Meek Mill – Dreams Worth More Than Money – The STiXXclusive Review

The last time we heard from Meek Mill, it was a less-than-thrilling album that simply came and went faster than a Tim Hortons drive-thru during Morning rush hour (think ‘Dunkin Donuts’ for the Americans who didn’t get that). Forgettable isn’t even the word for what that album was, because it was very much hyped and he contributed to said hype by saying that it would move a lot of copies (which in turn, it didn’t – so there’s that much). Dreams & Nightmares was simply nightmarish when you had the mixtapes prior, plus whatever other features with MMG that simply wouldn’t have made it possible that he would have turned out something so mediocre. Questions began to arise as to if he was able to become an artist to make good albums, or would he be forever labeled as a mixtape rapper who just couldn’t produce. There were many questions, but then when disaster struck and he was sent away to prison, that deemed to be a blessing in disguise when it came time for preparation of Dreams Worth More Than Money (he likes to ‘dream’ a lot). Besides the jail bid, the other reason why Meek Mill has been more in the light was because of his relationship with Nicki Minaj. Now, I’m not one for celebrity gossip (or gossip overall), but I thought the whole thing was just a publicity thing, especially with Nicki & her ex and that messy situation. It’s clear that his refined focus with this album was also fuelled by this new love, and it would only be a matter of whether it would make him better or see him fall flat on his face yet again.

They say that there are about 3 things that you can do in prison: Eat (terrible) food, work out, and read. One of those things that most inmates read is the Bible. Why? Possibly to have faith restored, and also because some people are there so long that they can surely take their time finishing it, since it’s about a millennium long in length but full of context that can resonate. Lord Knows isn’t exactly a song that I would have projected to be a groundbreaking and in depth introspective take onto the Book and how it relates to Meek’s life, but as the sample of Mozart’s Lacrimosa came into the forefront and the vocals of Tory Lanez (more Toronto talent) blared through the speakers, a sudden chill passed through. The Holy Ghost, most would say. Meek surely did leave his (only significant) mark on Hip Hop with the intro of the album of the same title, Dreams & Nightmares. It’s one of those ‘where were you when” moments that will really stick with a particular group of people in this generation, for years to come. That, I can almost certainly guarantee. Now, it would be difficult to top that intro, but on this one here, he certainly brought the Meek Mill that we were all anticipating. The mixtape Meek (Flamerz to Dreamchasers 2) with the ‘censored braids’ that was young (he’s still young), loud (he still is), and full of charisma (it’s there).

“’Member I prayed, really I wished for this
To get the crib with the maid and with the picket fence
I’m with some niggas that mad, we taking risks for this
I’m talking risky business, flick the wrist
Lord knows that I repent for this
But Lord knows if I get penned for this
I prolly won’t get home until I’m 56”

It’s kind of, but not really, hard to imagine that with his 2nd album and beforehand having notable success selling mixtapes, that we wouldn’t still be getting the old ‘I’m thankful to be here, and we made it out of the struggle’ that Meek’s been know to spit in the past. But, as his media tour went on, and the number of times he talked about prison, you can truly appreciate the fact that he is thankful to be out of prison and even still alive to live out the dream: Success, beautiful woman, provide for your family and your circle – it’s the North American dream. But not only that, Meek doesn’t only just speak for himself, but also for those who are heavily involved in the street life and delve deep into the maze that is hood politics. To make it out of certain situations where they seem impossible, serves as motivation for every day people who live in struggle. Chuck D wasn’t exaggerating when he said, “most of my heroes don’t appear on no stamps.” It’s because of people like Meek Mill or Jay-Z (not to compare the two) or whoever made it out of struggle through the hustler’s approach in life. Those are the heroes that people on the outside wouldn’t think are heroes, but truthfully, they are. This entire paragraph can be summed up from one line in the hook, which was sung by Tory “how can I lose when I came up from the bottom? Lord Knows.” This is an emphatic entrance to the album for the consecutive time on Meek Mill albums. The difference is, can it be sustained over the course of the project? That is the question that needs to be answered.

