Dummy Boy, Championships & Street Gossip

Hello fans, back at it again with another weekly condensed blog due to schedule/work complications. Don’t worry, when I get rich off this rap shit I’ll make sure to give you guys daily detailed content, but for now, I gotta pay the bills. This week we’ll be reviewing 6ix9ine’s DUMMY BOY, Meek Mill’s Championships and Lil Baby’s Street Gossip. There were more releases this week that I wanted to review, but alas, there are only 7 days in a week. Without further ado, let’s see what’s really REALY good with these projects.

6ix9ine – DUMMY BOY

The most controversial figure in rap dropped his second project of the year from behind bars unconventionally on a Tuesday, giving it a short week for the sales that he covets. The internet personality who happens to rap got jailed on charges of racketeering, drug distribution and conspiracy to commit murder. His arrest interestingly came three days after a well-publicized Breakfast Club interview where he addresses firing his entire management team via Instagram while also promoting the album. This is just the latest and greatest of scandals that have come at the internet personalities expense. I’m hesitant to even call him a rapper because almost no news that comes from his camp has anything to do with music; only manufactured beefs and trolls manifested from his own Instagram account and interviews. But because he’s an extremely hot topic on the internet and the streets and he just happened to put out a rap album that’s going to garner a lot of attention based on his situation. I’m here to review it and listen to it with an open mind. For the culture of course. 

  1. STOOPID (feat. Bobby Shmurda): 2.5/5
  2. FEFE (feat. Nicki Minaj, Murda Beatz): 3/5
  3. TIC TOC (feat. Lil Baby): 3.5/5
  4. KIKA (feat. Tory Lanez): 4/5
  5. MAMA (feat. Nicki Minaj, Kanye West): 3/5
  6. WAKA (feat. A Boogie wit da Hoodie): 3/5
  7. BEBE  (feat. Anuel AA): 4/5
  8. MALA (feat. Anuel AA): 3.5/5
  9. KANGA (feat. Kanye West): 2/5
  10. FEEFA (feat. Gunna): 4/5
  11. TATI (feat. DJ SPINKING): 3/5
  12. WONDO: 3.5/5
  13. DUMMY (feat. TrifeDrew): 4/5

Alright, so this project does have a few good songs on it. However, the body of work overall leaves a lot to be desired. This shit is hugely feature-heavy; Tekashi is outshined by nearly every guest feature on his album. Ironically, a lot of the guest features are the highlights of the project and give some of these songs a little bit of replay value; Tory Lanez, Lil Baby, Anuel AA, Gunna & TrifeDrew give us the top five moments of the project as featured artists. Tekashi is not a very good rapper; he is extremely limited in his vocabulary/lyrical content and quite frankly even with the charges he’s facing doesn’t sound very believable when it comes to his material. He’s got a very distinctive aggressive delivery, picks decent beats and has some natural talent when it comes to melodies, but for the most part, he is way more bark than bite when it comes to his hype level. He may be one of the hottest figures in hip-hop, but until he gets out of jail and finds his voice, I can’t call him a real artist or take him seriously as a rapper. 

Final Score: 64/100

Meek Mill – Championships

I’m going to admit that I have a slight bias when it comes to Meek Mill. If you’re familiar with his story and you aren’t a sociopath, you want to see this guy win at all costs. Even if you don’t want to see him win, he’s going to get his regardless as he’s objectively one of the top five guys in the rap game whenever he drops an album (#1 if we are solely talking street-based artists). This is his first full body of work since his release from prison in April. I could get into all of the adversity Meek has had to deal with regarding the court system in his hometown of Philadelphia, but I’ll leave that to the experts; you can read about his ongoing struggles with the justice system here. His story is unbelievably inspirational, and he never shuns the opportunity to inspire others and shed light on his life past and present through his music. This album was highly anticipated, and judging by Meek’s consistent musical track record, he will continue to deliver street content at the highest possible level. But I digress, let’s see what he’s got for us with his fourth studio album.

