21 Savage on “Want Me Dead” is also a runner-up. Jessica: Drake on “Oh U Went.” Drake’s verse is smooth and even outshines Thug on the song. Both of 21 Savage’s verses are great, too. Best feature?Įric: It’s a two-way tie between Drake on “Oh U Went” and Travis Scott on “Abracadabra,” but everyone killed it. I didn’t expect prison-phone verses, but the pre-recorded verses sound disjointed on some songs, and his normal bars about living a lavish lifestyle don’t hit the same when you know he’s currently a victim of the prison system. Jordan: This album sounds good, but it does not reflect Young Thug’s current disposition. Usually Thug brings a lot more fun and charisma to the table and it’s often palpable. Jessica: The overall energy of the album was lacking something. It’s tragic to think we may have to wait a very long time to hear another project like that again. These songs were likely pulled from the vault and pieced together by his team, who did an admirable job considering the circumstances, but it’s impossible to replicate what Thug would have brought to the table if he was there in-person.
Thug is usually extremely hands-on when it comes to finishing his albums (I wrote about his meticulous in-studio process while completing Punk here) and this album didn’t benefit from those finishing touches. Worst thing about the album?Įric: The circumstances. They all showed up and put their best foot forward, which helped the album exponentially. This album felt more like a love letter from his closest music friends than an album, but that’s not a bad thing. Drake’s verse on “Oh U Went,” 21 Savage on “Want Me Dead” and Lil Uzi Vert on “Hellcat Kenny” were all top tier. Thug has very talented friends, and they gave it their all. Jessica: Hate to say it, but the best thing about the album is the features. He’s had a lot of imitators over the years, but it’s impossible to do it quite like Thug. As always, it’s wildly inventive, sometimes bizarre, and very entertaining. After a year of headlines about everything but the music, it’s great to hear some of what’s been sitting in the vault. Best thing about the album?Įric: Hearing from Thug again. Jordan: I won’t be revisiting “Money on the Dresser.” It has the weird, warbled Thug beat that we’re used to him rapping over, but it's just too far of a departure from the smooth intro track. Jessica: There are definitely some weaker songs on the album, but I can’t put my finger on which one is the biggest skip. Biggest skip?Įric: “Money on the Dresser.” That beat is not it, and Thug’s vocals don’t save it. Jordan: It’s a toss-up for me between “Went Thru It” and “Parade on Cleveland,” and “Cars Bring Me Out” is also up there. The best song with a feature is “Oh U Went” with Drake. Jessica: The best solo Young Thug song is “Went Thru It,” where he gets personal and delivers his signature flow. Songs like this, where Thug opens up and squawk-sings his idiosyncratic observations of the world, are why he’s so special. Over the centuries writers have been able to exploit the magnetic appeal of these four chords in endlessly innovative ways to create hit after hit song.Eric: “Went Thru It.” This man just yelled, “I saved the world in a dress, baby,” and made it sound cool as fuck. The concoction of different frequencies of the pitches within these magic chords create a whole load of ‘consonant’ frequency ratios, setting up the strongest memory of the tonic in the ear of the listener, and making them (rather poetically) long for a return to ‘home’ – to hear the tonic again. There’s no doubt that the human ear is hooked on this repetitive chord progression, and it turns out there’s a scientific reason why these particular chords interact so strongly with the tonic. Chord vi is the minor reflection, or ‘relative minor’ of Chord I, and this similarity means that it still feels comfortably related to both Chord IV and Chord V.įind out more about the Circle of Fifths > Well, if you look back at the circle of fifths above, you’ll see that every major chord has a minor reflection, (shown in the inner circle) which contains all the same notes as its major counterpart. In fact, another reason this is such a stable trio is that chords IV and V are actually both a fifth away from the tonic – in opposite directions! The reasons that the progression of I, IV, V is so pleasing to the human ear is that those chords are built upon the three most consonant intervals with the tonic:
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