#Roddy Ricch – Real Talk Lyrics

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Superstar Roddy Ricch Has Shared His Latest Single Aston Martin Truck

Superstar Roddy Ricch Has Shared His Latest Single Aston Martin Truck

A well-known figure in the American hip-hop, singing, and songwriting sectors, Rodrick Roddy Ricch is most recognised for his compositions. The rap phenomenon that was awarded a GRAMMY® is undeniably back on the scene, and he has successfully usurped the throne from whomever you consider to be the current occupant of the position. The Teddy Walton (Drake, Kendrick Lamar, Chris Brown, Nipsey…

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Gucci Mane, Roddy Ricch & Nardo Wick - Pissy Lyrics

Gucci Mane, Roddy Ricch & Nardo Wick - Pissy Lyrics Intro: Gucci Mane (Hey, Will) (Will, what that is?) Well, damn (Do you not get the Koncept?) Chorus: Roddy Ricch Taking all facts, grandma raised me, I'm from the Westside where it get sticky And my four wheels come with road kits, I got Elliott like I'm Missy Stack my bread up, cut the corners off It ain't no way you could diss me Bitch, I got the yellow gold, I got the yellow stones and my wrist and ring, it look pissy Verse 1: Roddy Ricch Hey, put on them Daisy Dukes Show me what that new Mercedes do Real trap house, all the pots and pans come with residue All my young niggas know is some revenue I'm Anthony Davis when he was at the Pelicans I don't pull up to court for no settlements All white and the coupe look angelic We was looking around for the baddest of bitches, so I had to go out and vet it If they say they want smoke, I got all of the Glocks 'cause back then, I had to get ahead of it You my cousin, but you ain't my relative The outside of the coupe black like melanin I feel like I'm Dan Bilzerian 'cause I got some Australians Chorus: Roddy Ricch & Gucci Mane Takin' all facts, Grandma raised me, I'm from the Westside where it get sticky And my four wheels come with road kits, I got Elliott like I'm Missy Stack my bread up, cut the corners off, it ain't no way you could diss me Bitch, I got the yellow gold, I got the yellow stones and my wrist and ring, it look pissy (Go) Verse 2: Gucci Mane Big yellow Cuban on and it's pissy (Ugh) Rock big blue stones like I'm Nipsey (Nip') I pop champagne till I'm tipsy (Huh) Still be spending M's in my sixties (Well, damn) Please don't try the 'Wop 'cause it's risky Ain't no mystery in my history (No) Had to turn that boy into Swiss cheese (Grrah) Hit with that switchy, shoot till it's empty (Go) Wrist just did a 360 (Skrrt), ball like Zion before the injury (Ballin') I ain't broke, you can't fix me (Nah), having power, feeling like 50 (50) Eastside of the city where this shit can get really sticky (6) Anybody can get it, man, my bullets ain't really picky (No) In a yellow coupe with a yellow bone with my Jacob on with the yellow stones (Brr) White stones, Wilma Flintstones, Came a long way from a herringbone (Well, damn) All started from a mini-phone, I ran it up and my money long (It's long) Had to take a chance for two hundred bands 'Cause my country boy had a trailer home ('Wop) Chorus: Roddy Ricch Takin' all facts, Grandma raised me I'm from the Westside where it get sticky And my four wheels come with road kits I got Elliott like I'm Missy Stack my bread up, cut the corners off It ain't no way you could diss me Bitch, I got the yellow gold I got the yellow stones and my wrist and ring, it look pissy Verse 3: Nardo Wick & Gucci Mane Neck look pissy, uh, please don't touch, it's risky, uh My finger itching, uh, me and my Glock get busy, uh They say we litty, uh, I say, "We ain't lit enough" They say we did it, uh, I say, "We ain't did enough" I don't hang with sheeps (Uh-uh), but I pull up Lamb' I interrupted his sentence (Huh?), before he could talk, blam (Grrah) Cougar ho thirty-seven (Uh), she hate when I call her ma'am (Don't do that) She gave me head for an hour, what Gucci say? Well, damn (Well, damn) I got your bitch on a leash (Yeah), she don't ever get too far She make you fuck in the bed, she let me hit in the car (She let me hit in the car) Please stop blowin' her up, she with me, you'll see her tomorrow She say her wishes to me, she know I'm a shootin' star (Grrah, grrah) Chorus: Roddy Ricch Taking all facts, Grandma raised me I'm from the Westside where it get sticky And my four wheels come with road kits I got Elliott like I'm Missy Stack my bread up, cut the corners off, It ain't no way you could diss me Bitch, I got the yellow gold, I got the yellow stones and my wrist and ring, it look pissy Read the full article

[tatiswrld]

WR7DVIEWS: RODDY RICCH

Roddy Ricch’s New Music Video ‘Real Talk’ features Mustard and the Compton Native himself of course. Roddy’s song paired with the imagery of the desert gave you “Wild, Wild West Vibes” with Riders in Blacked-out Bronco Trucks behind him. 

Emphasizing his lyrics in the song “Real Talk”. Mandem is going to ride out for him. Roddy also features a Spray painted shirt, paying homage to the late rapper and friend Nipsey Hussle; along with a diamond-encrusted necklace that also included an artistic photo of Nipsey. The video was well thought out and is not slight of artistic vision executed to precision. I recommend you take a look at the video yourself you won’t be disappointed. 

