But from her strip club groove to her truly weird soliloquies (check her out talking about “goat meat”), Cardi elevates a good dance track into a tuneful, spicy trap epic. Yes, 21 Savage is on it, and Tay Keith produced it. The scintillating club cut “Wish Wish” with Cardi B is all her. While old friends and freeloaders litter “Father of Asadh” like empty pony bottles, new collaborators and fresh faces actually do lift the proceedings and save the day. Remember, you don’t have to go home, but you can’t stay on another DJ Khaled track.
Though it’s interesting to hear Wayne do his gruff rap-Dylan vocal thing on something as slippery slick as a DJ Khaled record, his (and Sean’s) repeated performances on other “Asadh” tracks (“Freak N’ You” and “Thank You,” respectively) wind up sounding like drunks who won’t leave a bar after last call. Stuck in another corner of Khaled’s increasingly smaller studio-crib is the crew making “Jealous,” Big Sean, Chris Brown and Lil Wayne, with only crooner Chris to smooth over Weezy and Sean’s grousing with a balm-ing, breezy lyrical line: “Girl, I can tell that you need some love in your life / And I’m the one, don’t let no one change your mind / F- what they say.” It’s almost as if the DJ fears that this trio is the bash’s nerds, and so he tucked them into the lightweight, Latin-tinged, AutoTune-heavy “No Brainer” - something cute, but ultimately going nowhere. Other longtime guests of Khaled’s such as Justin Bieber and Chance the Rapper don’t fare much better, now that they’re stuck in a corner of the party talking to each other - and Quavo, again - just as they did on Khaled’s last album. Luckily, Meek Mill - another of Khaled’s longtime features guests – stops by to speak for himself, in surprisingly subtler tones, on “Weathering the Storm.” On this sleekly bumping cut, Milly talks up how “I went from licks to most wanted to the top of the Forbes … I brought my mama tears, and I turned ’em to VVS diamonds,” in proudly poetic tones. (Jay-Z’s Rocnation Management Company handles Mill’s affairs, and drove the “Free Meek” campaign, hard and fast.) With the help of DJ Khaled, hip-hop’s first couple just turned into Noel Coward and Gertrude Lawrence. Odd then, that for all their disgust (and Bey’s feature is haughty), the married twosome still sound as if they’re preparing to sip champagne cocktails by the chaise lounge, rather than portray tension and ire.
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Not Dostoyevsky, but rather Meek Mill’s imprisonment, his Maybach, his not being able to “wheelie in this free world” without getting jailed.
Now, with a unsteadying repetitive melody, some whoops, bloops and Cardi-whirrs from Future, and Hova’s lyrical tip to Prince’s “Raspberry Beret,” Bey and Jay tackle crime and punishment. Take Beyoncé and Jay-Z, hip-hop’s Liz and Dick and their track here, “Top Off.” For Khaled’s last album, “Grateful,” the threesome - with their songwriting-by-committee crews and applause meter production posse - tackled the spangled empowerment-first anthem “Shining,” and all seemed right with the world. Besides, after 10 albums, who the hell is left in your crowd to keep conversation fresh and witty, anyway? Muthafuckin' eXquire | Discografía | Mediafire.Sometimes being a cheerleader doesn’t sound so cheerful when the team hollers are hollow, and the music is, at a time when grouchy trap hop rules the land, often so sickly sweet, it hurts your teeth.
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