I’m tired of the word Classic, and I have Twitter to blame for that. Actually, maybe it’s just social media in general; blogs, Hip Hop ‘journalists’, and a host of others who throw the once glorified word around like a bunch of Caucasian fellows playing Frisbee Golf at Sunnybrook Park (I’ve seen enough, believe me). Classic is supposed to be a word that is associated with a timeless piece of art or historical nugget that is remembered years, decades, and centuries later because of their cultural impact. Not because a rapper with an ego the size of Hey Arnold’s football head calls their Free EP that streams on YouTube with 1500 plays in 6 months, a classic. But here we are, and the only thing that might be ‘classic’ with regards to this track, is the beat. Bangladesh (not the country, but the producer) has knocked out a lot of bangers in his hey day, so the simplistic approach of his style shouldn’t be a shock, but it’s definitely a nice change of pace from what we usually hear Meek spit on.

“Call me Meek Milly, I don’t play that shit
Got me on my nappy braids before the Maybach clique
Riding in the wheels of fortune, Pat Sajak shit
And all I rock is Balmain like I made that shit”

That same Meek Mill that we were waiting on, it seems as though he heard the calling and returned to form in which the majority of his fans (including myself) fell in love with from the beginning. The day ones, as the children say (who am I kidding?). The only thing that brought this song down was the fact that we had to hear Swizz Beatz actually speak words on a song without warning. I mean, granted it was just a hook and not an abominable verse like on Kanye’s Lord Lord Lord, but let’s just be honest here. If DMX isn’t present, we don’t need to hear you, Swizzerland (or unless it carries the same dynamic as Swing Your Rag). Aside from Alicia Key’s husband, Meek brought out a full throttle of bars to reminisce and sigh in relief as it was really a possibility that all of that extra stuff he tried on the first album would really be behind him, that the focus would be intact. Yes, Meek. Yes.

There are 5 artists that are currently ‘hot’ at the moment: Drake, Kendrick, Kanye, Future, and for the sake of this review, we’ll say Meek (it’s probably not, but that’s not important). Future’s an interesting one because for the longest time, I wanted nothing to do with him. No bars, autotuned like crazy, and his fans were just as crazed and rabid as Max B fans when I joined Twitter in 2009 to find out just who the hell he was. However, after hearing 56 Nights, and March Madness in particular, and just how it enveloped my soul like some kind of spirit, I couldn’t really resist the fact that he makes enjoyable music, although his words are inaudible to me 68% of the time (it might be higher, but that’s not important). Having him on a feature can enhance the quality of the song, because you know the energy he’s going to bring is going to be at a level where there’s only 1 necessary volume to play it at, and there’s been evidence all over 2015 to back up that statement. So what does Meek Mill do? Put Future on Jump Out The Face. As you can probably tell, a lot of the commentary hasn’t been surrounded by Meek’s lyrics heavily, because if you’re new to Meek at all, there isn’t a lot of variety within his diatribe towards the microphone. It goes: My struggle, my pain, my hustle/grind, my come up, my boys, my lavish life, my haters, and repeat. Oh wait, and now ‘my girl’ can go into that list. There’s not a whole lot, because it’s street music. You don’t need a PhD or to be on some high-grade intellectual level like other fan bases of other artists like to claim (*cough* J. Cole *cough*), because it’s plain and simple what’s being delivered to you. This is hype, it’s entertaining, and it serves its entire purpose. It’s just bonus that Future makes an appearance to bless the world of his word (Side note: ‘Future Hive’ is hilarious – the satirical way it pokes fun at other fan bases, is great).

You knew it was coming. I knew it, and certainly you knew that this album wouldn’t have been finished without at least 1 Nicki Minaj feature (spoiler: there are 2). All Eyes On You (really, Tupac?) is the first that has the two come together embracing their affections for one another while Chris Brown belts at the top of his lungs like this is a Gospel Hymn or something. It’s like being on a date with your girlfriend and your boy wants to tag along, so you just let him have some fries so he won’t be an awkward guest, but it’s still funny, considering all of the things circulating Chris Brown’s life (okay, I shouldn’t laugh at the man, but you know – some chuckles were called for).

