My Problem With Summer Walker’s Album

So, before I even begin, let me say that I’m digging Summer Walker‘s new album. I mean, despite the fact that I’m a rapper, I’m probably an R&B dude at heart, son. Shit, if my singing voice were just a little better, I’d leave all of this Rap shit behind, man. In any case, despite feeling her Over It album, I have a major gripe, fam: song length. All in all, why can’t Walker just make longer songs, bruh?

Ok, for those who are unaware, Summer Walker just released her debut studio album. Side bar, artists need to knock this bullshit off, son. Hell, Chance the Rapper also tried that “debut studio album” nonsense when he already has three full-length projects in his discography. All I know is, whether Walker wants to admit it or not, Last Day of Summer is her debut album, man. Anyway, her new project, Over It, is mostly produced by London on da Track, super producer/her current boyfriend. All in all, the album fucking rides, fam. Real talk, it has a lot of good shit on there.

With all of that being said, the length of most of these tracks kill me, bruh. Like, anytime I start really getting into the song, it fucking ends, son. For example, she has an extended version of “Playing Games” with Bryson Tiller on it. The truth is, that song, with the feature, is two minutes and 23 seconds. Where was the cotdamn extension, brethren? All I can say is, on an album that has 18 tracks, only five of them are longer than three minutes. Fam, that’s not nearly enough. The way I see it, when an artist makes music that’s designed to break headboards to, the songs need to be longer than two-and-a-half minutes, man. Frankly, folks wouldn’t even be able to get a good rhythm on the pumping before the tracks end, bruh.

In the end, that’s my only issue with the album, son. Other than that, Summer Walker and London on da Track made a dope ass project, man. Ultimately, even the features are well-placed, fam. By and by, she’s got Tiller, Usher6lackPartyNextDoorA Boogie wit da HoodieJhené Aiko and Drake to hold it down with her. Moving on, below are the songs from the album that I’m currently fucking with. Gotta love good music, bruh. That is all. LC out.

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This J.I.D Album Is Crazy!

So, I’m going to keep this post super brief, son. Long story short, this new J.I.D album is crazy, man! I mean, this dude is RAPPING rapping, fam. Like, the amount of words he’s able to fit on this DiCaprio 2 album is fucking nuts, bruh! Side note, I’ve seen this project listed as an album and a mixtape. Which one is it, brethren? Then again, in this current era, who the fuck knows, folks? In any case, J.I.D has successfully transformed himself from a high-potential prospect to a full-on monster, people. All in all, everybody needs to get down with the getdown.

Now, like I’ve said earlier, I won’t waste anymore of people’s time, son. Shit, I’ve said my piece, man. The rhymes are fire, the beats are hard and the hooks are serviceable. What more do folks need to know, fam? Exactly. So, I’m just going to highlight some of the songs I fuck with below. At the end of the day, J. Cole did the right thing by signing J.I.D, bruh. Hell, Kendrick Lamar comparisons aside, this dude has a bright future ahead of him, people. Hasta luego (pun intended)! LC out.

Nah, Usher, We’re Good

So, before anyone out there thinks I’m hating, let me make one thing clear: I’m a big Usher fan, son. I mean, if we’re being real here, he has one of the strongest discographies in R&B history, man. Listen, any artist who goes from My Way to 8701 to Confessions should never be disrespected, fam. Hell, I even think Here I Stand is criminally underrated, bruh. Honestly, the title track alone is worth the price of admission, folks. With all of that being said, this new album ain’t it, people. All in all, Trap Usher needs to get the fuckity-fuck outta here, brethren.

Ok, for those who missed it, Usher just dropped a surprise album on Friday. Moving on, not only did his “A” album come out of nowhere, but it also features only one producer: Zaytoven. Now, for anybody who’s unfamiliar with Zaytoven, let me explain it like this: pick any Gucci Mane or Future jam from the past 10 years and there’s a good chance that Zaytoven did it. Hell, he’s a staple in the Atlanta music scene, son. In any case, he solely handles the boards on Usher’s latest effort.

To be clear, my issue with this album is not Zaytoven’s production. Hell, the beats sound exactly the way I would expect them to, man. Real talk, my problem is Usher, fam. Listen, in 2018, I’m not trying to hear Trap Usher. I’m not trying to hear Strip Club Usher. I’m not trying to hear Turn Up Usher. Look, does everyone see where I’m going with this? On the real, Usher is too damn grown to be singing about childish subjects, bruh. Like, he’s a legend, people. He shouldn’t feel the need to chase trends. Keeping it a buck, that’s why his last few projects haven’t been hitting. He’s more concerned with keeping up with the times than simply being himself.

In the end, no thanks, Usher. Ultimately, the minute he gets back with Jermaine Dupri and Bryan-Michael Cox, I’ll be back onboard, son. Fam, did Usher hear Cox’s work on Ella Mai‘s “Dangerous?” *Sigh* That could’ve been an Usher joint, man. Anyway, the point is, I want Usher to sound like Usher, bruh. I don’t want him to sound like 6lack. Side note, I’m a 6lack fan, so don’t take that as a diss. Anyway, I’m not here for the “A” album. That’s all I have to say, folks. That is all. LC out.