ALSO CHECK OUT WR7DVIEWS PODCAST REACTION LIVE ON MY CHANNEL

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Roddy Ricch - Real Talk Audio + Lyrics

Roddy Ricch – Real Talk Audio + Lyrics

Roddy Ricch – Real Talk Audio + Lyrics. Blessed American Hip-hop Rapper, Roddy Ricch delivers a classic new record titled “Real Talk” and we have for you below it lyrics. ALSO CHECKOUT : Nathaniel Bassey – Wonderful Wonder Ft Lovesong + Lyrics Real Talk by Roddy Ricch is an amazing mp3 song with a sing along punchlines and a catchy riddim, stream below to enjoy it lyrics and share with us your…

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Roddy Ricch - Real Talk

Roddy Ricch – Real Talk

Roddy Ricch – Real Talk Mp3 audio & Mp4 Music Video Free Download A talented singer and song writer Roddy Ricch Recently dropped a new song titled Real Talk you will also get the Mp4 and lyrics here As we all know that we can meditate through music and music also gives us joy thats why Roddy Ricch come through with this amazing song which is called Real Talk so that you can be happy…

[lyrics2world]

Crash the Party Lyrics - Roddy Ricch

Crash the Party Lyrics – Roddy Ricch

Crash the Party Lyrics from LIVE LIFE FAST is the latest English song sung by Roddy Ricch.Crash the Party song lyrics written by Roddy Ricch and produced by DKeyz, Yakree. Crash the Party Lyrics Ayy, ayy, ayy, ayy Ayy, ayy, ayy, ayy-ayy Ayy, ayy, ayy, ayy Ayy, ayy Use the music as therapy to exorcise how I feel Tell me, is it fake love or is it real? She tell me every time I talk, I give her…

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REVIEWING THE CHARTS: 13/03/2021 (Drake, Silk Sonic, Justin Bieber, AJ Tracey)

Look, there are tons of new arrivals for this week, mostly in the top 50 and a third of them being Drake. Olivia Rodrigo’s “drivers license” is still #1 for a ninth week despite the aforementioned Drake. Let’s just run through this as quickly as is possible. Welcome back to REVIEWING THE CHARTS.

Rundown

We have quite a few notable dropouts from the chart here, particularly the UK Top 75 which I cover, including “Siberia” by Headie One featuring Burna Boy, “Apricots” by Bicep, “Afterglow” by Wilkinson off of the return, same with “ROCKSTAR” by DaBaby featuring Roddy Ricch and then some pretty massive dropouts, some of which might return, most will not. These include “willow” by Taylor Swift, “What You Know Bout Love” by the late Pop Smoke, “Take You Dancing” by Jason Derulo, “Looking for Me” by Diplo, Paul Woolford and Kareen Lomax and finally, “Watermelon Sugar” by Harry Styles. I’m surprised there weren’t any Drake songs dropping out because he debuted three tracks, the most he could possibly debut, but apparently there weren’t any Drake songs on the chart in the first place. Naturally, as it’s a busy week, we had quite a few notable fallers for songs already on the chart, like “Get Out My Head” by Shane Codd at #16, “Streets” by Doja Cat at #19, “Up” by Cardi B at #21, “Anyone” by Justin Bieber at #23, “Afterglow” by Ed Sheeran at #27, “Bringing it Back” by Digga D and AJ Tracey at #31, “Blinding Lights” by the Weeknd at #33, “Head & Heart” by Joel Corry and MNEK at #36, “Arcade” by Duncan Laurence at #37, “Money Talks” by Fredo and Dave at #38, “We’re Good” by Dua Lipa at #39... okay, maybe “quite a few” was an understatement. Regardless, we still have more fallers outside of the top 40, like our biggest fall for “Bluuwuu” by Digga D at #42, “Levitating” by Dua Lipa and remixed by DaBaby at #43, “Love Not War (The Tampa Beat)” by Jason Derulo and Nuka at #45, “Sweet Melody” by Little Mix at #46, “Toxic” by Digga D at #47 and “34+35” by Ariana Grande at #48... as well as “Ready” by Fredo featuring Summer Walker at #50, “Mood” by 24kGoldn and iann dior at #51, “Good Days” by SZA at #52, “Someone You Loved” by Lewis Capaldi at #53, “You’re Mines Still” by Yung Bleu and remixed by Drake – apparently that doesn’t count as Drake – at #54, “Dance Monkey” by Tones and I at #55, “you broke me first” by Tate McRae at #56, “Regardless” by RAYE and Rudimental at #57, “Whoopty” by CJ at #58, “Pierre” by Ryn Weaver off of the debut to #63, “Be the One” by Rudimental, MORGAN, TIKE and Digga D at #65, “Midnight Sky” by Miley Cyrus at #66, “Mixed Emotions” by Abra Cadabra at #67, “Lemonade” by Internet Money and Gunna featuring Don Toliver and NAV at #68, “Roses” by SAINt JHN and remixed by Imanbek at #69, “positions” by Ariana Grande at #71 and finally, “Didn’t Know” by Tom Zanetti at #73. You’d think it was Christmas with all of this, except in this case there aren’t returning entries or even many gains other than “SugarCrash!” by ElyOtto up to #59. That’s literally it for any notable gains, so apparently only hyperpop can withstand Drake. God help us.

NEW ARRIVALS

#75 – “Don’t You Worry About Me” – Bad Boy Chiller Crew

Produced by Tatics

The “Bad Boy Chiller Crew” sounds exactly like a 2000s UK garage collective from London, and thankfully, I’m pretty much right, except these guys were actually formed in 2018 and see themselves more of a “bassline” group, even if they were formed a decade after the fact. Bassline was big in Yorkshire in the mid-2000s, and I guess the BBCC – subtle – are here to bring it back? I mean, I’d rather it go this way than having rappers lazily sample bassline classics like a couple weeks back so, what have the Bad Boy Chiller Crew got to say? Well, not much clearly, but they’ve never had to. UK garage groups weren’t ever hardcore rap collectives in reality, at least in the mainstream, and their primary purpose was to make bouncy music for the clubs and, yes, it worked. Does this work? Well, no, because it’s not really UK garage or bassline, going for a sampled piano-house chorus and percussion that never really goes full on with the “bassline” or has that much of a breakbeat. These rappers are definitely a presence and whilst I may not know what they’re saying because Genius.com gave up two lines through, at least they’re not more boring, just settling for mildly obnoxious in how everything sounds like double-tracked gang vocals. I can definitely see the mid-2000s influence in some of these synth patterns and absolutely the vocal tone on the chorus, which, by the way, is an incredible chorus that deserves a more subtle rap presence. Hell, I think KSI did a similar track like this with Nathan Dawe... he could have worked here. When I’m saying I’d prefer KSI over your own song and your own beat, you’ve got a problem. As it is, this is a really promising bassline-adjacent song with some really nice string flourishes and an infectious chorus, that falls flat in its attempts to keep me interested when the chorus isn’t playing because it serves more to repulse during instead of keeping its momentum. I’m praying for a remix that takes these guys off, honestly. AJ Tracey? Please?

