more like a closing track than an introduction, and it didn’t set the tone in the way his previous opens did. I found myself waiting for the mixtape to really kick in — and it eventually did, but a little later than usual.
Once it hits its stride, though, it really hits. 5AM was the first track that properly landed for me, probably helped by the fact I’d already heard it before. It has that confident, sharp Logic energy that defined this era. Break It Down also stood out — darker and moodier, and I assumed (pretty accurately) that this reflected the stress and pressure he was under at the time. This was the period where the expectations were high and the grind was intense.
One of the best moments on the mixtape is Ballin — an absolute classic. Even years later, this feels like peak mixtape Logic: hungry, confident, celebratory. It’s one of those tracks that hasn’t aged a day.
There are other great pockets too. Walk On By is another standout with a nostalgic feel that fits the YS identity perfectly, and The High Life and Man of the Year help round out the softer, more reflective side of the mixtape. But listening to all the YS projects back-to-back does make this one feel a bit familiar — maybe because the formula was now well established, or because the earlier tapes had the excitement of discovery.
Still, this mixtape represents Logic at a real peak in terms of craft, confidence, and recognition. It’s polished, ambitious, and clearly the work of an artist ready to take the next step — which he would do immediately after with Under Pressure.
Standout Track: Ballin
Overall: 7.5/10
Under Pressure (2014)
Logic’s official debut — the album that defined him.
By the time Logic released Under Pressure, everything in his life had changed. He had just signed to Def Jam, moved out of the instability he grew up in, and was suddenly in a position he had spent years dreaming about but had never actually experienced: real resources, real pressure, and a real audience waiting to hear what he had to say. This was the moment he needed to prove himself — and he absolutely delivered.
Under Pressure is one of those rare debut albums that feels both polished and deeply personal. It doesn’t try to create a radio-friendly persona or chase trends. Instead, it leans heavily into the things that made his mixtapes resonate: storytelling, honesty, vivid details about his upbringing, and a rawness that makes the album feel almost autobiographical.
One thing I loved revisiting in this album is how the introduction of Thalia instantly sets a different tone. It feels like Logic is inviting the listener into a world — not just a collection of songs. Even though he experimented with skits earlier in his career, this is the first time they’re woven into a larger narrative, and it sets the stage beautifully.
There are so many standout tracks on this album that it’s difficult to know where to begin. Under Pressure itself is one of the strongest songs Logic has ever made. The beat switch, the flow, and the storytelling are incredible — the way he brings his family members’ perspectives into the narrative is intimate, emotional, and genuinely powerful. It’s the kind of track that stays with you.
The album is packed with favourites:
Soul Food, Gang Related, Buried Alive, Bounce — all of them stand as some of his best work. Revisiting these after exploring his mixtapes made me appreciate them even more. You can hear how much he grew, but also how consistent his voice has always been.
I’ve always thought Nikki was such a clever concept, giving nicotine a real persona and turning addiction into a relationship metaphor. Even knowing the twist, it still hits hard.
Till the End is the perfect closer to the standard edition — uplifting, hopeful, and exactly the kind of tone you’d expect from someone finally stepping into the future he’d been chasing for years.
Then there’s the deluxe edition, which adds three more tracks — Driving Ms Daisy, Now, and Alright — and they genuinely enhance the album rather than feeling tacked on. Driving Ms Daisy might be the standout here, and I think Childish Gambino is the perfect feature; their flows work together so well. Now didn’t hit quite as hard for me personally, but even then it’s far from a weak track — the bar was just set extremely high by the rest of the album.
What really makes Under Pressure so special is how human it feels. It’s honest, vulnerable, confident, and technically sharp all at once. For a debut album, it’s ridiculously impressive, and still one of his strongest projects to date.
Standout Track: Under Pressure
Overall: 9/10
The Incredible True Story (2015)
Logic’s most creative leap — a cinematic world built around an album.
If Under Pressure was Logic proving himself, The Incredible True Story was him letting his imagination run wild. This was a completely different chapter in his career. He was finally living comfortably for the first time in his life, had the freedom to experiment, and used it to build something far more ambitious than a standard hip-hop album. Instead of sticking to a formula, he created a sci-fi narrative universe, wrote characters, built lore, and blended it all into a concept album that feels genuinely cinematic.
At this point in his life, Logic was obsessed with filmmaking, storytelling, and world-building. He’s talked openly about how movies and anime shaped this record, and you can hear that influence all over the album. The skits, the characters (Kai and Thalia especially), the pacing — it all feels crafted, like he was directing something rather than just recording music.
And honestly, this album might be my favourite thing he has ever made. I’ve lost count of how many times I’ve replayed it. The sci-fi framing, the immersive world, the conversations between characters — everything clicks. He does such a good job of building this future setting in such a short time that the listener becomes part of the journey almost instantly.
The opening track, Contact, sets the scene perfectly and transitions beautifully into Fade Away. It’s such a strong start — confident, smooth, atmospheric. I also love that there’s a version of Fade Away he performed with Norah Jones on her podcast; it’s amazing and adds a whole different emotional tone to the song.
