The Ransom Report: Carter V - @LilTunechi (words by Charles Ransom Polk)

Just when you thought it was safe to have an opinion on music-#RansomReviewSeason has returned (puffy combs voice) I'm back like I left my keys on the table. There were some albums that dropped since the last time you read my words on this page (looking at you Onika, Travis and Marshall), but I wasn't inspired to come back. Beanie Siegel said "Sometimes you gotta go away to make a comeback" and I paid attention when he said that (that first state property movie is and always will be a bonafide hood classic for the record). However, when I saw the (former) Cash Money creature drop the bombshell announcing the long-awaited Carter (C5) finale, I knew it was time to pick the pen back up.

Sheeeeesh, it's been 7 years since C4 (which was hot and spicy whack sauce), and since then he was at war with Mr. Handrub himself for the right to come out with this project. I won't waste time with giving you the recap (if you don't know the story google it and come out from under the rock you been living under). I'll just cut right to it. The burning question on everyone's mind is: Does he still have it? They say that all the great fighters have that one last great fight in them. In Wayne's case, does he have one last great album in him? Let's review. This might not be what you want to hear, but it's what you NEED to hear, whether you admit it yourself. The Doctor is back IN.


I Love You Dwayne: man, I can't even talk my s**t after that intro. That was raw rough and uncut. His mom plays a big part in this album, she serves like the narrator of his life, popping in at certain moments to explain key moments in his life. If his mothers words on that intro didn't hit you right square in the chest, you and the Tin man have something in common.

Don't Cry (feat Xxxtentacion): This is a gloomy a** track to put right after the intro. The overall vibe of this album is more about triumph, soul-baring redemption and retrospection. None of the s**t on this song. I like how he says "don't cry, stay tuned" at the end of the song. Guess he's setting up the rest of the album. Not a big Xxx fan, God bless the dead, but he wasn't good on this song. Wayne's voice sounds extra syrup-withdrawled on this s**t. Some of his lyrics are just as tired, but it's not a terrible song. I don't hate it. That much.

Dedicate: Hmmm, my man ate his spinach on this one huh? I think this is one of the older tracks recorded for this album. One of the interesting things listening to this s**t is figuring out which tracks were recorded when. This must be one of the old ones. You can tell by his voice and delivery-they're both WAY stronger than that first track. I'm loving this beat, s**t got that bounce. He should've made THIS the first song after the intro (I need to stop f*****g around and become an A&R). He ripped this beat to shreds. I like the Titty Boi vocal samples sprinkled in, and that Young Barry vocal snippet at the end was official. That's also from 09 which gives you a time period reminder. Damn I miss him in office. Seriously, I wish we could revise the law, get Mr. Spray tan man out of there and get Barack and Michelle back in there. For real. Anyway song is hot.

Uproar (Feat Swizz Beatz): Ahhh man, here we go. Bro, WHO THE F**K KEEPS KEEPING SWIZZ BEATZ IN THE MIX ?!? Seriously they need to be dealt with. Bro, my man drops a hot beat/song one in every 100 songs he's on, the other 99 are GOD AWFUL. This s**t is SUPER whack. He even had the nerve to recycle one of the last NY anthems to come out, Special Delivery. EVERYONE was Harlem-shaking when that song came out, myself included. That's one of my go-to dance moves every time I'm at a black wedding, and 85% of the time, it works every time. #facts. Back to this f**k of a song, skipped quick fast and in a hurry.

Let It Fly (featuring Travis Scott): Ok, so here's the long and short of it: I'm not a Travis Scott fan IN THE LEAST. He's whack. You can put those "oh you're just talking like an old head" peanut butter and jelly bulls**t back in your pockets. I like MULTIPLE "new school" artists, and I catch flack for it from "old heads" all the time. Travis Scott is just real annoying and unnecessary and useless to me. He literally has no talent. I ask you Travis Scott fan: what's so "awesome" about him??? Go ahead I'll wait. Maybe a tiny bit as a producer, but I'd rather take shots of s**t and battery acid than listen to him. That being said, the beat is ehhhhh but not great, and Wayne is back spitting like an AK with a 100 round drum. I heard that this song is from 2014/15 so maybe that explains it. Song is skippable but not super skippable.

Can't Be Broken: This s**t sounds like he stole it from Eminem or Joe Budden. I half expected to hear Marshall or Jumpoff Joey on this. If Em had been on here it would've been spazzatura (that's garbage in Italian you smart dumb motherf*****s); Unless it was MAD old, because let's be honest, Mashall hasn't made a hot album in well over a decade. I hate to say it but ever since he got clean and sober, his music prowess evaporated. It was one of the reasons he was transcendent at his peak. Eh oh well, applause on your sobriety. Just stop making music now anyway on this song we get the first glimpse of a truly rare animal: soul-bearing Wayne. He's going deep (Pause) and that's something he's done only a few times. This is a theme on this album, which we see more of as time goes on. I liked the song. He even went the whole song without punchlines about money, b*****s or his d**k (MAJOR pause). I enjoyed the song, not mad at it.

Dark Side of the Moon (feat Nicki Minaj): Cot damn, this s**t is FIRE. If Birdman was holding the album back, it wasn't because of this s**t. This song is real good. The beat is beyond hotness (*checks album credits*) Bloque I don't know who the f**k you are but you did your thing on this song my G. Salute. This joins the list of memorable Wayne deep cuts (How to Love, Tie My Hands). This s**t is actually a touching song. This song is older for sure, because there's no way his voice is still this smooth. Ain't enough auto tune in the world to bring that back. But let's get to the REAL revelation: I never thought I'd see the day I'd see this, but here goes: I LOVED Nicki Minaj on this track. Welp, I guess the end of the world really is coming soon: Trump got elected, the Eagles won the super bowl and I loved a Human silicone Thirst trap feature. Guess I better get going on my bucket list. Great song, I'm playing this song multiple times.

Mona Lisa (feat Kendrick Lamar): Most of the time big name hype collabos disappoint. Also most times when the old lion gets on the track with the young lion they get embarrassed. Kinda like when Mike thought he still had the juice and tried to D up a young AI. He didn't have the juice. AT ALL. But this is not one of those moments. This song is tough as f**k, and it wasn't just mindless verses trying to outdo each other, it's a concept song. You gotta listen to it multiple times to get the whole story. Now I'm not the biggest Kendrick fan (for MANY reasons), but that's not to say he's untalented. He's definitely talented, especially on concept songs. The fact that Wayne holding his own very ably is outstanding, AND I'm told this isn't one of the older songs. This is relatively new. Guess he smoked some of that mythical space Kush the Russian cosmonauts grew on the space station back in the day and got busy in the booth. Hot a** song.

What About Me (feat Sosaman): This sounds like vintage mixtape run Wayne. He used to love those druggy ballads (i.e I'm Single (to this day a FIRE track)). This is right up there with that. I'm liking this track as well, and is clearly an older track, but it's real hot. This is one of the tracks that reminds you that when he was in his prime, he really was the best. He could body any type of track. Now that I'm done giving out daps, let's get to the other side: who in the actual f**k is Sosaman?? Dude almost singlehandedly RUINS the song. He sounds like he's from Florida. The area in Florida where Rick Ross's goons come from. That's an advantage if you're trying to bust your gun, get money and do home invasions with gigantic dreads and gold trick daddy-type grills, but not if you're trying to be on an r&b fusion song. I put out an APB for the tan titan himself, Drake (where the f**k were you at on this album man?). This song would be been PERFECT for his charmin' singing. I did some research, turns out Aubrey was supposed to be on this song, but he didn't end up putting a verse on it. Guess he was too busy hiding the world from his kid. I also heard Post Malone aka the human white muppet/culture vulture on here. Hell, I'd have tolerated HIM on here over Sosaman. He almost f****d this whole s***t. Almost.