#74 – “The Bandit” – Kings of Leon

Produced by Markus Drays

Ah, Kings of Leon, that indie rock band who hasn’t made anything good ever. Okay, maybe that’s a blunt, over-the-top statement but as little as I care about modern mainstream indie rock in the first place, I care even less about Kings of Leon, who I’ve yet to hear anything worthwhile from in singles. Regardless, they have a new album, which meant their lead single could finally chart, and I don’t know what a non-fungible token is and I’m not doing research for an album that my friend’s dad – read: Kings of Leon’s main demographic – thought was boring, so how’s this new single? Well, there’s an acoustic guitar strum I swear I’ve heard before, followed by a riff that admittedly sounds okay, a steady drum beat you can see replicated in rock songs of this tempo... the vocalist here is covered by everything in the mix, it feels, and even when I can hear him clearly, the lyrics feel overly cryptic to the point where nothing really sticks, and the guy’s delivery at least used to be commanding. Here, he’s fully checked out and I’m convinced everyone in the band stopped bothering. Whoever does the left-channel electric guitar wankery feels like he’d be more fit on a slower, lo-fi indie rock project and he’d really work in that context. Here, I couldn’t care less about this nothing of a song that just does not move. It chugs along through odd mixing and a “get this over with” guitar solo, and just chugs and chugs for four minutes. I honestly do not see a reason to seek this out, let alone an entire album... but it still went #1. That’s sales for you.

#70 – “What Other People Say” – Sam Fischer and Demi Lovato

Produced by Rykeyz

This song was released last month and hasn’t reached any chart in the US outside of the Bubbling Under yet, even with a video, which is just concerning for Demi, but I know she’s been struggling to reach any kind of further success recently, which is unfortunate as she always came off as one of the most interesting singers to come out of that late-2000s Disney star cast. To be fair, she did collaborate with professional nobody Sam Fischer, so I guess it’s partially her fault. That said, I like this song quite a lot, actually. Lyrically, it focuses on how both singers feel like they’ve left behind your individuality as a result of becoming famous and ending up distancing themselves from people they actually love and care for, with it being heavily implied in Demi’s verse that this is a result of not wanting people like her mother to see where she is now: taking the same drugs she was taught to say no to, with that pre-chorus of her realising she felt she was “better than” all of the people that she mirrors to. You can tell this comes from a real place from Demi, and it’s kind of heartwrenching, even if this instrumental is mostly piano-ballad fluff that does work for such a lyrically heavy song by casting off all attention away from the weak acoustic guitars and the finger-snaps that add more of a soul or gospel element to this production, which is pretty apt for some of the references to separating yourself from the religious practices you grew up on in the chorus. Demi’s vocals are pretty powerful here, and there are some really interesting backing vocals and ad-libs in that last chorus from both of them... oh, yeah, Sam Fischer is on this song too, but he’s such a lack of presence in comparison, even lyrically, that it probably doesn’t matter. Regardless, this is a good song and I hope it becomes a hit past the chaos of this week.

#60 – “Heartbreak Anniversary” – Giveon

Produced by Maneesh and Sevn Thomas

I figured this guy would finally chart here in the UK eventually, “Chicago Freestyle” notwithstanding, which was a top 10 hit for him and – guess who? – Drake. Anyway, this guy’s from California yet he totally sounds British sometimes, but that’s all I’ve really paid attention up until this point, and, yeah, I like this quite a bit too. Giveon has a really unique voice and the intro with those distorted vocal samples is a real Kanye touch to the whole song. The song is about Giveon finding it really hard to cope with a break-up of a relationship he thought had a lot of potential, through the odd and janky metaphor of “heartbreak anniversary”. The really cavernous mixing does accentuate how the percussion feels very stunted and the song as a whole feels kind of rough around the edges, but the desperate tone in Giveon’s voice and those pretty excellent backing vocals in the post-chorus sound pretty excellent, especially over these subtle pianos, and there are certain moments in the song that, like all good R&B, you remember for the vocal run or the harmonies, really rather than the chorus, so, yeah, this is good and I hope it sticks around. Huh, maybe sleeping a lot does make you more of a positive person... or maybe the music’s just good for once.

#49 – “Ferrari Horses” – D-Block Europe featuring RAYE

Produced by Da Beatfreakz

Ah, “Ferrari Horses”, from the same album as such gems as “Mr. Mysterious”, “Only Fans”, “Gulag” and my personal favourite, “Perkosex”. Maybe I’m just happy whenever I know a D-Block Europe song’s debuting because these guys are very rarely all that great but just consistently hilarious... and this one’s no different. It starts with reverb-drenched Auto-Tuned moaning from both RAYE and Young Adz that reminds me of Charli XCX if anything, because... sure, before it’s drowned out by acoustic guitar loops and a drill-adjacent trap beat... and, yeah, it’s really badly-mixed, especially the bass mastering, but, it’s a really satisfying drop, I’m not going to lie. The chorus’ melody is way too infectious for its own good, and you’d be surprised with the chemistry that Adz and RAYE seem to have, as she shares a verse with Adz where they bounce off of each other’s flow quite smoothly, both going into pretty funny falsettos – one that genuinely made me laugh out loud when I heard Adz’ attempt – but she really sells the melodic trap angle, I’m really surprised. Why is she still doing EDM? The double-tracking on her last few lines is beautiful, and I love how she comes in when it’s unexpected to awkwardly interrupt either Adz’s chorus or where Dirtbike LB’s verse would be... until he does actually come in and he kind of kills it, not as much as RAYE of course, but I think his delivery here is pretty great, especially when he slides in his Auto-Tuned flow from the more fast-paced cadence to the melodic drawl afterwards where I’m convinced he interpolates Weezer. Sure, the mixing is still bad, with the reverb percussion in the last chorus being really unnecessary, and the sequencing generally being off, and the content is really nothing interesting at all, except with a couple fun lines from RAYE, like when she says how she feels like she’s in Prince’s house because there’s purple all around her (we can infer what that “purple” is) or how she’s “so lit” that she can see two Young Adz, before realising it’s actually Dirtbike LB. I don’t think either member of D-Block Europe realises the layers to that line, but it’s probably best to keep them in the shadows, especially if it’s as unintentional as it sounds. Yeah, this is genuinely really great, and whilst I doubt it’ll last, I’m honestly shocked to the quality of this. Maybe D-Block Europe are just... good? Okay, I won’t go that far, but check this out.

