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Cool ruler Tyga surprises with the slow and royal "Black Crowns," a majestically soaring number that lasts over five minutes, one of which is given to a heartfelt answering machine message from mom. On top of that, Cash Money does well with those who were born on third and thought they hit a triple, and when the ego-fueled artist adds a handful of truly inspired numbers, the sky's the limit. Cole to bring their distinctive sounds and dominate their respective tracks, he does retain an identifiable love of the wisecrack and a chameleon-like skill that lets him go from melancholy to mean without a hitch. He won't be mistaken for Kanye, Jay-Z, or his label boss Weezy, but while borrowing some of that Pilot Talk dreaminess from Currensy (the boast and float "I'm Gone") and allowing T-Pain, Robin Thicke, and J. That's a lot to pull off, but the aptly titled album does it, and effortlessly, although with names like Pharrell, Tha Bizness, and Cool & Dre behind the boards, the 22-year-old Tyga's got a better shot than most. "And when I said I love you, yeah, I fuckin' meant it, and we ain't gotta bring your moms and your sister in it," goes one line in "Love Game" that feels like a specific bad memory from a specific bad argument.Benefitting fully from the creative renaissance the street-born Cash Money label experienced after the first Tha Carter, Careless World: Rise of the Last King is a glittery teenage dream that can slice off a little of the Lil B demographic while still being completely sellable to radio thanks to its Drake-level polish and its Watch the Throne-sized ego. Occasionally this feels forced, and he's clearly not operating on a "Marvins Room" level, but for the most part he pulls it off. So while there is no shortage of flossed-out hedonism (not only "Rack City" but the equally gooey Lil Wayne collaboration "Faded"), you've also got several lovelorn jams. Clearly he's seen Drake's success and understands the value of adding some introspection into the mix. In terms of persona, Tyga goes a long way here to establish himself as a complicated and sensitive dude. Still, they sound big and sturdy, built for the radio. "Muthafucka Up" is basically "6'7"" Part Two, "Black Crowns" takes a moody page out of Noah "40" Shebib's playbook, and so forth. These songs don't reinvent the wheel and sometimes openly cop from existing hits. Executive producer Jess Jackson (previously an unknown UK garage guy who asserts himself as an emerging hitmaker here), leverages this by giving him juicy, hook-laden cuts.
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Tyga isn't a gifted lyricist, but he has a few key things going in his favor: a workmanlike ability to ride a beat, a solid singing voice, and a great ear for melody. Does he have any other songs- let alone a whole album's worth- anywhere near that good?Ĭareless World: Rise of the Last King tries its damndest to answer this question in the affirmative. Now all of a sudden, people are reassessing Tyga. "Rack City" is on some level a genius pop moment, and at this point it's also a meme: There are Tumblr homages, a version that serves as the Los Angeles Clippers unofficial theme song, and urban myths about its creator being forced to dance to the track at gunpoint. It's futuristic but simple, sexy but silly, quotable ("Got your grandma on my dick") and ingratiatingly catchy. There is everything to like about the song.
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Originally released on his Well Done 2 mixtape, the slithering ode to Bay Area twerk music became a massive hit.