Open Letter: I'll be dammed if I'm not I'm liking this s**t too (who woulda thought that I'd be liking all these Weezy baby songs back to back in 2018). This song is hot too. It's a newer sounding song, but this s**t still bumps. He starts killing the beat midway through the second verse. If you really listen, he's talking to the listener the whole time. I better stop and make sure it's not 2018 and not 2008, because this album is starting to make me feel like he's got his swagger back. If it's 2008 again, I won't be rocking those extra-extra baggy Evisu jeans again with the AF1's. That needs to be left dead. Everyone with pictures of me during that period knows if you post any of them on social media you will promptly be receiving a cease and desist letter from my lawyer.

Famous (feat Reginae Carter): First thing you hear is Wayne's momma. Then the second thing you hear is Wayne's daughter. Singing, and it's NOT bad at all. Auto tuned sure but still good. She was perfect for singing on a hook about her fathers journey through super-stardom. This song sounds super personal, and Wayne is rapping like a man looking BACK on his career, NOT looking forward. Like a man who's truly seen it all and been through it all. Very heartfelt song, this is the most he's let us into his life on wax EVER, and it's great. Not mad at it at all. I'm not gonna play it mad times but a real quality song. I love how after all that beautiful stuff he says "kiss my muaf*****g a**" at the very end of the song.

Problems: AH S**t now as I was listening to all these ballads and all this soul-bearing s**t, I was thinking in the back in my mind where's the hot s**t at, and right on schedule he snuck one in there. Like a good fighter he lulled y'all to sleep with that other s**t then rocked you with an uppercut. As soon as the beat came on I knew what it was. As soon as I heard the little "Zaytoven" snippet right before the beat dropped, I was like hell yea he hit up ATL for a track. If Future Hendrix had been on here it would've been a wrap. Oh well. Future is probably kinda pissed at Zaytoven for giving Wayne this beat and not him. I would be, anyway. When he said "I should have a tattoo that says 'I'm nothing like my dad' I was like damn, he really hasn't taken any shots at Birdman. Guess it's all good now that the check got cut. Anyway for anyone wondering what he would sound like on modern day trap beats you have your answer. S**t bumps play this on good a** speakers not those weak a** apple earbuds.

Dope Ni**a (feat Snoop Dogg): This sounds like some old s**t. You can tell from his voice he's mad young. I'm loving the sample, for all you little f**ks it's from a classic Dr Dre track. Go look it up. Or not. If there's one thing I'm glad about it's that they didn't let Snoop get a full verse-see. I love Snoop but let's be honest the last time we were actively checking for a snoop song. It was drop it like it's hot and half the reason why was because of the beat from Pharrell. That being said it was a good song.

Hittas: Ok, first before you listen to this song go back, and go YouTube Wayne's deposition. Type that in, and get some popcorn because that s**t is CLASSIC. Anyways, this song was ok but definitely a throw away from whenever he was first in album mode. The problem is I think 90% of these songs are old. Sometimes on this album the old songs work, but more and more as the album goes on it seems like there too many older filler songs, like if this song came out years ago I would've f**ked with it but now I'm like eh skip.

Took His Time: I like this s**t right here, I LOVE this beat right here. Whoever made this beat I'm too lazy too look it up at this point, but I salute you. Weezy is weaving in and out of this beat like he was weaving lane to lane down in Miami off that syrup. Which he definitely has done at multiple times at this point in his life. It also is ABSOLUTELY an older track probably old as all f****n hell, but idgaf. This reminds me of back when Wayne was capable of murking anything he put out. Real good a** song.

Open Safe: See here's another dude I can do without: Mustard on the beat h*e. He's like the west coast swizz beats. He makes one EXTREMELY hot a** beat every couple of years and spends the rest of his time making dumb s**t like this. The beat is SUPER basura. Wayne probably bought this beat back when he first started getting hot, and was just making BS left right front and center. The really sad thing is that he probably spent too much cash on the beat that he couldn't scrap the song because this s**t sounds mad old. Back at the time when Mustard was the hot thing in music. Oh well he's spitting on this s**t but I'm skipping this s**t.

Start this S**t off Right (featuring Ashanti): Now when I saw Mannie Fresh was on this track producing I was waiting for it. I wanted some old school geurilla warfare s**t some rebook and gibraud jean s**t some hot boy gutter s**t that you know I love. Instead I got this nonsense. Bruh stick to what you know. This s**t was wack but the part when he said "Tell em I been rich since the Hot Boyz" was great. Dude wtf is ASHANTI doing on this song??? Now this sounds like some posthumous Tupac release type s**t man, like they just get some b-level talent that's out date to hop on songs with pac it seems like this is the story with this song. This song sounds dated as hell and not in a good way at all. For the record Ashanti is still BAD AS ALL HELL. If you don't believe me check the IG.

Demon: This song is kinda hot. The sample reminds me of some s**t Three 6 Mafia would've made, but they didn't. I'm not gonna lie he could've cut this song too because it's pretty forgettable. I guess since we had to wait so long for the ghetto soap opera to close and the album to finally come out that, I guess that warrants him putting the album throwaways on here as well.

Mess: You know what? That r&b album Wayne promised back in the day (remember that kids?) doesn't seem to crazy anymore after listening to this album. He has multiple really good r&b-tinged songs on here. He should've made a r&b album instead of that Rock album abortion. My question is this Birdman multiple sources have said you didn't want him to come out with the carter v because you said it "wasn't that great" but you let him release that rock album? Riiiiiiiiiiiight.

Dope New Gospel (featuring Nivea): Hmmmmm, I didn't want to like this song but after listening to it a couple of times I really am not mad at it, nor am I mad at Nivea singing on it (I still forget that's a Wayne BM, and Lauren London. Sheesh that gremlin hit some bad a** b*****s off). Anyway, I like this song in a throwback way. I feel like I could've seen this video on 106 and Park back in 09. Before Bow Wow hosted that s**t and ruined it, that was the black TRL word to AJ and Free.

Perfect Strangers: Again, he should've made an r&b album. I actually really like this song, but if you want to know the honest truth there's WAY too many songs on this album. It's starting to drag under its own weight, but still this song was hot. I wish he would've dropped this whole album back in the day it probably would've saved his career.

Used 2: This song impressed me. I checked the production credits and I found out it was Metro Boomin. Ok Metro this was a nice change of pace for you. Hats off to you. If you listen to the lyrics he's talking about baby and his entourage. This song was probably recorded when things started to go south between them. It's interesting to listen to this album, its almost like listening to a time capsule, you can kind of try and figure out when and what time period these songs were recorded.

Let it All Work Out: And here we are: The Grand Finale. The most talked about song on the album. I really loved this song. This song kind of encapsulates everything we love about Wayne: clever punchlines, the singsong flow, the confidence, and the new wrinkle; soul-baring. He finally reveals here that the infamous gunshot wound he sustained as a young bull was a suicide attempt, not an accident like he's always said. He evidently was so upset that his mom wanted him to stop rapping that he took a gun and tried to end it all. That's real. He always said music was his life, so now we see just how important it is to him. But he didn't die from it, and music took him to the top of the mountain. Just like the sample says (whoever made the beat murked it) his last words on the album sum it up.

