“You hear that?,” Big Sean asks on the song “Big Bidness,” “that’s inevitability.” It’s the kind of intro we would have expected to hear announced by DJ Khaled, or someone more “inevitable” to collaborate with Metro Boomin, but if anyone was low on the radar for the next Metro collaboration, it was Big Sean. Working with and defining major trap rap artists such as Young Thug, Future, 21 Savage, Gucci Mane, and Migos, Metro Boomin is the hottest and most sought after producer of the last two years. The Grammy Awards nominated Jay-Z’s 4:44 producer No I.D. for producer of the year, which is still a completely valid choice, but it’s a shame that Metro Boomin, with his insanely high volume of hits this Grammy cycle, wasn’t nominated as well.
If you were to ask me, without knowledge of a future Big Sean project, who was “inevitably” going to have the next Metro Boomin collaboration album, my top guess would have been Travis Scott—an artist who has featured on Metro-produced tracks from the past two albums, and is blowing up in the scene arguably just as much as Boomin himself. As two giants of the genre, it would seem “inevitable” for them to finally come together for a whole album, and I wouldn’t be surprised to see it happen in the near future either.
Instead, Double or Nothing features Big Sean, one of the most derivative rappers in the game, and one of the least likely candidates for a Metro-collaboration. I would have believed that Drake would ditch “40” for Metro before Metro wanting to work with Big Sean. The concept just baffles me entirely. Metro’s entire M.O. exists as a way to bolster artists like Future, Young Thug, 21 Savage, Migos, and a resurfaced Gucci Mane back to the top, and most of these artists owe Metro for primarily getting them there. By working with Big Sean it sets a tone shift for Sean’s sound, leaving Metro unscathed, and Big Sean thrown to the wayside.
Big Sean’s latest record I Decided was his best record yet, though still derivative in sound and delivery, included some of his most personal and worthwhile material to date. It established, at the very least, what to expect from Big Sean as a solo artists post Kanye-featuring goofiness. Double or Nothing, the new Metro-collab shows Big Sean actively dismantling that foundation, as his corny lines and unoriginality blend in with a new feature: some of the grossest lines imaginable…
Cum inside your face, oh baby, now you can’t smile
Cum inside that pussy, I’ma give your mom a grandchild
I’ma make you cum three times
Four times, five times, baby, six times (damn)
I’ma ask you, “Is this pussy mine?” (is it mine?)
If you say no, bitch, you lyin’ (bitch, you lyin’)
‘Cause when I take it out, you start cryin’ (start cryin’)
I’d done fucked around and realigned your spine (goddamn)
You look good from the front and the back
You lil baby, I’m the dad, tryna fuck so bad
Not only are the above lyrics offensive, misogynistic, and outright disgusting, there’s some insane sentences here as Big Sean not only treats this girl like garbage, but also threatens her and creepily refers to her as the “lil baby” while he’s “the dad.” Sure, I’ve clearly never been a big fan of Big Sean, but it doesn’t mean that I didn’t see a lot of potential in his last record I Decided, which only adds to the disappointment of his new direction here.
Double or Nothing is a record that features amazing Metro Boomin beats such as the Brazilian sample of “Clarão da Lua” by Nazaré Pereira on “Who’s Stopping Me,” which Sean incorrectly describes as “sounds like Narcos” (a Netflix show based in Columbia), and “No Hearts, No Love,” which samples the famous “Strawberry Letter 23” by The Brothers Johnson, only to have horrible lyrics thrown in such as:
Got so deep in that bitch, it felt spiritual
Flooded in that pussy, it’s a miracle
Yeah, how the hell you sucked the soul out my dick
Then made me a Visa, started rollin’ up the zip
While Double or Nothing shows Metro is still on top, producing an album of absolutely stellar beats almost once a month, it has the opposite effect for Big Sean, making the audience miss when his corniness was all we had to worry about.
What do you think? Drop your thoughts in the comments below.