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Tuesday, June 29, 2010

Why the BET awards don't matter

I know, I'm a hater, get over it. But honestly, the BET awards while a half decent spectacle, don't mean anything. The only time most people over 25 actually watch the channel is for this show so to think it might represent the actual feelings about black people is ridiculous. Beyond that, there are no real criteria for actually winning an award and by the end of August I can tell you who will win every award for next year just based off of the remaining year's release schedule.

(I'm sorry but her mannerisms are not cute)

For instance, as an example of how the awards have no weight or meaning, look at the Female rap artist award. There was no one who even has accomplished anything in their career ever to win an award. Now a days if you have a single that has a buzz you will get a nomination, hell you don't even need that because Lil Kim and Rasheeda managed to get nominated. Nicki Minaj won by default, they should have cut the category just because there weren't even three people deserving.

 Then how can Drake without having an album out, win hip-hop artist of the year? I could understand next year him winning it (but then again BET will want to give the award to either Wayne or TI as they will both be home, I already know this). He has a buzz, that's cool but hip-hop artist of the year GTFOH. This is what i mean about the awards not having any weight. It's like there is no committee which is truly measuring the depth and weight of the artists and songs in each given category.

The third reason they don't matter is that people randomly refuse to show up unless they are trying to regain some street or urban credibility. Just look at how many years Usher went between performing. Notice how often Jay-z and Beyonce don't show up at all because this isn't important to them. However, guess who shows up to the Grammy's and AMA's?

The final reason that the BET awards don't matter to me is because I continuously see how little regard half of the urban acts of today have for their live performances. They don't edit their verses and curse with reckless abandon, they haven't practiced and lack breath control or just plain show how terrible they actually sound while singing. As something to pass the time, I guess you could do worse than the BET awards but for me it's just an annoyance at times, but it isn't a true measure of greatness by any means.

Monday, June 28, 2010

The man behind the man...

So I'm searching for things to write about and I hit up and saw an interesting editorial by Cedric Muhammad about Jay-z being a "Rich Righteous Teacher". The article seems long and a little disjointed but one thing did strike me early on in the article and this is an excerpt:

With all due respect to the conspiracy theorists and groupies on one hand, and the established Hip-Hop and mainstream media on the other – in 2010, anyone’s analysis or critique of Jay-Z’s career has little credibility with me if it does not factor in the role that John Meneilly – his business manager and adviser has played in it. It is actually a supreme compliment to Jay-Z and John Meneilly and a discredit to the journalism profession that the most talked about celebrity in the history of the Hip-Hop culture and industry has the least talked about business manager. Sadly, it is a sign of two things: how ignorant of business the Hip-Hop culture continues to be and why its media – talk shows, magazines and blogs – have little to offer those seeking to find a way through a global recession and music industry in transition. Last I checked as of the date of this writing there was not even a Wikipedia page entry on the man arguably most responsible, other than Jay-Z, for certain key business moves he has made. Nor, are there hardly any pictures of him on the Internet.
It's true, I looked. This guy could be the Keyser Soze of hip-hop right now because he is helping to control the pulse of the people in urban communities through Jay. This is more evidence that there is no "illuminati" connection or reason for Jay-z's success, rather it's picking the right people to help guide his career. First Dame, now this man.

I also thought this was important for another reason, it shows that you can be involved in hip-hop, be a power broker of all sorts yet you don't have to be in front of a damn camera, in fact it behooves you to not be seen that much. Trust me, this guy has money, and he damn sure has power. The problem with hip-hop culture is that everyone is so intent on being seen, being in the public eye and getting the fame instead of getting things done. 
 (once again definately check out Cedric Muhammad's blog about Jay-z and his business sense)
 It's imperative that young people in hip-hop know and understand that Jay-Z is just the image. Not to say he is an idiot or that he doesn't have ideas and a strategic vision, you have to be able to use other people in your circle or team for their strengths. You have to find people more experienced or connected than you in some areas in order to be successful.

Friday, June 25, 2010

Album Review- The Roots- How I Got Over

There is nothing more ubiquitous when mentioning "real" hip-hop to some people than that phrase and The Roots. The hip-hop group/band has been almost single handedly it seems, keeping the idea of live music and rap alive for getting on a quarter of a century now. The Philadelphia group even has become the house band for Jimmy Fallon's late night show. Of all hip-hop cult followings, theirs is probably the largest. "How I Got Over" marks the third album on Defjam which was supposed to catapault them into the stratosphere of success because it seems some people still don't know who they are though they have hit every continent except Antartica.

