(Note: That statement’s still true no matter whenever you read this). Raw: As if to shoot any chances of improvement dead in the water, Wiz uses as backing a typical denizen of the 1017 Brick Pound wasteland – that is, whatever beats Gucci Mane was going to put on his label’s next album.(Note that I said “interesting,” not that it was really any good). Ass Drop: This is a typical 2014-era stripper song (in that it’s pretty bad), but it is interesting in how it combines an “oh, oh” vocal sample with Pharrell’s beatboxing from “Drop It Like It’s Hot,” and that it breaks into a Radio Hot 50 hit at the chorus.Strangely enough, this has more sincerity than Wiz’ song about his wife. True, they aren’t the best rappers here, and the message has been done, but at least he’s actually talking about something, as opposed to just simple weed-talk. Curren$y): Finally, we get to the first actually good song on this album. Project Pat & Juicy J): At least the spacy music doesn’t sound anywhere near as ignorant as is normally feared from a song “starring Juicy J.” For that matter, neither do the lyrics, though that’s probably because you can go only so stupid with weed. Usually I give these kind of songs a pass, but the tone of the first verse and the emotional hollowness of the second kill whatever enjoyment I could get out of this. Promises: We’re back to a cloud backing for Wiz’ ode to wife Amber Rose, though the way he starts with having “my way with body” sounds far too Steubenvillian (or, more directly, “Blurred Lines.”) The body of the song’s actually split into two parts, the sung first verse & chorus, and a rap verse that sounds like pretty much any filler rap verse.
#Wiz khalifa promises album cover serial#
(For the record, I didn’t find the (supposed) use of “interior” to be serial killer-like, just incredibly clumsy). The line that the video writes as “did you see her interior” is supposed to read “ anterior,” though the fact that he points to a house doesn’t help the matters. This song is produced by Detail, & while his beats aren’t bad, he seems to aspire to being the next T-Pain. This song is the type of So Bad It’s Horrible where there’s no way a parody could be this intentionally bad without falling under Poe’s Law (See also: “23”).
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Ty Dolla $ign): The intro by Chevy Woods is not terribly interesting, bordering the line between philosophical and pretentious, but at least the backing cloud instrumental’s really good, serving well as both the body & chorus of a song. Not necessarily in the sense of being unbiased, even I feel like it’s more along the lines of “will leave no impression whatsoever.” Not the best expectations going in, but at least it’s better than being thoroughly terrible, isn’t it? Because of this, I’m literally going into this album with no expectations. What Wiz has seems to be a strange variant of That Guyism, where the least remarkable thing about him is his rapping he does just well enough to make a crossover hit once or twice annually, but poor enough for it to not translate into an appreciable growth of the fanbase. Nor is it exactly fair to label him nondescript: He’s this generation’s equivalent of Snoop Dogg, at least as weed is concerned. And he isn’t a celebutante in the strict sense of the word – it’s pretty obvious what line of work got him into the public consciousness. Wiz Khalifa. He’s not exactly an underground artist – he’s had four major singles since 2011, though as far as I’m concerned only “Young, Wild, & Free” stands on its own, and that’s almost entirely thanks to the music.
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I don’t really have an opinion about Cameron Thomaz, a.k.a.