One of my favourite moments on the album is Innermission — it’s calm, reflective, and Lucy Rose adds such a soothing layer to it. But Lord Willin’ has probably become my favourite track overall. It’s just a perfect upbeat, feel-good song. Driving with the windows down, blasting that track… it’s a vibe every time.
The entire album feels like a journey — both musically and narratively. Even tracks I don’t revisit as often, like Upgrade, only feel “weaker” because the rest of the album is so strong. Paradise gives me big Young Sinatra-era vibes, while Never Been feels thoughtful and almost mournful in parts. And Run It brings the energy right back up again.
One thing I love about TITS is how the mood shifts naturally without breaking the flow of the story. City of Stars, for example, is such a reflective moment — hopeful, emotional, and beautifully delivered. It’s one of those songs that hits differently on every listen.
Overall, the album is cohesive, immersive, and incredibly fun. It shows Logic not just as a rapper, but as a storyteller with a huge creative vision. And even now, years later, the world he built with this album still feels unique in his discography.
Standout Tracks: Lord Willin’ and Innermission
Overall: 9.5/10
Bobby Tarantino (2016)
Logic taking a breather — and showing off another side of himself.
After the huge conceptual swing of The Incredible True Story, Logic wanted to do something lighter, less serious, and more fun — and that’s exactly where the Bobby Tarantino era came from. This was a time where he was experimenting with his sound, enjoying his success, and giving himself permission to make music that didn’t have to carry deep meaning or narrative weight. He’s said before that BT was designed to be the music you play in the car with the windows down, not something to analyse line by line.
You can hear that shift straight away. The mixtape opens with Flexicution, which hits like a reintroduction — loud, confident, playful, and clearly not part of the philosophical, story-driven world he built on his albums. It’s a reminder that Logic can still make hype tracks when he wants to.
The whole project has that looser, carefree energy. The Jam didn’t fully land for me — the autotune felt a bit too artificial for my taste — but the beat is solid. Slave II also sits in that “okay” category: enjoyable enough, but nothing that really stuck with me afterward.
One thing the mixtape does really well is the skits. This project continues that playful thread from the Young Sinatra days, and the tone fits perfectly. It’s clear this tape is meant to be fun.
There are some strong highlights, though. Wrist is a great track and shows that even when Logic is in “fun mode,” he still brings quality. Super Mario World is another standout — catchy, quirky, and clearly inspired by the game in a way that doesn’t feel gimmicky. It’s just fun, and Logic sounds like he’s genuinely enjoying himself.
A moment I really appreciated was Studio Ambience at Night: Malibu. It’s such a cool little insight into what the studio atmosphere was like during this era. When I first heard it, I didn’t actually realise it was teasing his next project — but knowing that now gives it a retroactive charm.
The biggest moment on the mixtape, by far, is 44 Bars. It’s darker, sharper, and more focused — a sudden shift from the carefree energy of the rest of the tape. It’s one of those songs that reminds you exactly why Logic is respected as a rapper. The subject matter dives into his pressures, insecurities, and frustrations — a quick but powerful window into what he was dealing with behind all the fun.
Slave is another strong entry, even if it felt a little odd hearing it after Slave II — maybe that’s just my brain wanting the sequencing to be tidier. Deeper Than Money, however, didn’t quite hit for me. The beat felt a little flat, and even though Logic’s flow was solid, it just didn’t have the musical richness I usually gravitate toward.
Overall, Bobby Tarantino is a solid project — not mind-blowing, especially coming after something like TITS, but still enjoyable for what it aims to be. It’s Logic loosening up and trying on a different style, and for the most part, it works.
Standout Track: 44 Bars
Overall: 7.5/10
Everybody (2017)
Logic’s most ambitious and divisive album — bold, polished, and deeply personal.
By the time Everybody came out, Logic was in a completely different place in his life and career. He’d achieved mainstream recognition, his tours were selling out, and the success of The Incredible True Story put him firmly on the map as not just a rapper, but a conceptual artist. He was also beginning to talk more openly about his identity, his mental health, and his complicated upbringing — all themes that shaped this album.
Everybody was Logic shooting for something big: a sprawling, conceptual record about race, identity, humanity, and equality, tied together with a reincarnation narrative featuring Neil deGrasse Tyson as the voice of “God.” No other Logic project feels quite like this one — it’s ambitious, emotional, and at times almost theatrical.
The opening track, Hallelujah, sets the tone perfectly. It’s an uplifting, powerful start, and the skit that follows (the introduction of the afterlife narrative) is delivered so well by Tyson. It immediately tells you this album is going to be a mix of big ideas, personal stories, and experimental storytelling.
One thing that struck me while relistening is how much more pop-influenced this album is compared to his earlier work. It makes the project feel more accessible, but still distinctly Logic. Tracks like Everybody and Killing Spree capture that balance really well — catchy, polished, and fun without losing his lyrical edge. I was especially surprised by how well Ansel Elgort fit into Killing Spree; it’s not a feature I expected, but it works.
Confess was a standout for me this time around. I don’t think I fully appreciated it when I first heard the album, but Killer Mike brings a ton of energy to the track, and it ended up becoming one of my favourites while revisiting this project for the blog.