#41 – “Medicine” – James Arthur

Produced by Red Triangle and Matt Rad

British daytime television and news rarely cover the Top 40, but at some point Lorraine Kelly did bring up new music releases expected to smash the charts, those being this song, Justin Bieber’s new track and that Joel Corry song we discussed last week. They did not mention the three new Drake songs or even the new track with Bruno Mars and Anderson .Paak, both of which out-charted this guy intensely. Regardless, this has the foundation of a good song somewhere. It starts with a really nice-sounding pop-punk guitar riff that James Arthur could really sound good on. The song’s about being overly dependent on a woman who really helps with maintaining his mental health... but then instead of being a rock song, it goes straight into a generic, boring trap ballad with too much in its cluttered mix for its own good. The lyrics feel increasingly lacking in self-awareness, asking the woman to not let him “spiral” when he becomes suicidal, which seems like an obligation the woman does not need to take up unless she really cares enough. In the second verse, he starts rapping, full-on triplet flow, and I realise that this is James Arthur trying to do emo-rap and lose all hope. Then he says, “Everything gonna be Gucci today”, and the hope goes into negative numbers. If we’re going to bring back some essence of rock on the charts, please don’t let it be whatever the hell this is.

#34 – “Anxious” – AJ Tracey

Produced by Remedee

I guess he heard my pleading a couple songs ago. Anyway, it’s pretty bad that I could vision how this song goes by looking at the lyrics... and I was pretty accurate, but that’s partially because of how he uses Drake flows all over this song, directly referencing his songs “Life is Good” and “POPSTAR”. Regardless, this song is pretty alright, actually, especially with that bassy ambiance that serves the drill-adjacent trap beat with a lot of tension, perfect for his checked-out delivery about gunplay and flexing. It’s a British trap-rap song that does what it does in very little interesting fashion, but has good production and a vaguely charismatic vocalist. It also sounds a lot less fun than the lyrics will make you think, but it does have some energy in this fast-paced beat and by the second verse, AJ Tracey is saying some funny stuff, like how he’s “recession proof” and seems to know his exact UK Singles Chart statistics. Please, just do my job, I think people would be genuinely interested in reading what AJ Tracey thinks of Kings of Leon. I never really like AJ Tracey when he’s on a dark vibe, anyway, I think he really shines on more sugary production, but I think that’s just my preference when it comes to trap anyway. The song’s fine, but I can’t say it’s anything more.

#25 – “Hold On” – Justin Bieber

Produced by Louis Bell and watt

I’m pretty sure Bieber is still pushing “Anyone” and in the US, “Holy” is still doing pretty well to my knowledge, so I guess it makes sense to drop an album but not really another single before it, especially since now it seems to start underperforming. Regardless, I’m a bit more willing to enjoy this one because of that washed-out acoustic guitar pick-up and a definite groove in the bass and percussion during that chorus. I mean, Justin Bieber still isn’t interesting at all, but I like the guitars in the chorus and I guess that’s something. The content? Condescendingly holding his hand out to a woman he only vaguely describes, whilst pushing out the “we all make mistakes” narrative he wants to continue from “Lonely”. By the time the guy has any genuine rock energy he’d need for this song, it ends, so I’m just going to say that this is mid-tier Maroon 5 and move on.

#20 – “Leave the Door Open” – Silk Sonic, Bruno Mars and Anderson .Paak

Produced by D’Mile and Bruno Mars

When Bruno Mars and Anderson .Paak revealed a collaborative album was to release soon under the band name “Silk Sonic” – an incredible name by the way, how did no-one in the 70s copyright that? – I was immediately overjoyed and excited. Not only would this probably be a great album but it would be that one last boost that pushes .Paak into a mainstream context and for the record, he’s one of my favourite artists working today. His last three albums are all great and he’s made some of my favourite music ever, and has never been able to get that final reach into the charts until now, where riding on the coattails of Bruno Mars – who, by the way, is a fantastic artist in his own right nowadays – they’ve made a massive retro-soul cut that debuts at... #20. Okay, well, I know this style is bigger in the US but I did expect a top 10 debut here. Huh, well, that doesn’t take away from the fact that this song is absolutely incredible from the moments it starts with that drum fill and that distorted bass flowered by the jingling keyboards, with .Paak delivering some angelic intro vocals, and that’s before the first verse, where .Paak trades off with Bruno Mars really smoothly about simply picking up a girl yet making it sound like the most wonderful thing in the world. Bruno Mars almost sounds like he’s imitating .Paak at times, especially when he says that he just shaved and is “smooth like a newborn” in a really funny harmony. You could call Mars’ chorus cheesy but it’s just as cheesy as 70s funk was back in its day, and the way the instrumental builds up the tension with the rising pianos and smashing percussion just to cool down for the perfect pay-off in the chorus proves that even a song trying its best to imitate a live, jam-band recording and doing it very well can sound this intricate and perfectly crafted. .Paak’s second verse – he handles all of the verses here, probably because he’s ostensibly a rapper – has even more of a smooth, comedic charm as he offers the girl weed before also offering her filets, whilst also referencing some classic, iconic songs by three artists, namely Jimi Hendrix, Michael Jackson and... Anderson .Paak himself, and somehow it does not seem either forced or too unsubtle of a flex. The harmonisation in the background vocals in the chorus convince me that angels have been dropped down from Heaven and are currently living in Bruno Mars’ recording studio. Even at points where Bruno Mars is serenading you with “la-la-la’s”, its ridiculousness is undercut with .Paak’s ad-libs, and each chorus is so different that it never feels like Bruno is meandering or repeating himself... until the outro, which just of fades out because it goes nowhere. Honestly, I would rather prefer to see how the song really ends, and I think we will when the album comes out, but as a single, it definitely still works, and hell, a lot of those 70s soul and funk cuts faded out on the single edit anyway. I don’t think I’ve been this excited for a project in ages so, yeah, I have high hopes for Silk Sonic and this song alone keeps me fed well enough. Also, .Paak isn’t just a vocalist here, he’s on the drums too. Just saying.

