On Love Story, he’s (mostly) kept his promise. On the track “Rhyme Room,” he even apologized for his missteps, saying, “I know Radioactive had a couple of radio attempts/But I don’t want to be radio-active anymore now than I want to jump off a cliff/This I promise.” He spent last year on the Slumerican Made Tour with longtime collaborator Rittz, and found his musical footing again with his 2013 mixtape, Trunk Muzik Returns. After many criticized the album for its misguided attempts at radio crossover hits, the man otherwise known as Catfish Billy embarked on a quest to reconnect with his Trunk Muzik roots. I give this album an 8/10īelow I have linked in a few songs from “Next to Nothing”.It’s been over three years since Yelawolf’s debut album, Radioactive, dropped, and in that time he’s done some soul-searching. He hasn’t had to be anything but himself to put him and that position and that is one huge thing i respect about the man. So with a great set of features, good production, his chilling story telling ability, and some very clever and witty lyrics, Rittz is climbing up the list of up and coming rappers. It is filled with stories of his struggles, past and present, how he lives his life, and what is important to him right now.
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This album puts you in the mind of Rittz. They aren’t necessarily fillers, but they just don’t fit with the album in my opinion. I feel like those songs don’t really bring much to the table. If Rittz omits “In my Zone” featuring Mike Posner and B.o.B, “Wish You Could”, and “Turning up the Bottle” then puts “White Rapper” as the last track as sort of a “drop the mic” kind of thing, I think that would take this album from good to great. I found myself losing a little interest near the end of the album, only to have my energy revitalized by the personal track “White Rapper”. Think of the rich, mellow sound of a Ugk instrumental then sprinkle in bits of trap and you have the sound of this album. “Crown Royal” and “Bounce” featuring Twista are both great examples of this sound i’m trying to describe. The album has a much smoother sound to it than his last two albums. On his previous two albums Rittz’s instrumentals were all 808’s and bass, which there is nothing wrong with that because thats the kind of beats Rittz kills, but at the same time hearing him slaughter an acoustic beat like on “Going Through Changes” featuring Mike Posner is music to my ears (pun intended).
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The variety of beats on this album also helps it out a lot. He throws down an 18 bar verse then a 19 bar verse respectively with two pre-hooks and two hooks in 3:23. The song has nothing to do with his life at all but it was a must have on the album I assume for him just based on how technical he raps on it. This characteristic stands out on the track “911”. Rittz also showcases his ability to story rap at blazing speeds. Blow is pretty long to have that much less content, so this just shows Rittz can slow his flow down and glide over beats effortlessly. The track “Turn Down” which has three verses that have fifteen, eighteen, and sixteen bars respectively, and four hooks clocks in at 4:11. The two of his verses are thirteen bars a piece with two hooks and the song clocks in at 3:43.
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The track “Blow” is a perfect example of this switch up Rittz shows on this album. When you begin to use the same flow in every song it tends to make the album run together a little bit and when the album runs together thats when listeners get lost and think they have been listening to the same track for thirty minutes.
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It is great but only to a certain extent. On his previous two cuts he has used the same mind warping, supersonic flow. He FINALLY switches up his flow and I think that has taken him to the next level as a rapper. Today we are going to be reviewing Rittz’s latest album “Next to Nothing”.įirst off this is the best album from Rittz yet, period. As promised we are back for todays artist of the week post.