Logic’s willingness to talk openly about race is central to this album, and Take It Back is probably the clearest expression of that. It’s raw, emotional, and one of the most personal tracks on the album. He talks about his upbringing, his family, his experiences working multiple jobs — and even though it’s heavy, it’s one of the songs that defines what Everybody is trying to say.
Not every track hits the same way — Ink Blot, for example, was fine but didn’t linger with me as much as others — but the album is incredibly consistent overall.
Of course, the biggest moment from this era is 1-800-273-8255. It’s impossible to talk about Everybody without mentioning it. The song exploded, became a global mental health anthem, and Logic’s performance of it at the MTV VMAs is still one of the defining moments of his career. Hearing it again with the context of everything else on the album makes it even more powerful.
And then there’s Black SpiderMan, which is just pure joy — fun, colourful, and full of positivity. A classic Logic feel-good track.
One of my favourite closers in his discography is AfricAryaN, and it was really cool hearing the connection to Bobby Tarantino again. I didn’t realise the teaser until I revisited both projects side by side. It’s a thoughtful, hopeful closing moment that ties the themes of identity and belonging together.
Everybody is a bold album — maybe his boldest. It’s ambitious, emotional, sometimes messy, but always heartfelt. Even if some of the ideas don’t land perfectly, it’s a project that’s impossible to ignore, and one that only Logic could have made.
Standout Tracks: Hallelujah, Confess, Take It Back, 1-800-273-8255
Overall: 8.5/10
Bobby Tarantino II (2018)
Logic in full mixtape mode — fun, energetic, and not afraid to be silly.
By the time Bobby Tarantino II dropped, Logic was riding a massive wave of mainstream success. Everybody had exploded, “1-800-273-8255” became a global anthem, and suddenly he was everywhere — award shows, TV performances, interviews, late-night appearances. With all that attention came pressure and expectations, so BTII became a kind of escape route: a space where Logic could relax, have fun, and make music purely for enjoyment again.
This mixtape is Logic leaning hard into the carefree, turn-up energy of the first Bobby Tarantino, and the reception reflected that. Fans loved it for what it was — a light, entertaining break from the heavier themes of Everybody. And right from the intro, featuring Rick and Morty, you know exactly what kind of project this is going to be.
The early part of the mixtape is fine — enjoyable, polished, but nothing that totally grabbed me. Tracks like Cortana and BoomTrap Protocol are good, but they didn’t leave a huge impression. Still, they fit the vibe and serve the purpose of the tape.
For me, the mixtape really starts to come alive with Indica Badu. It’s laid-back, smooth, and Wiz Khalifa is the perfect feature for the song’s vibe. It’s the kind of track that fits perfectly into what this mixtape aims to be: chilled-out, fun, and easy to listen to.
Midnight is another standout — one of the first BTII songs I listened to when I started exploring Logic’s discography more deeply, and it still holds up. It’s catchy, confident, and exactly what a BT tape should sound like.
A lot of the middle of the mixtape — Wizard of Oz, State of Emergency, Wassup — sits in that category of “good, solid, but not particularly memorable.” They’re enjoyable, but they didn’t stand out to me as much as I hoped. Still, they’re far from bad; they just don’t have the same spark as some of the highlights.
The big moment of the tape, though, is unquestionably 44 More. It’s Logic at his sharpest — fast, confident, energetic, and effortlessly smooth. As soon as that beat drops, you know you’re getting something special. The flow is incredible, and the track instantly became one of the defining pieces of the BT era.
Everyday, the collaboration with Marshmello, is another bright spot — more pop-focused, but genuinely enjoyable and catchy in a way that fits the tape well.
Overall, the project is… fine. Fun. Solid. Not groundbreaking, and not something I find myself revisiting as often as his other work. It doesn’t reach the highs of TITS or the emotional weight of Everybody, and it doesn’t have quite the same charm as the first Bobby Tarantino. But for what it aims to be — a light, energetic, carefree mixtape — it does the job.
Standout Tracks: 44 More and Indica Badu
Overall: 7/10
YSIV (2018)
The farewell to an era — Logic closing the Young Sinatra chapter with style.
By the time YSIV arrived, Logic was already deep into mainstream fame. He’d had chart-topping singles, massive performances, and more attention than ever before. So returning to the Young Sinatra persona felt like a full-circle moment — a way of reconnecting with the sound and identity that first built his core fanbase. And from the very beginning, YSIV feels like a celebration of that entire journey.
The opening moments, especially the acknowledgments from fans all over the world, set a warm, nostalgic tone. It’s clear from the start that this mixtape isn’t just another project — it’s a goodbye letter to the era that made him. There’s a grounded, upbeat energy throughout, mixed with a more polished, pop-adjacent sound that shows how far he’d come since the original YS tapes.
The tape kicks off with a string of strong songs. Everybody Dies immediately grabs your attention — confident, sharp, and full of the classic YS bravado. The Return and The Glorious Five keep that momentum going; both feel like Logic embracing the best parts of his lyrical style while still evolving musically. They’re upbeat, catchy, and carry that motivational tone Logic had become known for.