#10 – “Wants and Needs” – Drake featuring Lil Baby

Produced by Cardo, Dez Wright and 40

At this point, after I’ve mentioned Drake a couple times and said he had three debuts this week, you’re probably wondering where they all are. The answer to that is that every single song from his triple-barrelled single release, Scary Hours 2, debuted in the top 10, with this being – to my surprise – the lowest, only hitting #10, which is still nothing to scoff at. Even for Drake, this is doing really well, which I imagine is because of how he had to delay his album so people are really craving for some new Drake that isn’t “Laugh Now Cry Later”. Now, I for one am not, and honestly I’m probably craving for less Drake if anything. That’s just my personal bias, though – I didn’t really like this project and haven’t liked much of Drake since 2015 or even earlier, but I still think the guy’s talented. I’m just pretty sick of the formula at this point. This particular single-EP thing doesn’t stray that far away from it either, with one song for the clubs, for the radios and for the fan. This one I think is for the clubs, even though they’re not even open so it’s really just for anyone to stream, and hence, we have Lil Baby on his third song with Mr. Graham. I wasn’t a fan of Baby until recently, and I’m not sure being a “fan” is really all that sincere as it’s really just hope and good will, but he absolutely kills his verse here and is the only reason could possibly be worth for me to revisit. The beat has vague squelchy synths and a boring trap pattern, heavy bass and some admittedly cool strings in the background that are cut out and drowned out by Drake being pretty blatantly off-beat. The chorus is monotonous and just stalling time until we get a brief escape from Drake for around 50 seconds of Lil Baby ranting rapidly in his typical frog-throat delivery and it left me kind of astonished on first listen because of how unexpected it was, and it’s still a great verse, even if the content is just flexing. “I’m not a GOAT, but I fit the description” is a bar, and I like the reference to betting his Ferrari off in a Las Vegas casino, which I hope he did not actually do. Hey, it’s more interesting than Drake wasting time with Kanye subliminals that aren’t even subliminals anymore, and a reference to how people grow on his albums, which I don’t think is even true, at least for his recent work. Ah, well, it could be worse. For example:

#6 – “Lemon Pepper Freestyle” – Drake featuring Rick Ross

Produced by Austin Powers, FnZ, Keanu Beats and Boi-1da

I refuse to believe this many people listened to Drake ramble for six and a half minutes. I refuse to believe there was a need for four people to make this lazy, unchanging beat that can’t even mix its sample correctly. I refuse to believe Rick Ross washed Drake on his own song for... you know, being vaguely clever and not a waste of time? Maybe I just love that “M-M-Maybach Music” tag, who knows? I definitely like it more than Drake, who handles the last five or so minutes with his monotone delivery and taking breaks to let the beat play because apparently, he can’t think of a flow that means he wastes less of the listener’s time. I’m sick of Drake’s more lyrical tracks nowadays where he goes on and on about how everything goes wrong for him despite him being so rich and famous and that’s the plot of this verse. It does not make you likeable or “real”, Drake, it makes you much more distanced and honestly just coming off as boring and kind of a dick. He starts his verse on a melancholy boom-bap beat by flexing that he’s a war hero – even though the last “war” he was in, he thoroughly lost – whilst also saying he’s doing all this expensive stuff in foreign countries when really, he should be staying in Canada or wherever he is during a pandemic. He then says, “These days, fame is disconnected from excellence”, which first of all, has always been the case and second of all sounds rich as hell coming from Aubrey Drake Graham, the most famous rapper, singer and musician currently alive, and far from the most “excellent”. That’s before he does his typical click-bait female-name-dropping and brags about his child whilst also side-eyeing the child’s mother for no reason, saying he had brunch with the judge he’s appearing before in court for child custody – you know, bribery – and that he doesn’t like how when he pays child support, she sends her the heart emoji in response. What else do you want, Drake? She’s the one raising this child, you have no right in telling her what emojis to use when you brag about sending child support to her, and then in your song which gets millions of plays. I’m not going to make assumptions about the mother here but it sounds like a really bad move, especially when you continue to talk about how the mothers at parent-teacher meetings flirt with you and ask if you know celebrities, whilst also bringing Secret Service-level security to the humble French school in Toronto your kid goes to. Something feels really icky about putting so much pressure on your son and their mother through rap lyrics, not even giving them much of a limelight other than through condescending references in a snoozefest of a single. Oh, yeah, and then he boasts about being friends with the corrupt, human-rights-violating royal family of Dubai, before mixing lines about how his house looks bigger through his son’s eyes with how his penis looks bigger when the woman is drunk. Yeah, no, you can’t really redeem this especially when the beat is unchanging and dull. I’m not a fan, and honestly, Drake’s pushing into his late 30s and yet I still think it’s applicable to tell him to grow up. I can’t say as much for this next track, however.

#3 – “What’s Next” – Drake

Produced by Maneesh and Supah Mario

Okay, for our final Drake track, we have the only solo cut and surprisingly easily my favourite of the three, and the reasons why are pretty subtle. The trap beat relies on a really bassy trap knock over a chiptune-sounding beat that goes really hard, and even if Drake’s vocals are mixed... just straight-up incorrectly, being so far in the left channel for no reason and that being kind of inexcusable for a big artist, he still has a lot more energy here than he does on any given Drake track. His flow is faster-paced, and he references a lot of his older work through pretty slick lines, mostly based on delivery, and there are really subtle counter-melodies in the beat that creep into the mix and sound really great. Drake himself actually brings one of his best verses in the second verse, which is probably his best flow in years and some pretty nice bars, none I can quote here because of how long that stream of bars goes for. The sequencing is somewhat off and Drake’s vocals seem to cut off really abruptly a lot of the time but for Drake, this is as good as it gets in 2021, and I’m pretty happy to have a genuinely good Drake song on the chart. Hopefully, it won’t be eclipsed by those two other tracks as time goes on, but we’ll see.

Conclusion

It may sound odd after dunking on Drake for a while at the tail-end of this episode but this is a damn good week all things considered. I think I only dislike the Worst of the Week here, going to “Lemon Pepper Freestyle” by Drake featuring Rick Ross, with a Dishonourable Mention for Kings of Leon’s “The Bandit”, though it’s not really that bad of a song, just pales in comparison to some of the absolute gems we have this week, particularly Best of the Week, which obviously goes to “Leave the Door Open” by Silk Sonic, whilst Honourable Mention is a bit more of a toss-up. I’d give a tied Honourable Mention to both “Ferrari Horses” by D-Block Europe featuring RAYE and “What Other People Say” by Demi Lovato and Sam Fischer. Sorry, Giveon, it was really close. Here’s our top 10 for the week:

Thank you for reading. You can follow my Twitter @cactusinthebank but I’ve actually been permanently locked out of that, so I probably wouldn’t bother. Regardless, next week, in the words of Drake, we’ll see what’s ‘bout to happen next. See you then!