This soulful undertaking begins with a musical intro-lude called "A Peace of Light" then goes into "Walk Alone" which features P.O.R.N., Truck North, and longtime secondary vocalist Dice Raw. "Dear God 2.0" would qualify as the official second single where Black Thought (the most well-known unknown lyricist) talks about all of the things facing us in the world today. Im not sure what "Radio Daze" is about but I do know that Thought kills Dice, Phonte and Blu on the track. Dice Raw gets some back on "Now or Never" which also features Phonte from Little Brother as they talk about getting themselves together as their environments show elements of

Is followed by a J. Dilla piece for an interlude as is required from all soul hip-hop artists now apparently. "The Day" is a subdued song that allows the artists on the track, Blu, Phonte, and Patty Crash on the hook, to paint pictures of life. "Right On" features STS as the guest emcee, but his verse is a letdown compared to the consistency shown elsewhere. Black has his own with no features on "Doin it Again" where he espouses about the bands ability to continue their legacy over and over. John Legend lends vocals on "The Fire" which is about the desire to continue and keep moving with inspired music. "Web 20/20" features Truck North and Peedi Peedi but leaves room for improvement.

 Honestly, I am a Roots fan but this is the first album where I have ever felt that the music overshadows the lyrics completely. There are too many guest appearances and too much of the same feel throughout the album, and when someone is brought in to shake things up like a Truck North, they just aren't good enough to pull it off. Listening to this I feel a little empty like the messages the group is trying to put forth aren't being sunk in deep enough to have an emotional impact.

Rating: 2.5/5

Thursday, June 24, 2010

Album Review- Plies- Goon Affiliated

Plies is one of those love em or hate em guys and you probably can tell where I stand on the subject. Honestly, his success has surprised the hell out of me but in today's industry, charisma counts more than actual lyrical ability or song-writing. Plies has been able to get the interest of the female section of the population by flashing money and walking around with his shirt off.

So Plies album is like this- I'm going to yell, not rap, yell, about how much money I have, how tough I am, and how I can fuck you (to the women of course). The album starts with "Go Live" which could have been an uptempo anthem had the rest of the album not followed the exact same cadence type and energy level. "Rob Myself" is a song that could have had potential with an artist who actually can rap or put together concepts. It shows that Plies could make a decent A&R but why not just be the star yourself since the content doesn't matter.

He also mocks New Yorkers and white girls on the same song "Awesome" then takes it back to explain more of his Florida slang on "Bruh Bruh". "Get my Niggas Out" is another song that could have actually had a point to it if he actually explained the connection between himself and his niggas in jail, instead he just talks in non-descriptive terms."Flaw", "Whatever I say", and "All I know" are run of the mill songs about being a goon and having money.

Hell, "Becky" came out last year and is the unofficial head anthem. Trey Songz sings the hook on "Kitty Kitty", and Plies remakes "She Got It" with "Goonette" here in 2010. I refuse to listen to "Good Dick" (pause) and just typing it doesn't seem right. I mean aren't you counting in men buying this album too Plies? A questionable song for a 'goon' could be "Model" where Plies talks about the amount of money he spends on his clothing. The best song other than the single, "She got it Made" is "Look Like" and that's only because it features Young Jeezy and Fabolous even though Jeezy can't rap and Fabolous stoops to the level of his track co-stars.

I expect nothing from Plies and was slightly surprised by the fact a couple of his songs titles and ideas could have turned out decent if anyone had taken any time to actually think about them and add some depth to them. In the end I'm still left wondering why people want to listen to this guy but its one of those things I don't think I'll ever get. I prefer Trick Daddy any day.

Rating: 1/5

Monday, June 21, 2010

Positive Critical Rhymes

Just check this out and give it a listen. More subtle then they should all get lynched but same message.

Wednesday, June 16, 2010

The problem with Dissing Nicki

So in the highly competitive world of female hip-hop there is a new battle emerging as one female looks to actually be able to get a push and have a chance to be successful. Hell, the last one had to be Trina and hers has been fleeting at best. Remy Ma and Jacki-O had quick but promising careers cut short quick due to criminal activity and label bullshit.