One of the biggest tracks here is Wu Tang Forever, and it’s such a cool moment in Logic’s career. Not only is it heavily inspired by the classic Wu-Tang sound, but it features an insane number of Wu-Tang members — a huge nod to the old-school hip-hop Logic always credited as inspiration. It genuinely feels like a love letter to the era he grew up admiring.
Then there’s 100 Miles and Running, easily one of your favourites — and honestly, it’s one of the standout tracks of Logic’s entire catalogue. It’s upbeat, fast-paced, fun, and full of that larger-than-life confidence that makes Logic so enjoyable. The energy is contagious, and the song has such a positive, motivating tone that it’s impossible not to enjoy. The Free Guy movie placement was a fun surprise, too — spotting it after listening to the album made it feel like a hidden gem.
Ordinary Day also stands out, especially with Hailee Steinfeld’s feature. It’s one of those unexpected combinations that just works, and it became one of the immediate highlights when you first got into Logic.
Across the album, Logic blends nostalgia with growth. Tracks like YSIV, The Adventures of Stoney Bob, and Legacy tap directly into the traditional YS sound — smooth, soulful, sample-heavy, and reflective. They feel familiar in the best possible way, like callbacks to the roots of his career.
The only track that feels a little different for you now is ICONIC. At the time, it was a standout — something you played a lot during a major life moment when you moved out of your parents’ home for the first time. But like many songs tied to a specific memory, it doesn’t hit quite the same now. Still a good track, just not as strong emotionally as it once was.
The mixtape closes with Last Call, which is such a perfect way to wrap up the Young Sinatra saga. It’s smooth, heartfelt, and full of gratitude — exactly the kind of reflective send-off the series deserved.
YSIV is a great album, even if you’ve listened to it so much that some of the shine has worn off. That’s not a flaw — it’s a testament to how good the project really is.
Standout Track: 100 Miles and Running
Overall: 8/10
Supermarket (2019)
Logic stepping completely outside the box — a soundtrack, a novel, and a whole new creative lane.
Supermarket is one of the most interesting pivots in Logic’s entire career. By 2019, he had already delivered heavy concept albums, fun mixtapes, and mainstream hits — so instead of repeating himself, he decided to take a risk and create something totally different: a novel paired with an indie-rock-inspired soundtrack. It was a bold choice, and definitely not what anyone expected from him at the time.
The book itself — also titled Supermarket — is a psychological thriller told from the perspective of Flynn, a struggling writer dealing with identity, mental health, and reality slipping away. The soundtrack was written alongside the novel as a companion piece, meant to capture the tone and emotional world of the story. Even though the book received mixed reviews, it became a bestseller, and the soundtrack gained a cult following among fans who appreciated Logic stretching his creativity.
Listening to this project, you can tell Logic was exploring and having fun in a way that feels very different from his rap work. The album is warm, nostalgic, and full of indie, pop, and alternative influences — almost like something you’d expect from early-2000s bands rather than a rapper known for lyrical density.
The opening track, Bohemian Trapsody, sets that tone immediately. It’s relaxed, bright, and feels like a song you’d listen to while driving a convertible down the coast in summer. It’s a completely different flavour of Logic, but it works surprisingly well.
Can I Kick It keeps the vibe going — smooth, upbeat, and easy to listen to. Then there’s Time Machine, which feels like pure nostalgia. It’s hard to pinpoint exactly what it reminds me of, but it captures that early-2000s energy incredibly well. It’s familiar in the best way.
One of the biggest highlights for me is Pretty Young Girl, which ties directly into the novel’s story. It captures the romantic, dreamy tone of certain scenes in the book, and the melody is one of the strongest on the entire project. Similarly, the title track Supermarket has a soft, drifting quality that matches the atmosphere of the novel perfectly.
Another favourite is I’m Probably Gonna Rock Your World, which feels like a laid-back jazz bar performance — smooth, warm, and incredibly charming. It’s one of those songs that stands out even if you haven’t read the book.
Delorean closes the album with those retro, synthy vibes that almost give off Stranger Things energy. It’s chilled, atmospheric, and ties everything together nicely.
What I love most about this project is how brave it is. It’s not a rap album. It’s not meant to fit the expectations of the hip-hop world. It’s Logic experimenting, branching out creatively, and expressing himself in a way that feels genuinely authentic. And honestly, it works. The book enhances the music, and the music enhances the book — it’s a full experience, and a unique one at that.
Supermarket feels slept on, but in a way that almost suits it. It’s a side project, an experiment, and a passion piece — and that’s exactly why it’s so enjoyable.
Standout Tracks: Pretty Young Girl, Supermarket, I’m Probably Gonna Rock Your World
Overall: 8/10
Confessions of a Dangerous Mind (2019)
The album that hooked me — Logic’s commentary on fame, social media, and identity.
Confessions of a Dangerous Mind came at a turbulent time in Logic’s life. He was experiencing massive success, but also the darker side of fame: online criticism, pressure to meet expectations, and nonstop judgment from fans and industry voices alike. Social media was becoming overwhelming for him, and this album is very much a direct reflection of that headspace — anxious, self-aware, defensive, but also confident and experimental.