[youngandhungryent]

Griselda Show Love To Gunna, Lil Baby, Roddy Ricch, & Trippie Redd

A week ago, Griselda sat down with Rap Radar for an expansive conversation, speaking on their triumphant rise, What Would Chinegun Do, and the current state of the culture. And while many have come to associate Westside Gunn, Conway, and Benny The Butcher with grimy boom-bap hip-hop, that’s not the only style on their radar. As they tell it, they’re keeping track of all the contemporary trends, even going so far as to predict a few new ones. 

“The thing about it is, we about to make this shit popular too,” predicts Westside, around the 38-minute mark. “You about to see your favorite rapper trying to rap over Daringer and Alchemist beats in a minute. It’s a popularity contest. It’s not even who really make the best music. If you want to talk about who the best, make the best music, I feel that it’s us. We might not be the most popular, but when it comes to ripping ill authentic street shit from where we all came from. I excuse the young homies cause they grew up two-thousands. 

“To me that shit fire,” chimes in Conway. “I’m fuckin with the lil homies. The Gunnas, the Lil Babys. Polo G. Roddy Ricch.” Westside throws Trippie Redd into the mix. “Sometimes this shit is a hustle,” continues Conway. “That’s what this music shit done became. You gotta be a sharp n***a man. A hustler and a go-getter. I like that attitude. I’m not the most lyrically-inclined n***a, but I’ma find me a wave and a lane, fuck it. That’s what a lot of these young dudes is doing and I commend that.” 

The Machine also blasts anybody looking to play gatekeeper to “real-hip-hop,” explaining that the youth play a pivotal role in the expanding the reach of the culture.  Clearly, Griselda have their fingers on the pulse, and it wouldn’t be surprising to see Westside’s prediction come to fruition. What it would be, however, is interesting? Could you imagine a return to grimy, boom-bap music, after years of mainstream melodic-trap dominance? 

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[alotlyrics]

Rockstar song lyrics by Dababy And Featuring by Roddy Ricch. This song Produced by SethInTheKitchen.

DaBaby - ROCKSTAR Song Details:

Song Title: ROCKSTAR

Singer: DaBaby

Featured artist: Roddy Ricch

Released Date: April 17, 2020

Produced: SethInTheKitchen

DaBaby - ROCKSTAR Lyrics

[Intro: DaBaby]

Woo, woo

I pull up like

How you pull up, Baby? How you pull up? (Oh, oh, oh)

How you pull up? I pull up (Woo, SethInTheKitchen)

[Chorus: DaBaby]

Let's go

Brand new Lamborghini, fuck a cop car

With the pistol on my hip like I'm a cop (Yeah, yeah, yeah)

Have you ever met a real nigga rockstar? (Yeah)

This ain't no guitar, bitch, this a Glock (Woo)

My Glock told me to promise you gon' squeeze me (Woo)

You better let me go the day you need me (Woo)

Soon as you up me on that nigga, get to bustin' (Woo)

And if I ain't enough, go get the chop

[Verse 1: DaBaby]

It's safe to say I earned it, ain't a nigga gave me nothin' (Yeah, yeah, yeah)

I'm ready to hop out on a nigga, get to bustin'

Know you heard me say, "You play, you lay," don't make me push the button

Full of pain, dropped enough tears to fill up a fuckin' bucket

Goin' for buckets, I bought a chopper

I got a big drum, it hold a hundred, ain't goin' for nothin'

I'm ready to air it out on all these niggas, I can see 'em runnin'

Just talked to my mama, she hit me on FaceTime just to check up on me and my brother

I'm really the baby, she know that her youngest son was always guaranteed to get the money (Okay, let's go)

She know that her baby boy was always guaranteed to get the loot

She know what I do, she know 'fore I run from a nigga, I'ma pull it out and shoot (Boom)

PTSD, I'm always waking up in cold sweats like I got the flu

My daughter a G, she saw me kill a nigga in front of her before the age of two

And I'll kill another nigga too

'Fore I let another nigga do somethin' to you

Long as you know that, don't let nobody tell you different

Daddy love you (Yeah, yeah)

[Chorus: DaBaby & Roddy Ricch]

Let's go

Brand new Lamborghini, fuck a cop car

With the pistol on my hip like I'm a cop (Yeah, yeah, yeah)

Have you ever met a real nigga rockstar? (Yeah)

This ain't no guitar, bitch, this a Glock (Woo)

My Glock told me to promise you gon' squeeze me (Woo)

You better let me go the day you need me (Woo)

Soon as you up me on that nigga, get to bustin' (Woo, yeah)

And if I ain't enough, go get the chop (Yeah, yeah)

[Verse 2: Roddy Ricch]

Keep a Glocky when I ride in the Suburban

'Cause the codeine had a young nigga swervin'

I got the mop, watch me wash 'em like detergent

And I'm ballin', that's why it's diamonds on my jersey

Slide on opps' side and flip the block back, yeah, yeah

My junior popped him and left him lopsided, yeah, yeah

We spin his block, got the rebound, Dennis Rodman

Fool me one time, you can't cross me again

Twelve hundred horsepower, I get lost in the wind

If he talkin' on the yard, the pen' dogs'll take his chin

Maybach SUV for my refugees

Buy blocks in the hood, put money in the streets

I was solo when the opps caught me at the gas station

Had it on me, thirty thousand, thought it was my last day

But they ain't even want no smoke

If I had to choose it, murder what she wrote

[Chorus: DaBaby]

Let's go

Brand new Lamborghini, fuck a cop car

With the pistol on my hip like I'm a cop (Yeah, yeah, yeah)

Have you ever met a real nigga rockstar? (Yeah)

This ain't no guitar, bitch, this a Glock (Woo)

My Glock told me to promise you gon' squeeze me (Woo)

You better let me go the day you need me (Woo)

Soon as you up me on that nigga, get to bustin' (Woo)

And if I ain't enough, go get the chop

[mixtapekings]

Listen Review of DaBaby’s ‘BLAME IT ON BABY’ Album by djbooth.net

‘BLAME IT ON BABY’ is an album that says, “I’m on the way,” not, “I have arrived.”

