Album Rating

Big Sean & Metro Boomin’ – Double Or Nothin (Album Review)

Metro Boomin’ has amazing chemistry with the superstar trappers of the world, but on the low, he has also been pretty good with the other guys that simply like to rap such as Big Sean. I feel like Metro’s enthralling trap beats help stimulate Sean’s competitive yet emotional side, which means the full body of work that is ‘Double or Nothing’ might end up being raps most entertaining diary of the year.


TOP 5

 

5. NO HEART, NO LOVE

‘No Heart, No Love’ is probably the best ending to an album I’ve heard this year.

Over this trap rendition of the famous ‘Strawberry Letter 23’, Big Sean goes in, talking about both his accomplishments and his future goals. With the instrumental having such a good bop to it, Big Sean has this pep to his step that he raps with that is nothing less then motivating. I personally think the verses he drops on this song are flawless, and probably his most transparent.

Will you hear this song in the clubs? Probably not, but I think it can make you do a few additional reps at the gym if you play it.

 

 

 

4. PULL UP AND WRECK

Just last week someone ‘pulled up and wrecked’ on me when I was trying to make a turn on the highway, so I can feel both 21 Savage and Big Sean’s pain! (Big Sean and Metro are talking about fender benders on this song, right?)

I feel like the beats Metro Boomin’ gives Big Sean challenges him to be this competitive dude, one that I think at times is the most untouchable in rap. That’s exactly what you get on ‘Pull Up and Wreck’, a Big Sean that is dismissive of his competition, testy, and very witty. When you sprinkle in ‘catchy’ with all those other characteristics, you get this fight song that I think only the Detroit MC can make.

I didn’t think 21 Savage would fit this song, but he really does a good job of keeping up with the fast rapping Big Sean on his verse. I feel like the topic of this song is catered to the ATL rapper, so content-wise, he definitely fits.

Doesn’t this song sound a lot like ‘Moves?’

 

 

 

3. GO LEGEND

I’m pretty sure Big Sean, Metro Boomin’ and Travis Scott are all gangsta, but they ain’t got nothing on that trill ass intro by Snow White! (That’s Snow White, right?)

‘Go Legend’ is that fast tempo track that features Travis Scott and Big Sean doing what they do best — Treating listeners to this energetic tune that can easily serve as exercising music. If you ever decide to do jumping jacks to this s–t, you might end up doing several.

Big Sean typically has a lot to say, so I am impressed on how he is able to cram all his content into two simple verses on this song. Nothing is forced though, as he finds a way to highlight his most meaningful words throughout. It’s almost like Sean gives us the cliff notes of what he’s thinking on his verses, something I appreciate as a C student in college.

How is Travis Scott able to make gimmicky s–t sound so damn cool? What is so special about him saying “711” and “We Go Legend” over and over again? N—a, put me on the mic right now! I bet you I can come up with something way simpler than this!

 

 

 

2. IN TUNE

I feel like ‘In Tune’ has both featured musicians doing what they do best: Big Sean rapping about some personal s–t, and Metro incorporating these deep emotions into his beat. Is the track the most exciting on the album? Not at all, but I think it embodies what makes this album special.

Usually when an artist tries to give us some advice, we either soak it up or dismiss it, and that is mainly because the artist who delivers this advice comes across as either entitled or arrogant to a few listeners (ie. Jay-Z on The Story of OJ). The way Big Sean gives advice is a bit different: He comes across as more relatable, and on top of that, he usually accompanies his advice with this club-ready sound. So even if you aren’t trying to hear some motivational s–t, you can at least enjoy the track for it’s vibes.

 

1. BIG BIDNESS

‘Big Bidness’ features straight up bars from both Sean and 2 Chainz.

There is a lot of sick ass verses from Big Sean on this album, but none of them is touching his verses on this song. On it, Sean raps with multiple flows, hits us with some pretty hard punchlines, and is absolutely phenomenal with his wordplay. Sean is in the zone, and by the end of it, I feel like they had to yank that n—a off the mic.

If Big Sean didn’t kill his verse like he did, we would think 2 Chainz had pretty damn good verse! Not only does he approach the track with that slyness that made him popular, but he also shows a good balance of humble and braggadocios on it. This is the 2 Chainz that is a southern legend to me.

Webster is turning in his grave seeing how they spell business now.


SONG BY SONG BREAKDOWN

1. GO LEGEND (4.7/5)

2. BIG BIDNESS (4.5/5)

3. WHO’S STOPPING ME (4/5)

4. PULL UP AND WRECK (4.7/5)

5. SO GOOD (4/5)

6. SAVAGE TIME (4.6/5)

7. EVEN THE ODDS (4.3/5)

8. IN TUNE (5/5)

9. REASONS (4.5/5)

10. NO HEARTS, NO LOVE (4.7/5)


OVERALL RATING

(8.5/10)

 

Metro Boomin’ stated earlier this year that he loves the cohesion that emerges when a producer and artist creates a full album together, and I fully agree with him on that. On ‘Double Or Nothin’, I love how Big Sean and Metro develop this rapport that continues to grow from song to song, with each song carrying this somber yet trap tone. It’s a unique sound, and one that gives each track two different feelings.

Big Sean has stated over and over again that he thinks that he’s one of the best in the game, and after you hear this album, you will probably agree with him. Sean does it all on ‘Double or Nothin’: Dynamic flows, outstanding content, great punchlines, and lots of catchiness. He excels in speaking his mind, and even succeeds in talking that tough s–t despite being 120 pounds soaking wet. Sean continues to grow his legend, something that is being ignored for some reason.

This is Metro Boomin’s 4th collaborative album this year, and on majority of them I proclaimed him to be the most important to the project. Unfortunately, I think Sean takes that crown on this album, but that doesn’t mean he didn’t do his thing though. Metro still provides some cinematic beats on this album, but what I like most is his willingness to experiment on songs like ‘Who’s Stopping Me’ and ‘So Good’. However, if I were to rank his production on this album compared to his other collaborative projects, I would probably have to say last.

‘Double or Nothin’ is only 10 tracks long, but I think it’s impact is just as major as any other project that was released this year.  I feel like it’s an album that has the perfect mixture of trap, wisdom and MC’ing, which means there’s something for a rap fan of today incorporated in this album. It’s fitting that the album was released at the end of the year, mainly because it it a culmination of everything we heard this year.

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