And for me personally, this album is where it all started. It was the moment I really became a Logic fan. Keanu Reeves popped up on my Spotify Discover Weekly shortly after the album dropped, and I had it on repeat for an entire week. It literally became the soundtrack to me moving out of my parents’ house for the first time. So even beyond the music itself, this project is tied to a huge moment in my life, and that connection has never left.
What stands out about the album as a whole is how much it centers around internet culture — the obsession with being liked, the pressure to constantly be “on,” the toxicity of comment sections, and the performative nature of social media. It’s Logic at his most direct about the impact of fame, and the production leans into that mood with darker tones, heavier beats, and introspective lyrics.
Homicide, featuring Eminem, quickly became one of my favourites. It’s fast, sharp, full of energy, and genuinely feels like Logic holding his own next to one of his biggest influences. The music video is great too — playful, funny, and very self-aware. It was one of the tracks that pulled me deeper into his catalogue.
Another favourite from this album is Icy, which has such a fun swagger to it. It balances the more serious themes of the project with a track that’s just enjoyable, catchy, and confident. One of those songs you can’t help but replay.
Wannabe also stood out to me — it’s a simple but striking commentary on people chasing fame for the sake of attention. It highlights how curated and fake online personas can be, and how damaging that mindset is. Given the state of social media today, it hits even harder now.
And near the end of the album, I really like how Don’t Be Afraid to Be Different brings the message full circle. It shifts away from worrying about online expectations and focuses more on individuality — on being yourself rather than performing for likes or trying to fit into some algorithm-approved mold. It’s a reminder that ties everything together and adds a hopeful tone to the project.
Confessions of a Dangerous Mind isn’t universally loved by fans, but for me, it’s special. It was my introduction to Logic, and its themes feel even more relevant today. It’s raw in places, experimental in others, and packed with moments that showcase both his skill and his vulnerability.
Standout Tracks: Keanu Reeves, Homicide, Icy
Overall: 8.5/10
No Pressure (2020)
Logic’s farewell — a calm, joyful, grateful closing chapter.
No Pressure will always feel special because of when it arrived. Logic had just announced he was retiring from music to focus on becoming a father and prioritising his mental health. Fans genuinely believed this might be the last time they’d ever hear new music from him — and he approached the album with that same sense of finality. It’s reflective, warm, confident, and full of closure. For me, it was bittersweet too: I’d only recently got into his music, and suddenly the journey felt like it was already ending. But the album itself was beautiful enough to soften that blow.
From the opening seconds, Logic sounds different — calmer, lighter, and more at peace than he had in years. The reintroduction of Thalia is such a touching callback to Under Pressure, making the whole album feel like a full-circle moment. It’s almost as if he’s revisiting the beginning of his career one last time, but from a place of stability rather than struggle.
The title track, No Pressure, does such a good job setting the tone. The confidence is still there, but it’s not loud or aggressive — it’s a quiet, grounded confidence that comes from finally feeling secure. You can hear how much he’s grown, not just as an artist but as a person.
One of the early highlights for me is Aquarius III, a track that blends introspection with a chilled, melodic vibe. It feels like Logic reflecting on everything he’s lived through — the highs of fame, the burnout, the criticism, and the eventual peace he found in stepping away. It’s smooth and almost meditative in places.
Then there’s Soul Food II, which might be one of the best sequels Logic has ever made. It taps back into the energy of the original Soul Food but brings a matured tone and perspective to it. It feels nostalgic, but not in a repetitive way — more like looking back at an old version of yourself and realising how far you’ve come.
But the track that stands out the most to me is DadBod. It’s clever, funny, surprisingly catchy, and refreshingly honest. Logic basically raps about the normal, everyday realities of being a new dad — snacks, chores, family routines — and somehow turns it into one of the most memorable songs on the album. It’s the kind of track that only works because he’s genuinely happy, and you can hear that joy in every line. After years of rapping about wanting stability and peace, it’s really heartwarming to finally hear him in that stage of his life.
Another emotional moment is Amen, which feels like a soft, grateful exhale. There’s a maturity and appreciation in this song that makes it clear Logic doesn’t take any part of his journey for granted. After everything he’d been through — the criticism, the industry pressure, the highs and lows — Amen feels like someone closing a chapter with nothing but gratitude.
The album ends with Obediently Yours, which is unlike any outro he’d done before. Instead of finishing with a big musical finale, he closes with a powerful spoken-word piece that reinforces themes of equality, empathy, and humanity — ideas that have been central to his work for years. It’s thoughtful, emotional, and it lingers with you long after the album ends. As a retirement outro, it feels strangely perfect.
No Pressure succeeds not because it tries to be flashy or groundbreaking, but because it’s genuine. It’s the sound of Logic finally at peace — not trying to impress anyone, not trying to prove himself, just making honest music from a place of stability, love, and growth. A perfect ending… even if it didn’t stay an ending for long.
Standout Track: DadBod
Overall: 8.5/10
The YS Collection Vol. 1 (2021)
A nostalgic celebration — and the way many fans first met Young Sinatra.