Sheesh man. This was another long a** haul. Between Aubrey's album and this one I'm tired. I'm getting too old for this s**t. The next one I do is gonna be a normal A** album. So what did I think: I liked, I loved, I hated, I skipped, I s**t on, I bumped, I overall enjoy this album. Period. I think it's a perfect way to end an absolutely illustrious career. Please, choose this opportunity to walk away Wayne. This wasn't a Black album type retirement album; when Joe Camel first stepped away it was different. There was still some left in the tank, and neither he nor the public thought it was his last. It obviously wasn't, this needs to be the end man. For all the years of BS you proved the doubters wrong, you turned in a solid (if not a little bloated) album after 7 YEARS. That's a huge accomplishment. Sure there were plenty of sub par moments on the album, but that's fine, no one is perfect. You of all people should know and appreciate that. So the question is answered: the great artists, like the great fighters always have that one last great fight/album in them, and like Wayne says at the very end of the last song: In the end, it all worked out.

Album grade: 7 Birdman hand rubs/10.

The Ransom Report: Scorpion - @Drake (words by: Charles Ransom Polk)

Good evening (Even if it’s not evening where you are, I still bid you good evening), I’m Mr. Ransom, and welcome to “The Ransom Report: Drake’s Scorpion.” Thank you for reading. You have my gratitude. Before we get into it, I just want to take a moment and thank my brother Ramsey for giving me a shot to review the biggest, most highly anticipated album of the year. We have some big things ahead for the world, and this is just the jumpoff. I also would be remiss if I didn’t give the absolute biggest shoutout to the man with the cocaine biceps himself, Tony Starks aka Ghostface Killa. He provided me with the inspiration behind the format, prose, and vernacular in this review. You haven’t done one of your famous album reviews in a couple of years Starks, we need you to come back. I hope you approve of this. Peace to the Gods, bong-bong. Ok, that’s that, now let’s get to the proceedings.

Drake’s album and point in his career have reminded me of the movie Rocky III. If you’ve never seen it, I’ll sum it up: After Rocky started from the bottom (no pun intended) and grinded all the way to the top, he became champ. He was confident, comfortable in his position as top dog and in turn he got watered down. Basically he let the success blind him to the fact he wasn’t hungry anymore, and he wasn’t the same man who once drank 17 raw eggs and crushed up glass milkshakes a day and did 372 one-armed pushups every workout session. He lost the Eye of the Tiger. So Mr. T. comes along with his gold chains and feather earrings, hungry as a motherf****r. He was so hungry he was eating broken dreams for breakfast, anger for lunch and hate for dinner (with hostility for dessert). HUNGRY. Focused. Lang challenges Rocky and he takes the fight. Rock gets his a** handed to him and has to get the eye of the tiger back. He needs to dig deep, get focused to get his manhood and championship back. He does all of this, he gets his swagger back, he fights Mr. T. again and beats him. The moral of the story is, everyone takes a loss in life, you get knocked on your a**, the point is how you come back.

So in case you haven’t been paying attention in class, Drake is Rocky and Pusha T is Mr. T. The Story of Addidon is basically the first half of Rocky III, a clean knockout. Time for Drizzy take the loss, pick himself up off the canvas, embrace the situation, refocus and come back tougher than ever. Did drake do that? ABSOLUTELY NOT. Why? Because the problem is, success can be more dangerous than any drug. He’s high off success (don’t get me wrong, he completely earned his spot at the top: From So far Gone to IYRTITL, he put together a run of excellence that no one else in the music game can claim), and that can make you feel invincible. Well, NO ONE is invincible, NO ONE is untouchable, not even Drake. He took the first Loss of his career (Sorry Meek. Your mistake was you started a battle and weren’t fully prepared. You still had the hardest album of 2017 to me). Aubrey’s album is here. In light of the recent revelation that he’s kept a secret child hidden since last year, this is probably the most anticipated album of his career. For the first time in his musical life, the questions can’t just be minimized, whisked away, or shrugged off. Pusha showed that even the 6 God can bleed. The charming, affable crossover star isn’t so squeaky clean anymore. With that being said and the chips on the table, Drake gives us Scorpion; a double album to boot! But will it live up to the Herculaean hype?

DISCLAIMER: The opinions and thoughts expressed in this interview are my own, and don’t necessarily reflect WTM and their contributors. And for the record: I’ve always been a big Drake FAN, not a Drake STAN. You will see the difference demonstrated here. All you stan fans get ready to take your medicine. Consider the doctor officially IN. First things first, you’re not slick Drake with that bulls**t you wrote for you album description “oh Drake is this Drake is that” that shit worked for Eminem in 8 Mile trying to say all the negative s**t about yourself to minimize it, nice try buddy, all that stuff you wrote is all true. Oh and BTW Nelly was the first rapper to make the double album with one being more rap one being more smooth so you’re not doing anything new. F**k outta here. Ok let’s get this going.

Side A

Survival: If it’s one thing the Toronto artist does well, it’s a Drake intro. Real epic. Off the top he’s talking that cash s**t, that good old king s**t. Drake you’re cookies and creme stop it man. Not that you’re going to stop but sheesh man. Shocker: he’s still real narcissistic.

“My Mount Rushmore is just me with 4 different expressions”

Welp, he’s setting the stupid delusional bulls**t bar nice and high right away. Kudos to Drake for that. That being said, I wouldn’t have minded if it was longer, but it was stil good. Sounds like a sample: he’s always gotta have 40 do the intro. This time with No I.D., I’m liking the collaboration. “I had scuffles with bad boys that wasn’t pretending.” So I guess Puff really snuffed him huh? At least he's fessing up to it. The thing is Drake spent your whole career trying to be vulnerable then you turn around and make songs like this like he's untouchable. Make up your got damn mind. I like the song though. Not his best intro but not his worse, if that makes any sense.

Nonstop: This is the n***a that makes Blocboy JB’s beats. Would’ve been better if he used it and gave Drake the Look Alive beat. Oh well. I kept waiting for the beat to kick up a notch, but it never does. Not my favorite song. Drake talking out of both sides of his mouth as usual, he’s calling himself “king slime Drizzy”? Oh boy. And you “Hardly ever take offense” to shit? Oh word? That’s a bunch of peanut butter and jelly bulls**t and we all know it. Stop it. You have some of the thinnest skin in the galaxy and you’re the Prime Minister of Petty. BRUH did my ears deceive me? Did I just hear him say “Yea I’m light skinned, but I’m still a dark n***a/I’m a wig splitter” Homie WHOS WIG HAVE YOU EVER SPLIT?? I NEED ANSWERS. I WANT DATES AND TIMES AND WITNESSES. Of course you’re “dark,” we all saw the “Story of Addidon” Photos.“ He’s being Memphis Drake on this unsuccessfully. Does he claim Memphis yet? If he doesn’t guess it’s about to be added to the list. I like this s**t even though the beat sounds like the producer was making it and forgot to finish it and forgot about it and they called him the day it was due and he was like “Oh s**t it’s not done, eff it I’ll just send it” It wasn’t terrible to me.