So the biggest and most buzzed about female and the one who has the best chance at success is Nicki Minaj, and if you're familiar with the blog you understand what I like or liked about her when she first came out and what bothers me about her now. That being said, she is the biggest target, especially for other females who are out right now because she has the spotlight. As hip-hop goes, I cannot be mad about that, competition should be good for the game.

There is a problem however, if you're going to throw disses at someone you need to have a real reason and some actual tension if you're going to make people pay attention. Jay and Nas were battling to be the king, 50 Cent and Ja Rule had an issue in the 'streets'; Canibus and LL had a business deal gone sour (in saltiness over the featuring slot); T.I. had beef with Ludacris and Lil' Flip and the list goes on and on. These all have some serious 'meat' to them to keep the audience captivated.

So I have heard Keys da problem who is from Baltimore (my home never heard of her before the diss) throwing shots at Nicki and some chick Barbie Killa 500 or whatever:

Whose main problem is that she's not saying anything slick. All of her punchlines are corny and simple with no flow to speak of. The only time she says something sort of slick is a line that says something about barbecuing (i took it as Barbie-cuing) but I don't think she even meant it that way.

Keys was much better but at the same time what is her point? Why is she so angry at Nicki? She's creating something of nothing. Even worse is that she talks about Nicki as not speaking on anything of substance but then Keys goes in and talks about the run of the mill hood topics such as loading glocks and selling dope all while jacking parts of Nicki's flow for an affect of mockery that doesn't work. Honestly, subtle disses in a song about something would have worked better and piqued the interest of people like myself who never heard of Keys until now.

The real problem in the end isn't going to be a lack of content but a lack of caring. Nicki Minaj's fans are most likely the same as Lil Wayne or Drake's fans and they aren't going to listen or question their icons for any reason. They are truly fanatics. Now, they aren't the first to behave like that, the aforementioned Jay and Nas and Ja and 50 beefs both had strict lines drawn down the middle of each camp with members of either artists fans unwilling to admit when their favorite had crossed a line or fucked up (for lack of a better term). To this day to find someone who will realistically criticize their favorite artist is rare because we don't want to give anyone else room to break down that wall we have built up around said artist.

For me, Joe Budden is probably that artist though I can admit he does need to shut up. I never knew that he was with Esther Baxter nor do I care and think its another bad move to expose it, so yes I can be critical when I need be. The Barbie fans are Nicki's fans not because of anything she says but because of her image. While Keys may be bringing more to the table in terms of actual content, the bottom line is in this era, content won't even get the door open for you, despite what Sprite wanted us to think in the late 90's, image truly is everything (at least to people who like to keep their brains shut off).

Do you think there is any benefit to dissing Nicki Minaj?

Monday, June 14, 2010

Jay-z ain't right

So the only two songs I listen to on Drake's album are the one with Nicki Minaj-for her verse, and "Light Up" for Jay-z's verse. Thelatter just exposes a trend that Jay has been doing for a while now successfully, having the hot artist do something minimal on his album then he goes on their album and shits all over their hood, skills, and credibility. Let's check the record here first victim, Lil Wayne:

(I always thought this song was wack anyway)

No one can deny that he murdered wayne on his own track something serious.Next up- Jeezy (where he actually shitted on Jeezy songs twice before Jeezy was allowed to drop a turd on a Jay album):

I was looking and Ross hasn't been on a Jay-Z album, but then Jay-z only let Sean Paul do a hook on BP2 and never returned the favor, but it's worth noting, Ross can't fuck with Hov either:

Latest victim, Drake who got to go over a Timbaland hook with his vocals, yet every time he works with Jay it's so "magical" :

and now "Light Up" off of Drake's freshman joint:

I see you Jay, still slaying these young'uns.

Sunday, June 13, 2010

Dick Rider

sorry Drake had to do it because these are the most cliched answers ever and don't really have any depth to them.

Thursday, June 10, 2010

Speaking on the new trends- Ras Kass has a point

Take a listen at the above while you start to read this preface to the meat of the post. The funniest part about this is that he is pretty much right when he is talking about the role reversals in urban music now and how things have switched up over the past 10-12 years.

To surmise he is saying that women have become empowered to be more like men in their mentality while singers have adapted to be the "hardcore" men in order to woo the ladies and rappers are acting all sweet now. I understand it, rappers at one point were a bit too hard. It was corny even.

