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You get lost in Thug’s verses, partially because you spend the entire time trying to understand what he's saying. A Randy Savage reference is enough to bring this one back. Thugger’s signature moan just about guarantees the song will be fire emojis. Does he like dolphins? I hope he likes dolphins. I should be more familiar with Young Dolph. It’s a really good record that displays Thugger’s better qualities.
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Will he rap? Will he sing? Will he drool? I can see why this was the single. Entertaining, every verse is unpredictable.
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I’m feeling this one more than "With That." A "money on my mind" line, perhaps, an homage to Tha Carter 2? Thugger is in his element.
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This one starts to feel fairly forgettable by the end.Īnother London beat. I’m loving the production, it’s syrupy and hazy, like being in a trap version of outer space. Thug is using the Migos signature flow, but he sounds like the originator. There is a hilarious growl when he calls himself a beast. This intro isn’t bad, it’s definitely different from his more eccentric stuff. He has to be pushing 50 now, can we get a birth certificate? Thug seamlessly switches between rapping and singing, his style is so unorthodox. It’s hilarious how Birdman has been rapping the same verse for the last five years. I like his slow flow, he sounds good across minimalistic production. Thug really channels Wayne when he was at his most brilliantly inebriated.
#Young thug barter 6 track free#
He felt completely, and admirably, free all while sounding like something that had never been heard before in that way.Birdman is on the first record, interesting. The song felt like a breakthrough - an early showing of what Young Thug could be when he allowed himself to completely lose himself to the music, regardless of what conventions he may be breaking. And about a minute after that, the register climbs to a wailing howl that, at moments, causes Thug’s voice to crack. Within 30 seconds of that arrival, his voice seamlessly grows into a higher-pitched harmonizing. One of the better examples of those skills arriving at an ah-hah moment is buried within Gucci’s feverish 2013 run on World War 3: Lean’s “Extacy Pill.” The C-Note-produced track begins with deep space sounding synths before Thug, the only person on the song, appears rapping with an aggressive, almost angry tone. But somewhere around late 2012 and early 2013, when his affiliation with Gucci Mane became stronger, the flashes of personalized eccentricities started to become a more integral part of his music - the harmonies became more animated, the ad libs more manic and entertaining. In the early installments of Thug’s career-launching I Came From Nothing mixtape series, the amount of Lil Wayne that he consumed was so prominent that, on certain tracks, if you closed your eyes and listened, it would have been a trying task to distinguish between the two. Before Young Thug’s delivery evolved into the smoothed-out Swiss Army knife that it is now - bouncing from silky melodies to growls to perfectly placed squawks - the YSL leadman was an Atlanta upstart with a dizzying ability to disrupt tracks with an approach that, at that point, was the most identifiable indicator of Auto-Tune Weezy’s influence on the generation after him.