Elevate: I like this beat. That buttersoft singing next to humble-brag rap will never not be a little awkward to me. If it’s one thing I can’t knock Mr. Aubrey for it’s the fact he took his whole crew with him and put them all on. Kinda like Lebron, they’re alike: both narcissistic sensitive passive aggressive superstars that took their crew with them. The difference is Lebron has more swag, where Drake's got the better head of hair. And then this happened.

So both he and Lebron are liabilities from 3. But yeah, I was kinda feeling the beat but not the song too much. Not his best but a not half-bad song. “Thank God for working harder than Satan” Amen Drake. God is good, all the time. Word life. Emotionless: I’m not gonna say much about this confession, if you even wanna call it that. But the very fact that he decided to name a track about something EXTREMELY emotional, Emotionless should tell you how out of touch Drake is. Digging the beat, who made it (*checks album credits*)? Ah No ID and 40 again, I like the Mariah Carey flip. He’s got a great ear for beats for the most part. Gotta admit. Drake loves these airy vocal samples with the hard kick and snares, It’s always worked for him (Pound Cake, The Ride, etc) there’s WAY too many stand-out lines on here to single out, but that “hiding the world from my kid” line has already been taken up as the official credo for deadbeat dads and f***boy fathers everywhere. So give yourself yet another pat on the back Drizzy. Also this s**t sounds real rushed, real topical. Like he literally recorded it dead last for the album. Not a good look. You had plenty of time to flesh this song out. This more than any other one on the whole album. This is a big deal, he needed to take more time on it instead of barely scratching the surface. Oh well. Guess we should all count ourselves lucky Lord Aubrey graced us with a song about the track at all huh? Smfh.

God’s Plan: I liked this song for about the first 11 times hearing it, then I was over it. Radio ran this s**t into the ground. As usual. All I'm going to say is don’t make videos helping other people like you’re a saint when you’ve seen your seed once since he was born. Also, don't try that “his mom won’t let me see him we’re beefing” you’re DRAKE dog. All you talk about all the live long day is how powerful and rich you are. There’s not a reason under God’s beautiful blue Heaven that would make me belive that you can’t see him. Get the f**k outta here with that bulls**t. Tell that to the Stans and d**k riders who will just blindly belive whatever s**t you’re shoveling. Not a bad beat and song though. I’m not even gonna front. In the video when that one kid’s mom was crying and then the kid was crying and then Drake was crying, that was some real sh*t. All jokes aside, I like that you did that for those people dog. Mixed mafia stand up. Now get the f**k outta here and go see your kid.

I’m Upset: I hated this song at first, but now I don’t mind it for some reason. Drake is on his tough mon ting here, but I have a question: you’re talking all that tough guy Teflon s**t one minute, and on this song you’re talking ‘bout you “got a lot of blood and it’s cold” but the song is called “I’m upset”? The f**k you upset about? That the world isn’t feeling the fact you handled the whole secret kid by an ex-porn star terribly? That people don’t buy your tough guy mafia don shtick? Golly the contradictory song titles are running rampant on this album so far. This is one of the worst songs he’s ever made but it’s catch to me for some reason, and he’s coming with the bars full of f*****y. “I can’t go 50/50 with no ho” but didn’t you......you know what? I’ll leave it alone. On to the next song.

8 Out of 10: This ain’t bad at all. This reminds me of some Thank Me Later era s**t. The bars aren’t too cotton candy soft s**t either. The outro was mad unnecessary bro but whatever. Here we go ”As luck would have it I’ve settled into my role as the good guy/I guess luck is on your side” Ayo my man, since when did the public view you as the bad guy?? Seriously you’ve been trying to paint the picture of yourself as the reluctant paranoid super villain/king since the Take Care era (which was your best work by the way). The problem is, the vision never did fit accurately. All in all a good song and verses though I’d replay this.

Mob Ties: I can't put my finger on what this beat reminds me of. It's like some late 90’s early 00’s keyboard beats. I like it though. This s**t doesn’t bother me, he’s on his mob boss: “I’ll get people to take you out” nonsense. You say you “hired some help to get rid of these n****s” does that mean you hired some ghostwriters to write some bars? I’m asking for a friend. “I’m not with that ra-ra I am a da-da.” That was suuuuuuuper basura. Like c'mon man. I still kinda like this song though. But the bulls**t piles up so fast on a Drake album you need wings to stay above it.

Can’t Take a Joke: This s**t is kinda whack. So far the production hasn’t been bad at all for the most part. A lot of these songs are short, almost like they’re not fully fleshed out songs. Some of these have gaps on the hooks. I wonder, did he throw this all together in a week like Kanye? The only artist to make a classic in 7 days was the Don Killumintati himself Tupac Shakur. Facts. But this song was good, I was kinda feeling it. But it was too short and felt like a random song that shouldn’t have made the cut. If it was on anyone else’s album that would be the consensus, but since it’s Drake people will revere it. Oh well (*shrugs shoulders*). Matter of fact I really like this song or maybe I’m trying to really like this song maybe it’s just a glitch in the got damn Matrix who knows.

Sandra’s Rose: I LOVE THIS BEAT. This the s**t I can feel. Who made this? Preemo? Ah mannn I’m not surprised. Hats off to DJ Premier man, one of the greatest producers of all time. This Reminds me of Weston Road Flows. Totally different beat, but the same real soulful feel. Drake is putting his all into the song for a change. A lot of the songs on here he sounds real lazy. That’s what success will do to some people. Success can be just as dangerous as any drug, to the wrong person it can rob you of your hunger. Got it, “Sandra’s rose” aka his mothers son, aka the rose that grew from concrete. Gottttttt it. Clever song title, awesome beat, Preemo is a savage and gold bars from drizzy the Drake cake man, nothing really bad to say about the song, Drake was talking some silly dilly s**t a couple of times but ima let it slide on the strength of this song being so hot.

Talk Up (Featuring JAY Z): AHHHHHHHH S**T now this s**t right here (*Katt Willams voice*)???? is THAT S**T. About damn time. This motherf****r is a banger. Now who in tarnation made this beat? (*checks album notes*) DJ PAUL???? You ugly sonofab***h, you MURKED this s**t. This makes me want to go see that little Asian gentleman down in Houston that makes the grills, what’s his name? Johnny something I think? Whatever the f**k his name is, or Paul Wall baby! I'll get an iced out grill, buy an old school Chevy that cost 5 grand, get rims that cost 25 grand and a giant subwoofer that cost 15 stacks and takes up the entire backseat and trunk. Then I'll go down south and become a promethazine/codeine conisour. DJ Paul with one arm made a hotter beat than other tracks on here with multiple producers and like 8 different sets of arms, for real for real. Big Shouts to DJ Paul, you did the diggity damn thing on this s**t. Matter of fact, while I’m on the subject of Three 6 Mafia, shout out to Crunchy Black, top 5 dancer in the music game all time. You don’t know who I’m talking about? go on YouTube and check the 3 6 Mafia Videos and you’ll see the man’s footwork on display.

Sidebar: Top 5 dancers all time 1)MJ, 2)James brown, 3)Usher, 4)Chris Brown and 5)Crunchy Black. Word. If you disagree your opinion is worthless and irrelevant.

Anyway, this beat is hard as all hell. Drake is talking that talk on this, and you know what? I’m not even mad at it. And here’s Mr. Beyonce Knowles-Carter on the track. Even though they had their pseudo-beef for years but I guess it got squashed. (*Shrugs*) I’m not gonna lie Hov sounds kinda sleepy as f**k on this track. Was he getting into character and had DJ Paul pass him the sizzurp before he got into the booth? His verse is good though by his late career standards. The line about Xxxtentacion and George Zimmerman is the truth though, I don't care what you say. If you disagree you gotta rethink that. Hot a*s song man. Not mad at it in the least. Play this song on some good speakers for maximum enjoyment.