So rappers went to the R and B side of things and started to soften up especially after the huge success of Mase and Nelly who had just enough edginess to them to be hip-hop who were themselves following the lip-licking antics of LL.

Singers on the other hand had gotten too sexy with the Al B. Sure's and Christopher Williams' running the early r and b and dressing, well like performers. Then came Jodeci (who were influenced by the immortal Bobby Brown) and who gained fame by thugging out r and b. So there eventually became a line where you couldn't tell one from the other.

You tell me which one of those guys looks "tougher". Then we have the fact that women are now a lot more aggressive, thanks to Lauryn Hill and Queen Latifah's spiritual empowerment and Lil Kim's sexual empowerment. They aren't going to sit back and wait on men anymore and express all of their desires. Then Ras Kass speaks on these guys who are talking about how they will spend on females because it's nothing to them.

Now this guy is one of the biggest perpetrators of said fraudulence and he also claims to be one of the biggest goons to ever walk the earth. So what about tossing money at strippers and buying chicks Louie Vuitton bags is considered gangster. Shit, gangster spent money on themselves but didn't like to advertise publicly or throw it around (more on this in a later blog about Slim Thug) to women especially. I understand some of the time they are trying to focus on the more spectacular dreams of the ladies but this is all they seem to offer. However, this entire notion undermines what they are supposed to be representing.

So what's the point of all of this? Well for starters there needs to be some sort of dialogue about gender roles in today's hip-hop. I'm not saying I want these guys to all be superthugs, however I want some realism and something in the way of expectations that makes sense. Look at your local corners the guys who are real hustlers, they aren't dressed like rappers, but the guys who look like Jim Jones aren't real. Real Hustlers don't have the time to make themselves stand out, it's the exact opposite. Secondly, men need to help young men define themselves and women need to help young ladies discover who they are as more than sexual beings trying to get that money using their bodies. A large part of this is from the single mother/grandmother households (yet another topic for later) but the other influences in the media and public need to be stronger to combat the startling trends that are affecting every facet of urban life.

Tuesday, June 8, 2010

Album Review- Eminem- Recovery

So the second most-anticipated of the summer behind Drake is the return of Eminem and everyone is wondering if he can recapture the glory that he had on his first three albums. Relapse was an uneven effort at it's best with Em trying but failing to capture the feeling of his Slim Shady days.

The first single, "Not Afraid" is pretty self-indulgent but it also serves as an anthem for those attempting to deal with their own personal battles with drug addiction, the video however is terrible. The album starts off with "Cold Wind Blows" a Slim-Shady-esque song where he sort of rambles on in his manic style with some bars that are really strong like "The earth'll stop spinning and Michael J. Fox will come to a stand-still" however that is followed by the type of irreverent sophmoric humor that keeps the urban (i.e. Black) market from truly embracing him.

"On Fire" is more of the mixture of Marshall Mathers and Slim Shady as a song that isn't personal but Em showcases the lyrical and descriptive abilities that brought fame to his door."W.T.P." (White Trash Party) is a clever song that takes the average baller at the club song and twists it to his whims. "Going Through Changes" is the one song that seems to have been missing from Relapse as he talks about more of the battles with drug abuse only with a much better personal connection to some of the things that were going through his mind at the time. "Seduction" is sort of alright as he talks about why a woman chooses him over say you or I, while it's different for Em, it's not an original song in and of itself.

Em once again tackles relationships in "Space Bound" which could be better but he cops out several times and reverts to a gratuitous use of curse words as filler. The chorus however is very annoying. "Cinderella Man"'s track seems very lazy if you've heard any of his previous albums but it's a tempo that Em loves to rip apart verbally. In an odd turn "25 to Life" isn't about what it seems (I thought it was yet another song about Kim) with a last line twist that didn't make as much sense to me when I heard it. I'll consider "So Bad" the obligatory Eminem mulligan especially since he make sup for it with the macabre "Almost Famous" which starts off with Em rechristening himself 'Slim Roethlisberger'. The final official track "Your Never Over" is a statement about how he is still in the game but the techno-bubble-pop beat and hook sound really forced.

