The Singles Jukebox

If 2015 has taught us anything it’s that we have issues with poetry…

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[6.83]

Thomas Inskeep: I increasingly get both why Birdman loves Young Thug and why Lil Wayne reportedly doesn’t: because Thug captures the joy and creativity with which Wayne used to rap circa Da Drought 3. The rhymes sound like they’re just tumbling off Thug’s tongue without any worry, while Birdman plays the old/wise/mentor role just like he did on Like Father, Like Son. Wheezy (ha!), meanwhile, has just the right studio touch, providing a beat, a spare bassline and plenty of room for Thug to just rap; parts of the track are damned near a cappella. Best thing he’s ever done. 
[7]

Brad Shoup: As always, his control is ridiculous — the shifts in volume come from a man completely feeling it. (That, and the references to Boosie and Khalifa both.) Wheezy’s track is like a pizzicato string quartet held underwater. Birdman takes the delicate touch and minces with it; it’s fine, but even coming from a benefactor, it’s little better than a favor. They couldn’t get Lyor on this?
[8]

Micha Cavaseno: Sounds like internal combustion. Birdman raps here, but honestly he works better when he’s doing spoken word or a hybrid of raps and game. Bring back Def Poetry Jam and put Birdman on the stage.
[8]

Ramzi Awn: Young Thug’s attitude problem is straight out of the 6th grade, and it doesn’t belong on a beat. Maybe he could try writing poetry.  
[2]

Cédric Le Merrer: This sounds like the soundtrack to one of those contemplative indie video game. Bridman provides the brief, stiff tutorial, Young Thug the freeform, emergent gaming phase.
[8]

Alfred Soto: The sampled string pluck — as distant as a calf’s bellow in a field — allows Thug the space to try his spaciest lyrics and taffiest syllable stretching. Birdman, out of time and unnecessary yet not superfluous, rolls in from motherfuckin’ Nolia, a symbol of conventionality that Thug won’t attain.
[8]