Is There More?: I like this song. I like Drake’s lyrics on this. Nice to see his lyrics and content match the song title. “They say take the good with the bad I’ll take it without” here’s out of touch Drake again. Like dog, you’re not Jesus, Lazarus or John the Baptist, you’re a NORMAL PERSON for f***s sake. Everyone takes good and bad, stop it. Again, too much success, not staying grounded and having too many yes men around you will blind you and make you unrealistic. “As soon as the album drops I’m out of the deal” ........ somewhere Birdman's hands stopped rubbing together. Good song and lyrics. Can’t really hate. That much.

Side B


Peak: AH MAN, I LIKE THIS S**T SON. This sounds like something that would’ve been on So Far Gone/Thank Me Later. This is like some Shut it Down part 2 type s**t. Which is a HIGH compliment. This s**t is SUPER HOT. B side is off to a REAL solid start. Even the washed out reverb guitar at the end is real vintage Drake. Whoever made this beat got jiggy on this s**t. Question is, Who made this s**t? Did 40 make this s**t? Tell me 40 made this s**t. (*checks album notes*) OF COURSE 40 made this s**t. 40 you did your thug thizzle on it. you’re the man. This song is a certified PD. If you’re a guy reading this and you don’t know what a PD is, you’re a disgrace. But yea, this kinda reminds me of Cece’s Interlude. It’s got that vibe, need I say more? Straight fire.

Summer Games: Aaaaand just like that here comes the garbage truck backing up. This s**t is bad. I literally only listened to this song all the way through because I’m on the job doing this review, but that’s it. This beat sounds like they used one of the basic arpeggio sounds off Fruity Loops demo version and put some drums on it. That’s not to say you can’t make bangers off FL studio. 9th Wonder made Threats off FL studio, and that’s one of of the hottest Jay beats of all time to this day. So it can be done, but this isn’t one of those cases. I agree that as an artist you gotta experiment and progress, but not all experiments are successful ones. This sounds like Drake is trying to have a song played at Electric Daisy Carnival this year. Fail for this. That “breaking my heart” chopped part is painful to listen to. This didn’t have to make this album. Drake Stans will obviously rock this song but not I. Skip button with the quickness.

Jaded: Hot a** song, should’ve cut the last song and cut right to this. The Ty Dolla $ign vocals in the back work really well. Can’t really find much wrong with it. I f***s with it. Drake stays trying to hit up his exes in songs man, you’re a messy a** beige bastard, you know that Aubrey? Well who am I kidding? of course you know you are, you knocked up a chick you met twice who just happens to be an ex porn star/gold digger and you had a baby with her. You’re the Messiest muaf***a of all time. Another thing, BIGGEST shouts to Max B, the original wave master. Drake used the word “wavy” on this album a couple of times. So he should be cutting Biggavel a check. Shouts to Charlie Rambo, hold your head (pause) you’re coming home soon I hear. When Max touches back down it’s literally going to be a national holiday. Anyhoo good song overall, definitely high replay value if it wasn’t for that abomination right before It I would’ve said from Talk Up to Jaded the Toronto tearjerker would’ve been on a little winning streak for this stretch of the album. Ohhh well.

Nice For What: The other big Drake single. I love the Lauryn Hill sample, but I never loved the beat. Once again never feels like it never really drops. I felt like more could’ve been done with it. My sister lived in New Orleans for a few years and loves the city soo much. She told me it’s a real New Orleans bounce sounding beat and that’s how it supposed to sound, so ima leave it alone. Believe me, it’s f*****g FULL of quotables that you’ll see ratchet or wannabe ratchet chicks quoting on social media till the cows come home. If you like the song I’m not mad at you, it’s just not for me that’s all. To each their own.

Finesse: Another song that sounds like it’s a throwback, which is a really good thing. This is a real vibe out song. this is what you listen to when you drink, smoke, Knit a sweater or whatever you do to relax unwind and zone out . “I want my baby to have your eyes” well sir, does Adonis have Sophie’s eyes? Release the pics and let the world know! Another song chocked full of female quotables. I’m not mad at the song. People are saying there’s lines about the Hadid sister on here, but we’ll never know because drake is the Mike of subliminals. Jordan Jackson Tyson pick one. I like the song a lot though, it’s kinda short but that seems to be a trend here.

Ratchet Happy Birthday: This song is corny as f**k. Ok, if it’s one thing I can’t be mad at Drake at all for, it’s that he knows his audience. What did Funkmaster Flex say? “70 percent of your audience wears high heels”? I don't know if it’s that high, but it’s up there. He makes songs for women to apply to their life. He’s a genius in that regard. This song title will be the caption on scores of chicks’ social media posts on their birthdays for eons to come. He’s a smart guy. No one ever got rich being dumb. I like the sample but not the song, I’d even go as far as to say this is the weakest song on the album. Skip.


That’s How You Feel: Eh, not that great. Another short a** song that sounds like it’s not fully finished. A couple of the songs on this B side could’ve been cut. I don’t hate the song but I wouldn’t have been mad if it didn’t make it. The Nicki vocal sample is ok, but she said one of her rules is she f**k her man’s friends if he’s acting up. Nicki, that means you’re a thot where I come from, but whatevs. Different strokes for different folks. Song is ehhhhhh not really anything to go crazy about though. Lukewarm a** Drake song.


Blue Tint: The beat is cool, and I like the Future vocals, but he definitely should’ve had a verse on here. That would’ve made this song way hotter. He even said “What a time to be alive” on the track. You all remember that project right? That Future album with some mediocre a** Drake features right? I figured you all did. Anyways, so why didn’t Future get a verse? The song has a nice bounce on it, but I was 50/50 on it. Is it just me or do a lot of these songs sound unnecessary? I don’t think it’s just me.

In My Feelings: Kind of an ok song. I’m ashamed to say kinda grew on me. I didn’t want to like it. Anyway, it's another song with the New Orleans bounce and flavor. I guess Drake is gonna add the crescent city to the list of places he reps. This song is super ehh. Weezy got some ad libs and vocals on it. Sounds like Mannie Fresh made the beat. Especially the part at the end, sounds like some vintage Guerrilla warfare Hot Boyz s**t, and you all know I’m all for that s**t. A bunch of these B side songs are not great and short, which is concerning because quality control on albums has always been one of Drake’s strong suits. Ever since Views it’s been slipping. My question is directed at 40. You’re the executive producer extraordinaire, you should’ve cut some of these joints man. I expect you to be the man to save Drake from himself. I blame you for this f*****g mess 40. I don't know what’s with the female ratchet dynamic duo on the song either, super random. That being said I’m kinda feeling this track.