The YS Collection Vol. 1 arrived at an interesting point in Logic’s journey. He had already “retired,” stepped away from the pressure of the public eye, and was settling into fatherhood. This wasn’t a new album — it was Logic finally getting the chance to give fans a proper, official release of some of his most iconic mixtape tracks, now cleared and available on streaming services for the first time. For a lot of listeners, this was their introduction to the Young Sinatra era, and in some ways, it almost felt like Logic reintroducing a younger version of himself to the world.
For me, this release was huge. This was where I first heard a lot of these classic YS tracks — songs like All I Do, Walk On By, The Spotlight, and so many others. At the time, I had no idea they originally came from mixtapes that weren’t on Spotify. I thought they were just scattered singles or early cuts. So discovering the original projects later, during research for this blog, made me appreciate this collection even more. It was like finding out the songs I’d loved for years were actually part of a much bigger story.
What makes this release special is how perfectly balanced it is. Logic curated the best of the Young Sinatra trilogy, pulling together the highlights in a way that shows off not only his technical ability but the warmth and musicality that defined that era. There’s a youthful optimism to these tracks — a hunger, a confidence, and a charm that only comes from an artist still on the rise. Hearing them polished and packaged together gives them a new life, and the whole collection feels timeless.
The only brand-new track on the collection is Tokyo Nights, and it blends in surprisingly well. It doesn’t feel like an outlier or a late addition; it sounds like classic YS with a modern polish. It proved that even after years, that side of Logic was still alive, still natural to him, and still fun to revisit.
Listening to this collection again reminded me why the Young Sinatra era has such a devoted fanbase. The smooth flows, the jazz and soul samples, the lyrical confidence — it all comes together into something that feels both nostalgic and fresh. For new fans, this was the perfect gateway. For longtime fans, it was a chance to relive the magic with better sound quality. And for Logic, it seemed like a celebration of the foundation that built his entire career.
The YS Collection Vol. 1 has easily become one of my favourite Logic releases. Not because it’s new, but because it captures the absolute best of a period that shaped everything that came after. It’s almost perfection — a snapshot of Logic at his most effortless and charismatic.
Standout Tracks: All I Do, Walk On By, Tokyo Nights
Overall: 9.5/10
Bobby Tarantino III (2021)
Logic comes out of retirement — but the spark isn’t quite the same.
Bobby Tarantino III holds an interesting place in Logic’s discography because of when it arrived. Logic had just announced his return from retirement — a moment that, for fans, felt both exciting and surreal after No Pressure was framed as a final chapter. He even dropped a surprise single the very next day, which only built the anticipation. So when BTIII was announced shortly after, it felt like he was coming back with something big. Naturally, expectations were high.
But listening to the mixtape, it becomes clear very quickly that this project sits in a strange space. It’s not as carefree and organic as the original Bobby Tarantino, nor does it have the polished confidence of Bobby Tarantino II. Instead, it feels like Logic experimenting again, easing himself back into making music while still figuring out what his post-retirement identity should sound like. There’s fun sprinkled throughout, and moments that show flashes of what makes his music so enjoyable — but as a whole, it doesn’t land as strongly as the previous entries in the series.
There are bright spots. Get Up is genuinely uplifting and catchy, and one of the tracks I returned to the most after the mixtape dropped. It has that warm, energetic feel that Bobby Tarantino tapes are meant to have. Theme for the People is another highlight — the tone is thoughtful but still upbeat, and it captures some of the charm that made the earlier tapes so memorable. God Might Judge, though, is easily the strongest track on the project for me. It’s smoother, more confident, and builds on a melodic flow that feels fully formed and emotionally grounded. It gave me shades of Drake in some ways — not in a derivative sense, but in how effortlessly the vibe works.
There’s also Untitled, which quietly became one of the better tracks on the project for me. It’s understated compared to some of the bigger songs, but there’s something about the tone and production that caught me off-guard in a good way.
Outside of those moments, though, the rest of the mixtape didn’t connect with me as much. Nothing is bad, but a lot of it just feels… fine. Enjoyable enough, but lacking the spark or personality that made the first two Bobby Tarantino tapes so fun. It doesn’t feel as cohesive, and the energy sometimes dips rather than building momentum. If anything, the mixtape almost feels like a transitional project — Logic warming back up, shaking off the dust, figuring out where he wants his sound to go next.
In the context of his return, BTIII feels more like a stepping stone than a statement. And honestly, that’s okay. Not every project needs to redefine an era. Sometimes, an artist just needs to get back into the rhythm — and that’s exactly what this mixtape sounds like.
Standout Track: God Might Judge
Overall: 7/10
Vinyl Days (2022)
Old-school energy, raw creativity, and Logic making music on his own terms again.
Vinyl Days is an album that feels like Logic reclaiming his identity after everything that had happened — the retirement, the pressure, the criticism, the expectations. This was his final release under Def Jam, and he approached it with a very clear mindset: make something fun, unfiltered, messy in a good way, and rooted in everything he loves about hip-hop. You can hear that freedom all over the project. It’s sample-heavy, energetic, unpredictable, and in many ways a return to the raw spirit of the Young Sinatra era, but with the confidence of someone who no longer needs industry approval.
The album was made quickly — in just 12 days — and that spontaneity is part of its charm. Instead of polishing everything to perfection, Logic leaned into the imperfections, the grit, the texture of vinyl, and the chaotic creativity of just making music because it feels good. Even the huge list of skits, interludes, phone calls, and cameos reflects that loose, free-flowing energy.
