Double or Nothing is a full-length studio album starring Detroit rapper Big Sean and Atlanta producer Metro Boomin' released on the 8th of December, 2017.
Download: Big Sean – I Decided (Album) Big Sean – I Decided (Album) Here is I Decided, the fourth studio album by American rapper Big Sean by GOOD Music and Def Jam Recordings. Big Sean started the campaign to this album by releasing “Bounce Back” the album’s lead single on October 31, 2016.
Watch the video for So Good (& Metro Boomin) from Big Sean's Double Or Nothing (& Metro Boomin) for free, and see the artwork, lyrics and similar artists. 'So Good' by Big Sean and Metro Boomin feat. Kash Doll sampled Kodak Black's 'Tunnel Vision'. Listen to both songs on WhoSampled, the ultimate database of sampled music, cover songs and remixes. Listen and Download So Good Big Sean mp3 - Up to date free So Good Big Sean songs by Mp3bearz.biz. Double or Nothing is a collaborative studio album by American rapper Big Sean and record producer Metro Boomin.The album was released on December 8, 2017, by GOOD Music, Def Jam Recordings, Republic Records, Universal Music Group and Boominati Worldwide. It features guest appearances from Travis Scott, 21 Savage, 2 Chainz, Young Thug, Kash Doll and Swae Lee.
On December 1st, 2017, Big Sean announced that he had a joint project with Metro Boomin', but had no release date. However, a few days later on December 5th, 2017, it was announced that the project would be dropping on December 8th, 2017, along with Metro Boomin' revealing the cover art via his Instagram.
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Speaking on an interview with Billboard magazine, Metro – who was born in ‘93 – revealed that they are trying to recapture the feeling from that era when “a lot of projects had one producer, maybe two. They sounded more cohesive– better as a whole.”
Although the duo has created hits together on songs like “Sacrifices” and “Bounce Back”, most people would not have expected the two to work together in this effort since Big Sean is not an Atlanta artist.
On December 6th, 2017, two days before the official release date, LeBron James previewed some track of the album on his Instagram stories, proving once again his important role in promoting and supporting upcoming releases.
Double Or Nothing is an acronym for DON, which Big Sean frequently has called himself.
Though fun and at times politically salient, even Metro Boomin cannot rescue Big Sean from his habit of writing the absolute corniest lyrics imaginable.
Big Sean is the Nickelback of rap. His music is earnest but predictable; he is critically reviled but puts up No. 1 albums. There are as many people who hail his appearance on Jimmy Kimmel’s Mean Tweets sketch as there are who think he’s got real bars. Earlier this year, Sean released I Decided., the follow-up to his 2015 album Dark Sky Paradise. Both albums suggested he has a bit more to offer than syntactically tangled lyrics and Dark Sky not only had hits that appealed to his detractors—the Drake-featuring “Blessings” and epic kiss-off “I Don’t Fuck With You”—but suggested that, with a little bit of growing up, he could perhaps start to chip away at his long-held place as a bottom-rung rapper. His new collaborative project with Metro Boomin, Double or Nothing, undoes all that good with lyrics so absurd it’s difficult to imagine they were written in this reality.
Why isn’t there anyone in the recording studio telling Big Sean that his lyrics are not good? He opens the album with a track called “Go Legend” where he declares his brother to be like John Legend. On “Who’s Stopping Me,” he offers us this: “I had a dream I rode with Rosa Parks in back of the ’Bach/And we was blowing a blunt and she was packing a strap/Like damn, it do feel good to be black in the back.” While it’s worth noting that Sean’s vocal cadence succeeds where his wordplay fails—he emphasizes the “do” to imply that it now feels good to be black and sitting in the back because being chauffeured is a sign of wealth—his thug fantasia about a civil rights icon is neither trenchant nor funny—just very corny.
There are more failed attempts at woke lyrical tricks throughout the album, particularly on “Savage Time” where he raps, “Beat a white supremacist black/’Till that motherfucker hate his face,” shouts out former San Francisco 49ers quarterback and leader of the “National Anthem” protest movement in the NFL Colin Kaepernick, and asserts that he’s going to take water from Flint, Michigan to Washington D.C. where he knows Donald Trump won’t drink it. These are all great things to rap about! Sean is from Detroit and the ongoing, appalling Flint water crisis is something he should be passionate out; with such a big platform, he has the ability to highlight it for pop audiences who may not be informed about the dark reality that the residents of that town have not had clean water for over three years.
His feeble attempts at political commentary are, however, less unfortunate than his characteristically gross sex raps of which there are plenty. The most vacuous are on “So Good”: “Pussy so good, I never fuck you in the ass/Got a long dick, that shit barely fit/Like O.J. glove, you must acquit”; “I be damned if I didn’t 69/I can hit this shit until I’m 69.” It is, at least, a good reminder that no matter how ironic your “nice” joke is, there has probably never been an actually funny 69 joke ever in history.
Although these gaffes are his own, the person who probably suffers the most from Double or Nothing is Metro Boomin. The 24-year-old producer has had immense success with these kinds of projects before, garnering critical acclaim for Savage Mode with 21 Savage and Droptopwop with Gucci Mane. But the difference is that 21 and Young Thug both know how to make their work with Metro more symbiotic: his production is usually a palette for a vocalist to go bold or unhinged, like Thug on “Hercules,” Future’s “I Serve the Base,” or Tinashe’s “Ride of Your Life,” among many, many others. From the quality of the production, it seems that Metro knows he wasn’t going to get a progressive performance from Sean. Most of the beats on the album are standard fare with a few gems like “Reason,” which recalls Metro’s What a Time to Be Alive production “Jumpman,” and “Who’s Stopping Me” which samples from Brazilian artist Nazaré Pereira’s “Clarão De Lua,” something a little bit different from Metro’s typically modern approach. Sean adds his approval by saying, “This shit sound like ‘Narcos’” before he starts rapping. The television series “Narcos,” of course, takes place in Colombia where they speak Spanish; “Clarão De Lua” is in Portuguese, Brazil’s native tongue. Like most of Double or Nothing, it is just another thing he gets wrong.