It Don’t Matter to Me: So the night before the album dropped, the track list released and I immediately saw this. Now anyone who knows me knows I’m a HUGE MJ fan, and a historian of his career. That being said, I don’t hate the song. I’ve talked to come other MJ enthusiasts I respect, and the opinions have varied. No surprise 40 and Nineteen85 handle production on this. As usual, Drake is pulling all the resources from the OVO sweatshop on this (PartyNextDoor, Majid Jordan, DVSN). I wouldn’t have been mad to see Jordan Ulman handle production on this. Majid Jordan is the truth. Anyway I’m loving the 80’s vibe 40’s got going here. The percussion in the background kinda sounds like the percussion on Africa by Toto. If you don’t know that song, take a long walk off a short cliff. Your musical knowledge is a joke. Drake was careful not to curse or talk too greasy on this track. He respected the late, great GOAT. I really like how 40 made the beat around MJ’s vocals and didn’t speed up or slow down his vocals. How did they did they clear MJ vocals?? Paris Jackson is probably a fan. That’s another thing I can’t take away From Drake, his clout in the industry is longer than Trump’s ties. Mike’s vocals are so stunning and flawless, he doesn’t ride the beat, his voice glides over it. To be completely real his vocals turn this from an otherwise generic Drake ballad into a great song. I really liked it. Once again RIP to the greatest artist of all time. You already know this is getting replayed mad times.

After Dark (featuring Static Major & Ty Dolla $): This s**t sounds like It should’ve been on Tha Carter 3 or around then. That being said, I would’ve liked it more if Weezy F baby (please say the baby) had done this song back in the day. Doesn’t really work for Drake. I’m loving the Ty $ part, Matter of fact, if this was a Ty song I would’ve like it way more as well. Basically, I would’ve like this song more if it was ANYONE besides Drake. Also Static Major is on here, I’m not mad at that either. RIP Static Major but tbh this is another ehh song off the b side but I’m not too mad at it. Drake’s on his creep s**t here, you should’ve chilled with that creeping after dark s**t. Man, that’s how you got into this mess in the first place.

Final Fantasy: When I was first listening to this song I was about to skip this s**t then the bass kicked in and I was like HOLD up, this s**t is hard. I got all the way into it this. It's is hot as hell, but then it cuts short into a whole different song. More of a singing Drake song, which I’m not mad at, but the overall trend yet again is that these songs are short or sound half don.e This one in particular he just combines two songs to make them one. I’m sure disciples of the church of latter day Drake’s will say this is the bridge or reprise of breakdown but na man, can’t get that. This isn’t the 20/20 experience, you can’t fool me. Don’t get me wrong the second part is super hot too, but it needed to be a song on its own. Just like the first part both songs would’ve been wayyyy better as full songs in their own right. He should’ve cut that summer games trash or ratchet birthday s**t or a couple of others on here and put two full songs on there. But hey it’s Drake’s world and we’re just living it right? Riiiiiiight.

March 11: Drake Intros and outros have always been real strongpoints of his albums. The baby was born in October, so maybe this is the date he got the paternity results. Just guessing. Alright so here it is. For all the tough love I’ve given Drake on this, I’m honestly loving this song. The fact that he handled the whole situation horrendously doesn’t change the fact that he’s a human being. He’s imperfect. He makes mistakes. From all his lyrics he would have you believe otherwise, but it’s the facts of life. It’s his child, and it was his choice how to handle the whole situation. Regardless of if it was a good or bad choice, it was HIS choice. It’s so easy to judge for the outside looking in. It took him 25 tracks but he’s finally opening up. This is the essence of what made Drake so marketable in the first place. That's his ability to bare his soul and feelings. He’s become more and more out of touch with that as time has gone on, but that can happen. People change, and not always for the better. However it’s rough to judge him being in such a high position financially and otherwise. Under such scrutiny and being in the public eye every second. The sad thing is as a fellow mixed kid who grew up with an African American father and a Caucasian mother who divorced, I kinda feel for him at times. It’s tough to find your way in the world that’s black or white and you’re both. Regardless of the s**t I’ve talked about you Drake it’s always mixed mafia for life. I was really feeling this song, and the lyrics. And the concept. And the beat. My only gripe (and this is nit picking) is that it was only one verse. It should’ve been longer, but maybe that’s all he needed to get s**t off his chest to his satisfaction. That faux gospel 90s singing breakdown at the end I could’ve done without for sure. You’re singing about you’re all alone? That’s by your own design buddy, and you’re changing from a boy to a man? You’re 30+ you’re changing NOW? Jeez man you really know how to f**k up a good thing. I was singing your praises finally and you go and do this f*****g s**t. Oh well, but again short but great song. Another worthy addition to his stellar intro/outro catalog he started on So Far Gone. This song just overtook Look What You’ve Done as the most personal he’s ever made. He closed the show on a good track. Short, but good.

And there you have it. 25 tracks from wheelchair Jimmy, it was a long one. A marathon of a listen, not a sprint. So what did I think: It was very well produced, the production sounded expensive on this one. Very immersive, very lush, expansive. He’s always had a golden ear for beats, but that I attribute more to 40 than to Aubrey. So 40, Another well executive produced album. Please make more beats on the next one. Your lack of production on here was noticeable. The overall sound of the album was really good, so high marks there. As far as writing goes, Drake has always had a habit for delivering some head shaking bars and cringe-worthy punchlines, and there are certainly no shortage of both on this album. The few times when he drops that nonsense Teflon don persona and actually acts “human” (Sandra’s Rose, March 14th, Is There More-sorry but Emotionless sounds rushed and saccharine) is when he shows his true talents as a songwriter. The problem is this: this album could’ve been a magnum opus, a Take Care 2, a follow-up to the REAL magnum opus of his career to this point. He could’ve broken new ground, taken his music to yet another level. He could’ve used this moment post-Pusha T loss to really refocus and turn in his best work. This was the perfect opportunity to really, REALLY open up to the world, more then he ever has in his discography. But instead, for most of this album, he pretty much sticks to the script he’s been on most of his career. He fails to even go into any real detail about his son, save one single verse on March 14th, and a couple of random half-hearted lines on Emotionless and scattered elsewhere.

Presented with a golden to opportunity to truly bear his soul, he opts to wow us with expensive production and all-too familiar subject matter. It would seem the more successful he’s become, the more isolated and insulated from reality he gets. The one burning question now is, how many times can you say the same things differently? I believe Drake has finally reached a plateau. When there are no more genres to conquer, no more records to break, no more peaks left to climb, what do you do? This is the crossroads Drake finds himself at currently. Only time will tell how he handles this, and what road he decides to take. The sound and style that made Drake arguably the biggest name in the music world is finally beginning to wear thin. Nothing lasts forever, and Nothing Was the Same. Still, despite the lows there were still the highs that remind you when Drake is hitting on all cylinders, he’s without equal in the rap game. Now that he’s a father, I’m hoping the monumental change in his life this will cause his music to change and evolve as well. I suppose the next chapter in his career can be summed up with one of his song titles. Is there more? Time will reveal.

Album Grade: 6.7/10

#ICYMIMonday: Carrollton Heist - @CurrenSy_Spitta & @Alchemist; A Niles P. Joint

Curren$y is equal parts prolific and cool.  Over the years he’s had nearly fifty projects released, between solo albums, EPs, mixtapes, and collaborative projects.  And each one displays an unwavering confidence in each syllable he writes.  Carrollton Heist is his second collabo project with super producer The Alchemist, the first being the superb Covert Coup.  Five years later, they reconvened for another free EP/mixtape, this time with no warning.  While most fans would be happy with whatever these two put out, they managed to surpass the last joint with a project that’s even more cohesive and plays like a vintage Hollywood flick set in New Orleans.  Long story short: it’s cinematic in scope, despite still qualifying as an EP.