Right from the start, Morgan Freeman’s voice sets the tone. It’s such a cool, unexpected way to open the album, and it immediately gives the project a sense of personality and confidence. There’s a wink to the audience — like Logic knows exactly what kind of experience he’s about to deliver.
One of the tracks that grabbed my attention early was Decades. The way Logic switches flows so smoothly gives the song a real sense of momentum. It’s the kind of track that doesn’t try too hard — it just feels good, and you can hear how much fun he’s having in the booth.
Another highlight for me was Breath Control featuring Wiz Khalifa. Their chemistry is effortless, and the track has such a clean bounce to it. It’s one of those songs where the collaboration feels natural rather than forced, like two artists enjoying the moment instead of trying to outshine each other.
The title track, Vinyl Days, is one of the strongest moments on the album. DJ Premier’s production gives it that timeless classic hip-hop feel, and Logic sounds completely in his element — confident, playful, technically sharp, and clearly inspired by the legends he grew up listening to. It’s one of those songs that reminds you exactly why Logic has such a devoted fanbase.
The album also includes skits and moments that capture Logic’s personality more than any polished studio album could. There’s humour, commentary, frustration, nostalgia — it’s all in there. The Michael Rapaport moment, for example, is chaotic in the best way and fits perfectly into the album’s messy, creative structure.
But even with all these bright moments, Vinyl Days isn’t necessarily an album where one or two songs define the whole thing. It’s more of a vibe — a throwback, an experiment, and a statement piece. It’s Logic reminding everyone (and maybe reminding himself) that at the end of the day, he’s a rapper who loves rap. No pressure, no expectations, just pure creativity.
While it’s not the most iconic or cohesive album in his catalogue, there’s something refreshing about how unfiltered it is. It feels like a reset — a clearing of the slate before moving on to the next era of his career.
Standout Track: Vinyl Days
Overall: 7.5/10
College Park (2023)
Logic returning to his roots — grown, grounded, and more comfortable than ever.
College Park is a beautiful moment in Logic’s career because it feels like a homecoming — not musically, or stylistically, but emotionally. After years of experimenting, retiring, un-retiring, and navigating the chaos of fame, this album sees Logic reconnecting with who he was before the industry. The story follows a fictionalised version of his teenage self trying to get to a small rap show in College Park, and the skits build a full narrative around it. It’s nostalgic without being repetitive, and mature without losing the spark of early Logic.
At this stage in his life, Logic was a husband, a father, and no longer under a major label. That freedom shows. College Park feels relaxed, confident, and artistically honest — the sound of someone finally making music entirely for themselves.
From the start, the album shows how comfortable he is in this era. Wake Up, featuring Lucy Rose, is an immediate standout. Something about any collaboration between Logic and Lucy Rose just works — her presence adds warmth and emotion, and this track is no exception. It feels thoughtful and hopeful, like the first chapter of a story that’s only just beginning.
One of the early highlights for me is Ayo, which has that laid-back, cruising energy that Logic does so well. It’s not trying to be loud or flashy — it just feels good, the kind of track you catch yourself smiling at without realising.
Clone Wars III brings back some of that youthful, playful Logic energy, and the skit at the end is brilliant. It has that fun, slightly chaotic vibe that reminds me of the GTA San Andreas drive-thru scene — a small moment, but one that adds so much personality to the album.
Then there’s Self Medication, which might be one of the most surprising and beautiful tracks on the album. When I first heard it, I genuinely thought the featured vocals were Frank Sinatra — only to realise it was Seth MacFarlane. His voice fits the Young Sinatra style perfectly, and the collaboration feels both unexpected and incredibly natural. It instantly became one of my favourites from the album.
Paradise II is another standout, especially with Norah Jones making another appearance. It’s a spiritual successor to their earlier collaboration, and it’s clearly influenced by the stripped-back, intimate version they performed on her podcast. Hearing them together again adds a layer of maturity and softness that enhances the entire album.
Another moment that surprised me was Come On Down. I hadn’t paid much attention to it before, but listening closely while working on this post made me appreciate it so much more. It has that new-age mixtape feel — a blend of post-No Pressure polish with the soul of the Young Sinatra era. It feels like Logic at ease with himself.
One of the most honest songs on the album is Lightyear, where Logic addresses criticism about changing his style. He talks openly about how people online want him to stay in one lane, but he refuses to make the same album over and over again — and he shouldn’t. The line where he essentially says, “Just appreciate that I’m still making music at all,” really stuck with me. It’s true, and it’s something fans often forget.
There’s something incredibly wholesome about this album as a whole. It’s not trying to be his best work or the next big concept record — it’s simply Logic enjoying making music again, telling stories, experimenting, and connecting with his roots. It has the heart of a mixtape but the polish of a mature artist who finally knows who he is.
Standout Tracks: Self Medication and Paradise II
Overall: 8.5/10
Ultra 85 (2024)
The long-awaited follow-up — the return to Logic’s cinematic universe I’d been waiting years for.