DaBaby, born Jonathan Kirk, lives life full-throttle. He raps fast; he lives fast. He is the antithesis of stillness. Following the release of two commercially successful albums―Baby on Baby and KIRK―the Charlotte, North Carolina native is positioned to take over the music industry.

Although it’s only been seven months since the release of KIRK and the success of popular singles “BOP” and “VIBEZ,” DaBaby returns to the spotlight with BLAME IT ON BABY, a new album featuring Future, Megan Thee Stallion, Roddy Ricch, and more.

The decision to release BLAME IT ON BABY now—the cover is the first to acknowledge the COVID-19 pandemic—means DaBaby will forever be associated with this moment in human history. When hip-hop looks back on 2020 and the months of quarantine, they’ll remember DaBaby releasing BLAME IT ON BABY, and how the album made them feel. At least, that should have been DaBaby’s goal when he decided to unleash the project.

In usual 1-Listen fashion, the rules are the same: no skipping, no fast-forwarding, no rewinding, and no stopping. Each song will receive my gut reaction from start to finish. 

1. “CAN’T STOP”

DaBaby has arrived. “Ain’t no stopping a nigga like me.” He’s talking that talk. He breathes confidence. I like the production. It’s airy. A subtle bounce. He’s feeling himself. He’s a rapper on fire. “I only answer to God.” “CAN’T STOP” sounds like it was recorded after a soldout show in Madison Square Garden. I like it. Verse two is refreshing. Not as explosive as the first. Brag raps. Big brags. “When I get in my feelings, I make niggas feel it.” That was a strong, “Bitch ass nigga.” This is a man I wouldn’t try to stop. Juggernaut rap. DaBaby is a rap giant. 

2. “PICK UP” feat. Quavo

“PICK UP” is slower. Kind of ambient with a bounce. Interesting. He sounds like he’s rapping slower, taking his time. “I look better in person.” Ha. He glows confidence. “PICK UP” is cool. I’m not sure who made this beat, but… Quavo! Quavo raps like a professional football coach. I mean that in the best way. A man on the field, commanding, the confidence of a leader. The Nick Saban of rap. I like him on this better than DaBaby. It feels more natural than the songs on Quavo’s solo album. “You already know I’m the goat.” Okay, sir. “PICK UP” is fine. 

3. “LIGHTSKIN SH*T” feat. Future & Jetsonmade

“LIGHTSKIN SH*T” doesn’t sound like a Jetson beat. A good bounce. DaBaby has a good melody, I can see it being popular on Instagram. There’s going to be some interesting discourse around this one. Future! Sonically, this is so bright for Future. I like Future’s voice on this. He sounds a bit like Thug. He’s talking that talk. “Hard to fall off I’m super relevant.” He killed it. “LIGHTSKIN SH*T” isn’t a bad song, but it’s not gripping. 

4. “TALK ABOUT IT”

Wheezy! Whew! “TALK ABOUT IT” is the one. Infectious. I love hearing the word “Jit” in rap songs. It’s so Southern. DaBaby is swagging. So much life. So much pride. “TALK ABOUT IT” is the song Drake should be on. Started from the bottom now I’m here rap. A keeper. He’s good, real good. “All a nigga know is hustle.” You want to follow him to the top.

5. “SAD SH*T”

“Let me do some sad shit.” Man, this record don’t sound sad. He’s singing. Is he trying to get his girl back? I don’t know what’s happening. He’s switching pitches. He sounds like a possessed Young Thug. Now he’s back on his pimping. Was that a Migo ad-lib? Nothing makes sense. Is that a vocal sample? How is this song still building? “You ever got your heart broken, nigga?” Man, what is happening. How is this song still going? DaBaby songs aren’t supposed to last this long. Where is Rich Homie Quan? If Rich Homie would’ve made this same song, I’d be crying in the club. “SAD SH*T” has too much performance to be sad. 

6. “FIND MY WAY”

“Wait a minute, who are you?” Ha, I like the drop. “FIND MY WAY” is boring. By far, the slowest DaBaby has ever sounded. The songs don’t progress with any purpose. He’s so still. “FIND MY WAY” isn’t saying much to me. That Melly line wasn’t it. I like the line about him being a hero. Man, skip.

7. “ROCKSTAR” feat. Roddy Ricch

I’m excited to hear Roddy. I know my sister-in-law is somewhere ecstatic. DaBaby leaning into this type of melodic rap creates the ideal setting for Roddy to skate. So far, “ROCKSTAR” is alright. A nice flow switch. The PTSD line got me. Oh man, he just mentioned the murder in Wal-Mart. Crazy. Roddy! The million-dollar voice. I hear so much music that sounds like him. He’s skating. He is Tony Hawk, and “ROCKSTAR” is his skatepark. “ROCKSTAR” is a fine song. It could be a big single, but I don’t feel compelled to hear it again.

8. “JUMP” feat. Youngboy Never Broke Again 

“Cha-ching.” The bounce! NBA YoungBoy has a voice that projects with charisma. Yeah, this is good. Real good. It’s a single. It’s going to be a Black Air Force 1 summer. Such an infectious song. “Made a song in 10 minutes and went platinum.” I love hearing DaBaby brag about his accomplishments. “I make it jump like crack in the ’80s.” Voices from Baton Rouge jump in your veins. Southern rappers have such a natural bounce in their voices. It’s a cheat code. Youngboy ate. Keeper. DaBaby’s second verse is charming. These two are a good combo. I didn’t expect much, but they align as if they were kindred spirits. 

9. “CHAMPION”

“Yeah, I took the cash route.” His words are embedded with passion. The melodic flow works for him. “CHAMPION” reminds me of Rich Homie Quan, but Quan was belting it out. DaBaby sings from the heart, but Rich Homie sang from the gut. DaBaby’s a champion. Rich Homie Quan was an angel.