Cartridge feels like it’s tailor made for the opening titles of a movie.  Spitta has his usual understated bravado bars present, but the drum decrescendo Alchemist slides in is brilliant. The film noire vibe is heavy in Black Rally Stripes, especially in lines like “Man/ Bourbon St. secrets & avenue scams/ Shit get deeper/ The more you know, you prolly wish you didn’t know.”  This is a setup that pays off at the end of the next track Vibrations.  But first, we’re treated to an interpolation of the chorus of N.O. classic Ha.  With the help of a prominent saxophone, Curren$y puts his foot down lyrically.  It can’t be undersold: duke sounds like a rap Humphrey Bogart in his poise.  The final quarter of the track is a dialogue sample from an old-timey film that features dudes discussing a heist, hence the EP title.

The Alchemist has always had a heavy element of spookiness in his production, and Disappearing Ink featuring Styles P. is a prime example.  It’s dark without the cliché of feeling like a gritty reboot.  Inspiration has the electric piano wheezing along as Spitta shows you how he’s “cooler than a polar bear’s toenails.”  Action Bronson, also a frequent Alchemist collaborator, makes an appearance and spits some bars straight out of a classic mob flick.  The dialogue sampling  returns, but this time it’s at the beginning of 500 Pounds of Gas.  The sample talks about chemical warfare, the lyrics are more so about large quantities of herb.  Spitta will always find clever ways to talk about weed.  At the end the characters talk about dividing up money.  More clever wordplay is abound in The Mack Book, which goes with a more Blaxploitation-type route but nonetheless fits into the overall scheme.  

93 AMG is more grim & melancholy fare in its tone.  It only has one verse and serves as a set up to a discussion where the characters in the sample talk about doing a dry run of their heist.  The tone goes full New Orleans in the penultimate Fat Albert.  Curren$y opens the track, but Lil Wayne dominates the last two thirds of the track with uninterrupted rapping.  The veteran still has a little something in the tank.  Smoking in the Rain is the pensive conclusion as Curren$y waxes nostalgic about a woman while still maintaining a quiet tenacity.

The most incredible thing about this album is that it was created in a literal day.  The mastery of both rapper & producer on this project is apparent.  What’s also impressive is the fact that both dudes had enough clout to get three high-profile guest appearances despite it being created on short notice.  The greedy ass fan in me wishes that it was a little bit longer.  At under half an hour it falls into EP range, with three of the ten tracks being just over two minutes each.  But at the end of the day, it served its purpose and had more range and creativity than most other projects that may be longer in running time.  There’s no filler or wasted motion.  Carrollton Heist shows that when Curren$y and The Alchemist link up musically, it’s a championship combination every time.

Rating: 4.80 out of 5

Download Carrollton Heist via DatPiff here.

Flashback Friday: So Far Gone - @Drake (@RamseySaidWHAT)

Flashback Friday. Let's take it back to high school, better yet the summer before my freshman year of college.

As you could imagine it's a crazy dope transitional experience for a young man trying to figure out who he is. At the time I wasn't sure how much music impacted my life then as it does now. I was really into R&B and Gospel growing up so it took a lot for a Rapper to catch my eye (I mean ear). Enter Drake. Best I Ever Had was killing the radio and I hadn't heard Comeback Season yet.

Turns out this random killing the airwaves has already got the cosign from Lil' Wayne and Trey Songz. This guy must be nice. With a little more research it turns out this is Wheelchair Jimmy from Degrasi. Go F*cking Figure! Anyways, So Far Gone is still one of my favorite Drake projects through and through. Hits like Best I Ever Had blasted through common hour speakers on my campus as greeks strolled along.

As I said I was in a stage where I was trying to find myself. I'd always loved music but this is right around the time I knew it would follow me for the rest of my life. So intrigued by the hits I went back and listed to the tape itself. Drake has always been good at being vulnerable and showing sides of him that most artists would keep secluded. He rapped with a chip on his shoulder and at the same time talked about love and hunger for the top. There are two tracks I enjoyed and still bump today. They are Say What's Real and Fear, the bonus track. Say What's Real is over Kanye's Say You Will instrumental. The track is exactly as the title. Drake breaks down his adjustment to success and money and how it affects his relationships with his mom, uncle, and girlfriends.

Fear is similar. "I think they call this venting," he begins. The instrumental plays and he makes himself vulnerable. Successful, also featured on Trey Songz Ready album as a bonus killed the airwaves as well. November 18th was perfect for the cypher and A Night Off with Lloyd was the one for the bedroom. So Far Gone was full of gems and will remain an instant classic for me. It was even nominated for a Grammy. You don't ever see that happen to mixtapes. Omarion, Bun B and other big and small name artists made appearances on this project. To this day I could argue that this stood out as one of Drake's best pieces and will be remembered for a long time. Reminisce with me below and stream Drake's So Far Gone

 

#TBT Thank Me Later - @Drake by @SimONE_OFMYKIND

If you’re reading this it’s time to go back a few years. 2010 to be specific, that's when Drake dropped his freshman album Thank Me Later.

Personally my favorite album by the 28 year-old Canadian rapper. While there were a lot of mixed opinions on the album the numbers this project produced disregarded the negative feedback, proving that this was a pretty solid album. In the first week of sales it sold 447,000 copies. Thank Me Later peaked on the US Billboard charts at number 1, and held that spot for three weeks.

Following his tape So Far Gone, Drake continues to prove and showcase his talents as a rapper that is well prepared to be mentioned along with some of the biggest names out. We are also given a better taste of Drake talents as a singer and as a great songwriter. Drake delivered smooth, articulate flows over majority down tempo beats throughout the whole album. The 14 track album Drake talks a lot about relationships, women, his grinds trying to keep a name for himself. The singles from Thank Me Later included Find Your Love, Fancy, Miss Me, and Over. In my opinion the singles were the throw aways from the album so if this was done on purpose kudos to Drake and his team for leaving the treasure tracks hidden. I wouldn’t skip any tracks on the album but my favorite tracks from Thank Me Later were Karaoke, Fireworks, and Unforgettable.

Collaborations on albums can go two ways. On one side collaborations actually add to the quality of the album, and if the artist and their feature have sounds that compliment each other the product will be gold. Unfortunately the downside to collaborations is that having too many features can take the spotlight off of the artist’s talent. There is also the chance that their feature might even give too much to the track. I know it does not hurt to share the wealth but I would be a little embarrassed if somebody else lit up my track. With that being said, Drake could’ve chilled out on the features especially for a studio debut. Half of the tracks feature another artist or two, so it makes you think was this album held down by some of the features? Drake collaborated with some very heavy hitting artist on this project such as Alicia Keys, Nicki Minaj, Jay-Z, Lil Wayne, T.I., Swizz Beats, Young Jeezy, and The-Dream. Because Drake has a style that is so versatile he sounds great collaborating with all of those artist, but Nicki Minaj’s flow went a little harder on the song Up All Night so it definitely sounds like she briefly stole his shine.

Compared to his latest project If You’re Reading This It’s Too Late,  Thank Me Later was a very turnt down, chilled out album with dope beats and smooth coherent  flows combined with all of Drake’s emotions that we love. This is not turn up music, or conscious music, or the "I’m a rapper so let me stunt on y’all" music. This is music to really vibe and ride out to, something that can be played in any setting honestly. During summer 2010 whether you were at a party, just riding around with the homies (even by yourself), chilling with the bae, whatever you were doing I bet at least three songs from Thank Me Later were playing. That was definitely the case for me, this was my whole summer’s background music.