  1. Intro: 4.5/5
  2. Trauma: 5/5
  3. Uptown Vibes (feat. Fabolous & Anuel AA): 4/5
  4. On Me (feat. Cardi B): 4/5
  5. What’s Free (feat. Rick Ross & JAY-Z): 5/5
  6. Respect the Game: 5/5
  7. Splash Warning (feat. Future, Roddy Ricch and Young Thug): 4/5
  8. Championships: 5/5
  9. Going Bad (feat. Drake): 4/5
  10. Almost Slipped: 4.5/5
  11. Tic Tac Toe (feat. Kodak Black): 3.5/5
  12. 24/7 (feat. Ella Mai): 4.5/5
  13. Oodles O’ Noodles Babies: 4/5
  14. Pay You Back (feat. 21 Savage): 4.5/5
  15. 100 Summers: 4.5/5
  16. Wit the S***s (W.T.S) [feat. Melii]: 3.5/5
  17. Stuck in My Ways: 4/5
  18. Dangerous (feat. Jeremih & PnB Rock): 4.5/5
  19. Cold Hearted II: 5/5

I definitely expected Meek to deliver a good album, but even I as a huge fan didn’t expect something this impressive. This album is very long, coming in at 19 tracks and 1 hour and 10 minutes, but minus a couple of songs that were slightly above average, this album is consistently fire from top to bottom. Meek gives us some hip hop content that will go down in the history books and will have replay value many years from now. He set himself up for lofty expectations with epic samples he chose for some of the best tracks. Classic rap songs “Get Away“, “What’s Beef” and “Dead Presidents” all share the same samples Meek chose for his most powerful tracks, but Meek delivered on the highest level on all of them and gave them the justice that they deserved (despite the opposite treatment he’s received from the legal system). As well as songs where he gives listeners epic free game regarding more than just the streets, he also proves he’s a complete rap artist by collaborating with all kinds of different artists and giving us different types of records. He shows he can make club records, songs for the ladies, and also the high energy street anthems again and again. All in all, this is arguably Meek Mill’s best album/body of work of his entire career and is definitely worthy of being in the Album of the Year discussion.

Final Score: 90/100

Lil Baby – Street Gossip

This scorching newcomer of the year contender has blessed us yet again with his third full body of work of the year. He’s only a month and a half removed from his highly acclaimed collab project with Gunna Drip Harder, so Pee and Coach K clearly want to strike while the iron is hot, just like how they did with the Migos last year. I like Lil Baby; I like his style, and I love his flow; Atlanta street music with a catchy melodic delivery that is distinctly his own, but I do worry about the quality of the music when the quantity has been so plentiful over the last several months of 2018. I have doubts about his ability to sustain this level of output and also to maintain the quality of the music he’s been putting out because everything he has put out this year seems to have taken off. But in all honesty, I should stop worrying and enjoy the moment for what it is. Let’s stop speculating and get to this music shit.

  1. Global
  2. Pure Cocaine: 4.5/5
  3. Crush A Lot: 4/5
  4. Time (feat. Meek Mill): 4.5/5
  5. Ready (feat. Gunna): 3.5/5
  6. Word on the Street: 3.5/5
  7. This Week: 4/5
  8. Anyway (feat. 2 Chainz & Gucci Mane): 4/5
  9. No Friends (feat. Rylo Rodriguez): 3.5/5
  10. Realist in It (feat. Gucci Mane & Offset): 4/5
  11. Section 8 (feat. Young Thug): 4/5
  12. Chastised: 4.5/5
  13. Dreams 2 Reality (feat. NoCap): 4.5/5

Lil Baby is officially 3 for 3 regarding projects in his breakout 2018 year. There’s not much to say about this project other than that he sticks to the script that has been so successful for him thus far in 2018. All of the features are frequent collaborators or Atlanta natives that make similar music, and all the beats are done by the same producers he’s been working with during his red-hot run. He sticks to his comfort zone, crooning about the streets over trap production, and because he’s relatively new on the scene, I’m not tired of it (yet). I’d like to see him expand his sound and take some different approaches to songs in the future, but for now, I’m okay with him staying right in his own pocket. No bad songs per usual and the project isn’t long enough for it to get redundant or boring. The rookie shoots par on the most challenging course: Atlanta hip-hop. 

Final Score: 81/100


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