Correct, N***as do get shot everyday, but Dolph seems to get shot more than every other n***a does. Maybe this galvanizes him? Maybe he brings out his best music when he goes through life threatening situations like the one he had in Los Angeles? He’s already a pretty passionate rapper, maybe giving him more riveting content to talk about only boosts his ability to tell stories? Whatever the case may be, I am excited for yet another chapter in Young Dolph’s journey — a journey that could’ve possibly came to an aburpt end back in September.
Doesn’t it feel like every rapper in the hip hop game at least has one song called “Paranoid” in their catalog? Paranoia might just be the new black.
I like the dynamics of this beat, as it goes from piano-heavy to bass boomin’ throughout. On his verses, Dolph raps about the successes that come with being a hood legend, sounding like he believes everything that is currently happening to him is too good to be true. It almost feels like the Memphis rapper catches himself when he realizes he’s getting a little too braggadocios, something I find pretty interesting.
Don’t you love how seamlessly Dolph goes from enthusiastic to nervous when he raps? It’s almost like the n***a grew up admiring Murphy’s law.
I have no clue what “Flodgin'” means, but If I were to guess, it has nothing to do with cooking empanadas.
“Flodgin'” is a bit dull at first, however, its numbing tone is probably what Dolph needs to succeed raping-wise. With that being said, you get this version of the rapper that sounds comfortable in his own skin…the same skin that has been shot at over 150 times.
While I love Dolph’s raw ass lyrics on both his verses and the hook, I think it’s the Christmasy trap sound on the instrumental that steals the show. Santa Boomin’, is that you?
3. KUSH IN THE YACHT
You know what I love about “Kush in the Yacht?” It’s the intro track to this EP, and it serves as a quick reminder to all of Dolph’s fans that ain’t s–t change since his last release. Not only do you get the same ol tough/gritty instrumental that you are accustom to hearing Dolph rap over these last couple of years, but you also get no smiling nor auto-tuning on it, either. I love when rappers remain their original selves despite their growing fame.
2. BLONDE AND N ONION
Blonde and N Onion = Stormy Daniels.
Believe it or not, “Blonde and N Onion” is that ridin’ out music that thugs in the bando would love to commit trouble to. From the moment you press play, the instrumental boasts this chilling feel, eventually blooming into a full out trap gem 1 minute in. Dolph definitely plays the beats conductor well, dictating the way it moves by utilizing this boss-like demeanor throughout. All in all, I think the track epitomizes what Dolph does well, and that is mix real n—a lyrics with this club ready appeal.
1. SLAVE OWNER
Only a rapper can create a song called “Slave Owner,” and there be absolutely no backlash from it.
“Slave Owner” is fast in pace, which allows for Young Dolph to rap with this steady flow throughout. Additionally, it has this energy to it that is pretty contagious, as Dolph sorta shows off this flossy dope boy swagger that I think he usually tries to avoid on his other records. When it’s all said and done, I believe “Slave Owner” is the best track on this EP mainly due to both its tempo and catchiness.
SONG BY SONG BREAKDOWN
1. KUSH IN THE YACHT (4.8/5)
2. SLAVE OWNER (4.9/5)
3. FLODGIN’ (4.3/5)
4. PARANOID (4.2/5)
5. PLAYA (4/5)
6. BLONDE AND N ONION (4.4/5)
Even though it is a pretty small sample size, I think Dolph has continued to show some serious growth as an artist on this EP. I think he’s perfected his sound, especially when it comes to picking the right production to rap over. Content-wise, he remains the same guy he was from day 1, having this uncanny ability to connect with the hood literally every time he steps on the mic. In terms of his future, I believe he can continue to grow, but I think that will require him to step outside of his comfort zone a little more.
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