#IME 9/21 - Ramsey

In My Ears: Week of September 21st, 2014

This week has been spent writing and shooting a lot of different stuff. I haven't really spent the time listening to new music except for what's been submitted to me. Well that and these few things that stood out in my earphones this week. Check it out below.

Albums of the Week: Hall of Fame by Big Sean & PARTYNEXTDOOR2 - PARTYNEXTDOOR

It's safe to say Hall of Fame went fairly unnoticed in the hip-hop scene except for the week it dropped. It's really an underrated album. We just spent our time listening to a lot of other dope much last year. Sit and listen to Ashley featuring Miguel, Fire, 10 2 10, Switch Up featuring Common, and of course beware with Jhene Aiko and Lil Wayne. Do it now before you listen to Drake or Hova again.

Most people's complaint about this album is it sounds like one giant song put together. I spent a lot of time in my car, coming back from the bar or a shoot this week. When you're a little turnt (I in no way condone drunk driving so I had a designated driver I promise), this album is pure crack. I revisited it once the Wale remix to Thirsty dropped last week. Go head, grab a beer, a glass of vino and turn the bass on your subwoofer up.

Song on Repeat: Sixteen by Rick Ross featuring Andre 3000

People tend not understand Three stacks when he gets to babbling. Truth is, he's not. he's always telling a story but I guess people take it for a grain of salt. Kinda like that great uncle you have that's always a little too turnt at the family barbecue and when he get finished his two step he reminisce about the good ole days. Oh, and Rick Ross spit fire too. 16 bars, it could never be enough.   

Throwback Jawn: Black N Gold by Wale

This song, is straight fuego (spanish for fire) to the ears. I could never get enough of this time. In fact I'm listening to it as I type. There'll be More About Nothing (that's a play on words, just peep WTM tonight) later on today around 8 PM. Stay tuned.

Indie Track: thefeelin by Sir Moore

Rounding out what I've been listening to this week is Sir Moore. His second project dropped last week and it's definitely been on repeat. thefeelin samples the classic Sexual Healing, and everyone needs a little Marvin Gaye. Great production, tight lyrics equals great song. Want my full opinion on this, read WTM review of summerDAZE.

Drake - Views From the 6 Announcement

Very little is considered coincidence in my eyes.

In the past 24 hours WTM posted about PARTYNEXTDOOR and Majib Jordan's upcoming projects. Then OVO head Drake decides to release the name of his next album. Views From the 6 has no release date set. I imagine the Toronto based rapper will get to work following his tour with Mentor Lil Wayne. He's already been seen in studio with Chris Brown signifying the end of their beef. I guess Rihanna can't even stop the music, get it? Please Don't Stop the Music, her song? Moving on, like I said before, OVO is cookin' up something serious. Pay attention, get with it or get left behind it seems.

Opinion - My Krazy Life by YG album review by Niles Cavanaugh

"So this YG album I have to review sucks kind of.  Beats all sound the same."
"Well it's probably made to sell."

That was a conversation I had with my homegirl Jazzy about My Krazy Life. When Ramsey assigned it to me he described it as the gangbanger perspective to the same Compton Kendrick Lamar spoke about in his debut album.  Listening to it on the long and taxing drive home from Cherry Hill, I found that Ramsey was right about it.  This album tells a story, albeit loosely, of a day in the life of a Tree Top Piru Blood in Compton.

Being that West Coast hip-hop has been on an upswing the last couple of years (especially with ScHoolboy Q dropping Oxymoron a couple weeks ago), I was intrigued by this concept. As I listened on my trip home, I was sorely disappointed.

My Krazy Life does loosely tell a story of a day in the life of a blood in Compton, or Bompton if you choose. Lyrically and content wise, you aren't being sold a false bill of goods here. The subject matter is somewhat repetitive but makes sense. Smoking drinking, partying, fighting shooting, hanging out with your set f*ckin chicks are apparently what happens in a typical day for a blood around the way. I have no issue with that because you can tell YG isn't bullsh*ttin' listeners in any way shape or form. He's just speaking on what he knows on songs such as BPT or the blood-coded Bicken Back Being Bool. He also frequently uses interpolations of throwback West Coast hits in his rhymes. While he may not have the same lyrical technique and flow finesse as The Game, any of TDE, Fashawn, Crooked I, Murs, or any other left coast MC out there, YG still speaks in authentic language and comes from the heart in most of his raps. He's not going to be in anyone's top 5 dead or alive list, but tolerable lyrically, albeit average.

The main trouble with My Krazy Life is the beats. If you're going to be an average newcomer newcomer in a hip-hop scene that seemingly sees thousands of releases per week, you have to be carried by top-notch production if you don't have the necessary wordplay to stand out. YG doesn't have that. Out of a possible 17-18 songs (depending on the edition you purchased) the aforementioned DJ Mustard either solely produced or at least had a hand in produced or at least had a hand in producing 12 of them. The beats stay true to the album's California roots but largely get repetitive and boring after awhile. I understand that you want any album to have a consistent vibe when it comes to production, but almost all of this sounds the same. In an interview with Hip-Hop DX review, DJ Mustard compared the album to Dr. Dre's classic The Chronic. while that album had a consistent vibe and formula, you could at least tell the songs apart. I got the feeling that the beats were like a modern day g-funk soundtrack of an old video game or something. Combined with the subject matter that's standard at best, you aren't looking at anything Earth shattering.

There are a few gems here, don't get me wrong. I Just Wanna Party is pretty good and comes with a double assist by ScHoolboy Q and Jay Rock. Really Be shows that YG can avoid getting completely eaten alive by current California hip-hop king Kendrick Lamar. 1 AM is too short yet solid, and Sorry Momma is the best song on the album. It's an introspective joint co-produced by Terrance Martin and DJ Mustard that survives an appearance by new guy Ty Dolla Sign. Even the bonus track Bompton has replay value. Overall this album has a lot of filler, and like Jazzy implied, this album was seemingly made to sell. There's an obligatory Drake appearance on Who Do You Love? and the radio smash My N*gga (or My Hitta as heard on the radio) sounds like your average irritating hit hip-hop song of today. The original features label boss Young Jeezy and fellow new act Rich Homie Quan. The remix on the deluxe edition features Lil Wayne, Nicki Minaj, and Meek Mill. Clearly this was built for spins and nothing else.

Overall, this album fell short of the expectations that I had. While it does show a gangster's view of Compton, it ultimately sputters once you realize that gangsters don't do much and seemingly don't leave the neighborhood in which they reside. Put these stories over mostly bland beats, and you don't have much of a memorable album. It doesn't compare to good kid, m.A.A.d city or Oxymoron because it lacks the rich production and lyrical diversity to keep up with it's peers. This album will have and audience though. Fans of a new school radio rap will find it catchy. People from Compton and like areas in Cali (shoutouts to Tori who also put me on the album) will be able to relate to some of the culture and references and therefore embrace it. At the end of the day, My Krazy Life sounds like other albums before it and will eventually sound like other albums after it. It won't go down as a classic, or make my top 10 of 2014. It'll just kind of something that happened. It was an album that was made to sell and it shows.

Short backstory: hailing from Compton, YG is a Tree Top Piru Blood who is signed to Jeezy's CTE World/Def Jam. He released a number of mixtapes and frequently collaborated with producer DJ Mustard starting in 2010.