Guests are kept to a minimum with no Dre or 50 Cent, however Lil Wayne appears on "No Love" which sounds like the bastard child of Wayne's "Drop the World". It samples Haddaway's 'What is Love' a song that is instantly recognizable. Wayne seems to be doing his thing until he mentions his new gang affiliations which turned me off on the song entirely. "Won't Back Down" featuring Pink sucks and is a poorly executed attempt to bring to anti-establishment pop artists together. Out of place is the feature from Rihanna on "Like the Way You Lie" another song with a good attempt that doesn't really pan out with it's acoustic guitar based beat. One of the better songs on the album is "Talking to Myself" featuring singer Kobe where Em talks about trying to deal with his problems himself and his aborted attempts to write disses.

Overall this album is a more consistent effort than Relapse but it still doesn't have that hit and emotional connection as Eminem's earlier work. The first half is better than the second but overall the album is pushed too far to the pop/rock/hip-hop hybrid to try and create singles and move units. Em has always been an emo-rap kind of guy but it was always rooted in pain and grit, the emotion on this album is all sappy and doesn't fit with his character. The lack of any Shady/Aftermath features makes the album feel incomplete as does the lack of any skits that showcased Marshall's trademark wit and humor. Recovery is better than Relapse but he isn't all the way there yet.

Rating: 3/5

We got Beef?

So I'm pretty sure that the entire world of hip-hop has heard the back and forth between Lil Kim along with (lol) Ray-J and Drake and Nicki.

woah, you hear that? Drake actually does have some balls with hair on them I guess since he came out of his mouth with that. However, that shit is mad disrespectful to the game. Let me get the clip that started this:

Okay, so let's say that Ray-J and Lil Kim are out of line and just trying to create a buzz. That's fine, old heads do that from time to time as a challenge to the new jacks in the game. Honestly I have said it before Nicki jacked all of Lil Kim's style to get her start.

Now, for Drake however to say she is the baddest to ever do it before an actual album has dropped is lame. It seems like he has a crush on Nicki and is trying to get on her good side. I can't agree with the dude. I just can't and it points me again to this arrogance from a guy who has yet to accomplish anything. It's actually an entire thing with this generation, they don't pay homage or show anyone respect unless it's Jay-z or someone who has died in the game.

Secondly, this goes against the Young Money ignore everything and act like a punk philosophy as evidenced by Wayne repeatedly ducking every shot thrown at him (which is a reason that I can't fully respect him. You have to prove yourself against the best in the game and not keep looking the other way if you want to be taken seriously). This I like to see, the young dude getting aggressive but why waste it on Ray-J and Lil Kim? Neither of these two can really fuck with you however I do believe Ray way more than Drake after all he was hanging with Suge.

Monday, June 7, 2010

Independent Artist Spotlight - Kil Ripkin

So just so you folks know that I do actually check my e-mail this song and video come from a submission through it. Now I do get a lot so when I do check it out you have to catch my attention. Kil did that with solid but professional production values in the video and music. With a classic NY sound, Kil nevertheless comes across as someone who has seen both sides of the tracks and can tell you something about getting out of the streets while not preaching to you so much.

So without further adieu:

Peace and Love Family Finally I Present to you the long awaited video by Kil Ripkin titled "Not You" Directed by Science Projects and Produced by Eric G
The Balancing Act out Soon

Kil Ripkin's info.:

Follow me on twitter-
For Tours and Collab Info-hit me up at

Friday, June 4, 2010

Puff Daddy and his new Bad Boy Family...

So we've been waiting for something hot from Puffy and Bad Boy for a couple of years now, well at least I have and so Puff apparently is ready to make some real moves once again with an all-new Bad Boy family. First of all let's look at the video as I run down the new crew.

You have Dirty Money - who point blank are just wack. None of these Dirty Money songs have been any good to me except for "Love Come Down" and guess what, it was the beat not the song. You have Aasim who has been hanging around for quite a while so that must mean he is the number one ghostwriter for Puffy. Cassie who has no talent whatsoever other than being light-skinned with half a head of hair. Then there is Red Cafe who doesn't impress me at all. Janelle Monae is also on the roster which was a surprise to me since I saw her video with Big Boi because she is a niche artist and Puff likes the big major splash. Finally, you have Rick Ross in some sort of hybrid management, please keep Puff relevant, deal.