For as long as I’ve been a Logic fan, Ultra 85 has always felt like this almost mythical project — something he hinted at in interviews, sprinkled into skits, referenced in deep cuts, and built endless curiosity around. Every time he teased it, it felt like he was alluding to some bigger plan, some hidden story that had been running quietly behind the scenes for years. So when he finally announced it was actually coming, I was beyond excited. Not just “looking forward to it,” but genuinely buzzing to hear what the follow-up to The Incredible True Story — my favourite Logic project — would sound like after all this time.
The timing couldn’t have been better either. The album dropped a week before I was due to go on holiday, which meant I got to listen to it properly on the drive down to Devon with my wife. No distractions, no skipping through tracks — just the perfect setting to really take it all in. It felt like the kind of album you want to experience in one go, and that long drive ended up being the perfect moment to do it.
Right from the opening track, Paul Rodriguez, I knew this album was going to hit the way I hoped it would. It’s cinematic, warm, confident — the perfect blend of No Pressure’s maturity and TITS’ immersive, world-building energy. It felt like being back in a universe I already loved, but at a new stage in the story.
One of the earliest highlights for me was Fear, which instantly became one of my most-played Logic tracks. There’s something powerful and vulnerable about it, and it connected with me straight away — so much so that it became one of my wife’s favourite Logic songs too. It’s emotional without being heavy, reflective without being moody, and full of that classic sincerity Logic does so well.
Innerstellar, with Lucy Rose, is another beautiful moment. Every time Logic collaborates with Lucy Rose, the result is magic, and this track is no exception. Her voice adds a softness that lifts the song into something dreamlike — it feels like drifting through the world he’s building.
Then there’s 44ever, which brings back the “44” series energy in a way that feels modern and evolved rather than nostalgic. Logic manages to honour the original concept without simply rehashing it, and the result is one of the strongest tracks on the album.
Peace, Love & Positivity hit me in a different way. Those three words have been tied to Logic’s identity for years, and hearing them again here feels like him reaffirming the values that shaped his entire career. It’s like a philosophical anchor for the whole album — a reminder of why so many people (me included) connected with his music in the first place.
City in the Stars became an early favourite for me too. It has that peaceful, drifting sound that Logic sometimes taps into, and it’s the kind of track that instantly improves your mood.
The album finishes with Thank You for Believing in Me, and honestly, it’s the perfect close. It feels sincere and personal, almost like Logic speaking directly to listeners who have been with him through every era — the mixtapes, the albums, the experiments, the highs, the lows, the retirement, and the return. Hearing it on that drive made the whole experience feel even more special.
As a whole, Ultra 85 feels exactly like what I hoped it would be: a mature, emotional, cinematic extension of the world Logic built years ago, but filtered through everything he’s learned and lived since then. For me, it was absolutely worth the wait.
Standout Track: Fear
Overall: 9/10
Logic’s Discography: My Final Rankings
A complete look at how every album and mixtape landed for me.
After spending weeks listening (and re-listening) to everything Logic has ever released — from the earliest Psychological days all the way through Ultra 85 — I’ve come away with a whole new appreciation for just how versatile and creative he is. Each project reflects a different chapter of his life, his mindset, his growth as an artist, and even my own journey discovering his music.
Some projects hit me immediately, some grew on me over time, and others connected because of where I was in my own life when I first heard them. But taken together, they form one of the most interesting and personal discographies I’ve listened to from any artist.
So, with all that in mind, here are my definitive rankings of Logic’s entire discography, based purely on how each project resonated with me.
1. The YS Collection Vol. 1 — 9.5/10
2. The Incredible True Story — 9.5/10
3. Ultra 85 — 9/10
4. Under Pressure — 9/10
5. Young Sinatra — 8.5/10
6. Everybody — 8.5/10
7. No Pressure — 8.5/10
8. College Park — 8.5/10
9. Confessions of a Dangerous Mind — 8.5/10
10. Supermarket — 8/10
11. YSIV — 8/10
12. Young Sinatra: Welcome to Forever — 7.5/10
13. Young Sinatra: Undeniable — 7.5/10
14. Young, Broke & Infamous — 7.5/10
15. Bobby Tarantino — 7.5/10
16. Vinyl Days — 7.5/10
17. Bobby Tarantino II — 7/10
18. Psychological — 7/10
19. Bobby Tarantino III — 7/10
My Final Thoughts
Listening through Logic’s entire discography has been one of the most enjoyable music rabbit holes I’ve ever gone down. What started with Keanu Reeves popping up on my Spotify back in 2020 has turned into years of discovering new favourites, revisiting old classics, and watching Logic grow through each chapter of his life — and mine. Ranking everything really reminded me just how varied and personal his music can be, whether it’s the raw energy of the Young Sinatra tapes, the cinematic world-building of The Incredible True Story, or the honesty and maturity of No Pressure and College Park.
But that’s just my journey.
I’d love to know yours too — when did you first start listening to Logic?
What’s your favourite album, mixtape, or song?
And how would you rank his discography?
Drop your thoughts in the comments — I’m really curious to see how other fans would order everything. And if you enjoyed this breakdown, feel free to share it or stick around for more deep dives into the music and artists I love.
Thanks for reading!
The Life of J 