10. “DROP” feat. A Boogie Wit Da Hoodie & London On Da Track,

I don’t like “DROP.” DaBaby’s singing is not selling a product I want to buy. He’s just not offering much here, and I’m not a fan of the production. A Boogie sounds more at home. So many artists sound like A Boogie. Or does A Boogie sound like so many artists? I can hear “DROP” on the radio. It’s not striking, but it’s kind of pleasant in a commercial rap way. “Why the fuck wouldn’t they want to rob me?” Well, that’s one way of putting it, Boogie. “DROP” is a skip.

11. “BLAME IT ON BABY”

Ahh! These keys. His voice. Yep, this is personality. This is speed. This is rhythm. Where was this energy!? He’s talking that talk. I have been waiting for “BLAME IT ON BABY” all album. Yep, yep, yep. “I know I’m on top, I’m a target.” He’s taking off. A rocket ship is taking off. “Slow down, slow down.” WHERE WAS THIS ALL ALBUM!? Jesus, man. Let’s go!

12. “NASTY” feat. Ashanti & Megan Thee Stallion

Of course, he sampled Ashanti’s “Baby.” This is cool. I imagine JaRule will appreciate this effort. I can hear “NASTY” on the radio. DaBaby reminds me of Ludacris at times. He’s a rapper with a striking personality who raps with vivid lyricism. Of course, London made this track. Megan! Oh, this a hit. If people could go outside, the day parties would eat this up. It’s so familiar. It’s so nasty. She gave DaBaby the verse “NASTY” needed. Tina Snow raps. “NASTY” worked better than I expected. I was worried it would be cheesy. I spoke too soon. Why is DaBaby still rapping? This song doesn’t need to be this long. Ashanti sounds fine, but I didn’t need additional vocals. “NASTY” could’ve ended three “babies” ago. Brevity people, brevity. 

13. “AMAZING GRACE”

“A nigga barely read the scripture, but I’m spiritual.” I like this. It’s honest. I’m not in love with the mix. I feel like a tighter mix would’ve made this one pop. There’s a rawness to “AMAZING GRACE”—a demo that was too good to record again. Not a grand finale, but a memorable one. 

Final (First Listen) Thoughts on DaBaby’s BLAME IT ON BABY:

DaBaby’s BLAME IT ON BABY is an interesting album. Musically and lyrically, the work is not a massive departure from the winning tricks and acrobatics that made Baby on Baby and KIRK successful releases. But, instead of introducing a new perspective or revealing anything about himself that we didn’t already know, DaBaby repeats familiar tropes alongside famous friends and over contemporary productions.  

At best, BLAME IT ON BABY reaffirms DaBaby has the charisma of a rap star. He has the voice, confidence, and style to be a giant among men. But does he have the songwriting? BLAME IT ON BABY, on first listen, makes you wonder. There are some high highs, like “NASTY,” “UP,” and “TALK ABOUT IT,” but, as an album, BLAME IT ON BABY isn’t undeniable. 

DaBaby is still a new artist. Emerging into his stardom. BLAME IT ON BABY is an album that says, “I’m on the way,” not, “I have arrived.”

from Listen Review of DaBaby’s ‘BLAME IT ON BABY’ Album by djbooth.net

[musicarenagh]

RIAA Diamond-Certified Rapper Roddy Ricch Shares Latest Single “Stop Breathing”

RIAA Diamond-Certified Rapper Roddy Ricch Shares Latest Single “Stop Breathing”

Roddy Ricch, who is well-known for his ability to create enormous bangers and captivating melodies, has released a new song called “Ghetto Superstar,” in which he asserts his position in the music industry. This song, which features G Herbo and Doe Boy, is a proven chart-topper that has the potential to put you into a tizzy and get the party started in full swing. It is heartening to see that he…

[sammy9links]

DOWNLOAD Roddy Ricch - Real Talk

DOWNLOAD Roddy Ricch – Real Talk

Roddy Ricch Real Talk Mp3 Download Roddy Ricch has released a new music titled “Real Talk” and it’s available here on mp3 iTunes FLAC rar zippyshare + 320kbps for your free download. Stream and Download Roddy Ricch – Real Talk lyrics tracklist, music album downloader,mp3 album, Download Mp3,hipHop, Album download DOWNLOAD…

[sammy9links]

ALBUM: Roddy Ricch - The Big 3 320 kbps

ALBUM: Roddy Ricch – The Big 3 320 kbps

Roddy Ricch The Big 3 Zip Download Roddy Ricch returns to present yet another new music album titled “The Big 3” Stream and Download Roddy Ricch – The Big 3 zippyshare Album in Rar, torrent, Leak, fakaza M4a. Roddy Ricch – The Big 3 Lyrics and Tracklist 1. Real Talk 2. Tootsies 3. No Mop DOWNLOAD Roddy Ricch The Big 3 Zip File

[sammy9links]

MP3: Real Talk by Roddy Ricch

MP3: Real Talk by Roddy Ricch

Roddy Ricch Real Talk Mp3 Download Roddy Ricch has released a new music titled “Real Talk” and it’s available here on mp3 iTunes FLAC rar zippyshare + 320kbps for your free download. Stream and Download Roddy Ricch – Real Talk lyrics tracklist, music album downloader,mp3 album, Download Mp3,hipHop, Album download DOWNLOAD…

[sammy9links]

MP3: Roddy Ricch – Real Talk

MP3: Roddy Ricch – Real Talk

Roddy Ricch Real Talk Mp3 Download Roddy Ricch has released a new music titled “Real Talk” and it’s available here on mp3 iTunes FLAC rar zippyshare + 320kbps for your free download. Stream and Download Roddy Ricch – Real Talk lyrics tracklist, music album downloader,mp3 album, Download Mp3,hipHop, Album download DOWNLOAD…

[sammy9links]

Roddy Ricch - The Big 3 (Full Album)

Roddy Ricch – The Big 3 (Full Album)

Roddy Ricch The Big 3 Zip Download Roddy Ricch returns to present yet another new music album titled “The Big 3” Stream and Download Roddy Ricch – The Big 3 zippyshare Album in Rar, torrent, Leak, fakaza M4a. Roddy Ricch – The Big 3 Lyrics and Tracklist Roddy Ricch – Real Talk Roddy Ricch – Tootsies Roddy Ricch – No Mop DOWNLOAD Roddy Ricch The Big 3 Zip File