This roster sucks ass. Look at the artists Puff had, Craig Mack, Biggie, Mase, The Lox, Black Rob, Faith Evans, Carl Thomas, 112, (a fading) New Edition, Young Joc (hope he saved that Coffee shop money), Mark Curry, Black Rob, Mario Winans, Loon, Total, Shyne, Danity Kane, Day26, G. Dep (lol I can't help it.) plus artists that never came out like Kaine and Los but never has it been this bad.

I have doubts about Puff's ability to craft hits now. What was the last big song other than his that one of his groups had? When is the last time you saw a Bad Boy artist drop an album and you go I have to have that? I can tell you when:

Even his albums haven't sold though he has had smash singles. "Last Night" still gets ready rotation with me though not much else does. Thus explains his attachment to Rick Ross as he attempts to "siphon swagger" from the Southern rapper.

Look what does Puffy bring to this situation? Not much musically from what I hear so Ross has to gain business opportunities. I don't know if I want that to work out because too many people are sucking up to the imagery and not the reality so I don't think it portends well for our youth especially when Ross is running around with this dude:

Wednesday, June 2, 2010

Album Review- Drake- Thank Me Later

So it's finally here and I'm trying to be extra positive because I know I can seem like a hater. However, I'm rooting for Drake because he is the first guy since Kanye West to be a new artist who seems like a normal guy, albeit a little whiney. Being in the profile has led to high expectations and on the surface most of Drake's intended audience won't find anything wrong with this album, but if you thought 808's and Heartbreaks was too indulgent for Kanye, you might  just feel the same way about the first official offering from Drizzy.

The first single, "Over" has been out for about 6 weeks with a video that is in marginal rotation is about Drake becoming famous and letting him spit off a la Lil' Wayne. "Karaoke" finds Drake singing, a song for the ladies for sure , and this is guaranteed to get more panties thrown at him. "The Resistance" is about Drake dealing with the fact that he is a famous artist now and includes some sharp barbs like, "I avoided the Coke game and went with Sprite instead" a play on one of his endorsement deals. "Show me a Good Time" is another song for the ladies/groupies imploring them to forget about thinking and to just live in the moment and have some fun. "Find Your Love" is the latest single and it is extremely catchy however he would have been better putting in a rap verse for a bridge at the very least. I have heard a verse with Joell Ortiz that was straight fire. The album ends with "Thank me Now", going in the opposite vein of the album's title. It's more of the normal arrogant rap song but he tries to put it creatively and I can't decide whether it's more obnoxious than it is clever I'm still torn.

As far as features, Alicia Keys sings on "Fireworks", the first song on the album, is about the downfall of relationships due to his sudden rise to fame. "Shut it Down" featuring the Dream is downright terrible. The Dream is bad enough then trading slow-song verses with Drake isn't acceptable to my ear drums. T.I. and Swizz Beats co-star on "Fancy" talking about a woman who fits that description. The song fails to resonate because Swizz seems forced being restrained to match Drake's lack of energy as does T.I. and the song goes on for too long. He attempts to grab hip-hops sentimental heart by sampling Aaliyah for "Unforgettable" with Young Jeezy in a song where they both speak about being remembered Jeezy by the game and Drake by a woman of course. Lil Wayne only has one appearance (thankfully Baby has none) on "Miss Me" a forgettable song. The best two verses of the album come from Jay-z on "Light Up" where I guess they're just spitting and Jay throws some serious punchlines without the clarification younger rappers prefer, and Nicki outshines Drizzy on "Up All Night" which also are the two 'most different' beats in the way they hit harder than most of the album and really allow the emcees to dig in such as when Nicki says "I'm a bad bitch I ain't never been a mixed breed/On a diet but I'm doing doughnuts in a sex speed".

Overall I actually was hoping this album would be much better and not in line with my expectations. I wanted Drake to blow me away with some hot songs, instead the album is very dark and brooding in a sense as Drake bitches about everything dealing with success. Actually it's like if Eminem had made the Marshall Mathers LP first instead of the Eminem LP, you'd be like why are you bitching about celebrity life already? None of the songs switch up the feel for even a moment and it gives the album a dull feel more of an unfinished mix tape than an album. The hooks are for the most part Drake crooning which doesn't help. I'm not sure if he's on the syrup but Drake needs a red bull or something to make it seem like he wants to be in showbiz. The good thing is it isn't as bad as it could have been but I don't think It'll join my rotation any time soon.

Rating: 3/5


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