Here, the sensibility gets a healthy dose of decadence heaped on. Stressing the dangers of the road and calling for his girl to wait on him, Big Sean emerges as honest as ever, seeing the impact being gone can have on his love life and yet refusing to give up the excesses of life as a rap star.īut through all the serious sentiments, the record finds another kind of balance in “100 Keys”. The lamentation fest continues in the slightly stronger “Wait For Me”. Utilizing rap and R&B’s go-to-guy for sappy sentimental odes, John Legend’s soulful vocals and ivory tickling facilitate Big Sean’s flow about lost friends and future fears on “Memories”. Of all West’s protégées, though, Big Sean may be the most interesting and sincere with his emotional displays. That understanding only further informs and adds context to his decision to cut tracks like “I Do It” and “Marvin and Chardonnay”: Get ’em while you’re hot, any way possible.Įven with the bangin’ examples offered above, no West mentee would have a complete career with at least the most minimal experimentation with depth and being socially conscious. Once more demonstrating a level of self-awareness, the old soul sample that’s been blissfully mutilated (yet another trademark of West) is a great backdrop for Big Sean’s thoughts on his rise to fame and the finicky nature of the music-listening public. HA.”) Still, Big Sean finds a moment of clarity amidst the madness with “Celebrity”. Plus, having Yeezy to take some of the heat off how batshit Big Sean’s rhymes are always helps (West should be happily ashamed of “This the fucking anthem.
And rightfully so: it’s just as animated sonically, but the chorus in particular, which hits a vein between West’s production style and that of Dirty South MCs like Waka Flocka Flame, add a new sheen to the chaos. Turning it down a couple notches, “Marvin Gaye and Chardonnay”, is probably going to be the biggest track of the LP.
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There’s something inherently hokey about “I Do It”, especially with lines like, “Im Quagmire, I fuck hoes/My cashflow I giggity-giggity it/Boy, Im cock-a-mania/The most zaniest, insaniant.” Yet the delivery by Big Sean, manic, almost cartoon-ish in nature, and the beat, this bizarro bump that feels like the best-worst parts of old horror movie soundtracks cut together, work to make it vibrant and appealing, even if it feels overdone.
What ends up happening over the course of his debut album Finally Famous, though, is just that and, as the song goes, so much more.Īt his most decadent, Big Sean comes off as a sort of lovable caricature of a lot of the tendencies and habits of modern mainstream rappers.
Music boss Kanye West and the socially relevant rhyme styles of, say, a Lupe Fiasco. In a rather impressive moment of self-awareness, rapper Big Sean rhymes on the track “So Much More”, “Standing next to Common Sense and Yeezy.” Here, the Detroit upstart firmly highlights his self-perceived place in the rap world as between the decadence of his mentor/G.O.O.D.
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