“She was the baddest, I was the realest
We was the flyest, up in the building
We was countin’ this money, lovin’ the feelin’
Look at you now, in love with a hitta”

I will certainly give it too Meek, because that boy is persistent. Throughout the process of the ‘are they or aren’t they’ on twitter (because really, who the hell really thought…) people brought up Meek’s old tweets (2011-2013) about him dreaming one day to have Ms. Onika Maraj of Queens, New York all to himself. Dreams…. worth more than money (HE’S A GENIUS). Little nugget that maybe only I caught but wasn’t really worth saying, on both Meek & Nicki’s verses on how they ‘met’ each other, to conclude their verses they take The Notorious B.I.G’s flow from Notorious Thugs, and the song pays homage to Tupac. No idea if that even means anything, but I thought it was cool.

“All them hoes, ain’t nothin’ like them
Nigga you know you’d never wife them
None of them niggas ain’t never hit this
Still at the top of all their hit lists
What they gon’ do? Meek and Nick”

I liked the fact that Nicki’s hood demeanour was brought back that had a flash of her sitting on dirty project stairs rapping on The Come Up DVD. Now, after a lot of success and a few albums under her belt, she merge with Meek like two Super Saiyans to form ‘Omeeka.’ This ‘let’s combine our names to make it sound cool but it’s really not’ thing is one I’m familiar with too well, and I wish it would just die. DIE! This is one song that, for me, is just ‘meh,’ but from a hood perspective, and someone who has seen many a hood relationships come and go, I understand its intended purpose, but really I could just skip it. Not because it’s a bad song, which it isn’t, I just have nothing for it.

The Trillest is probably one of my favourite songs, and when Meek gets personal, meaning on a level where it’s real talk and not just flaunting & glamourizing, it resonates and makes me appreciate the artist that he is, being that it’s what made me a fan. He goes into the everyday struggles of the people around him not only with Meek’s success, but the inner city negativity that impacts them (and regular Black people all over) to the point where it’s relatable for many.

“To many kids with no fathers, doing too many bids
Too many bids, judge gave ’em kids too many years
As soon as you get that money, that’s as soon they appear
Sue me, you owe something, they assuming you’ll share”

The common rhetoric within the Black community is that there aren’t fathers around to raise the kids, in order to sustain a healthy society, yadda yadda yadda. It’s annoying to hear about it, and while you live within that same cliché every day of your life, quite frankly it just becomes numb to you, but because of how North America is set up (well, mostly America than Canada), it’s tiresome to come up with excuse after excuse when there are so many factors that determine why there’s such a disproportionate amount of single parent households for Blacks, in comparison to other races, but quite frankly, we won’t get into that. However, Meek has never been the type to stray away from that, so it’s worth noting here.

“I never wanted to be like Mike, I wanted to be like Mitch
Now all the lil niggas wanna be like this
I wear my chain in any city, let you see my shit
Cause I earned that, it’s on me, I’mma keep my shit”

Remember when I was talking about heroes earlier? This is another example of people in the hood who looked up to not only real figures, but also movies definitely played a role in inspiring the youth to make their ends by any means. If you’ve never seen Paid In Full, it’s definitely a Black cultural piece of cinematic artistry (aka ‘hood classic’), and Mitch is the character in the movie whom everyone wanted to be like, in Harlem. Because Meek wanted to emulate the status of glamour, power, and respect that Mitch carried in the movie, and because he now is in a particular position of power, glamour, and respect, there’s no question that there’s a kid in Philadelphia or elsewhere in the world that wants to be like him to come up and enjoy that same success. It’s a cycle. This is definitely one of the better songs on the album from a ‘sit down, shut up, and listen’ standpoint that carries a repeat value.

And now, it’s time for this review’s edition of my unpopular opinion. Alright, so, I live in Toronto (if you didn’t know already), and that means that it’s the home of Drake. Everything Drake. Politicians, media outlets, and everyone and their mother either loves or hates Drake. You can’t escape it even if you tried (although I did come across people who legit had never heard any of his music – that was surprising). That’s not the point, however. The point is that whenever Drake hops on anyone’s track, we all know the rule that 9 times out of 10, that’s no longer your song. The sad part about that is, he doesn’t even have to kill you on a track, because the OVO Legion (shout out to Busby in the Bay Area for coining that) will tell you that he kills everything he touches, which is false, and it is evident on R.I.C.O. My fellow citizens of Toronto. It is time that we as a people just call bullshit whenever bullshit is spewed. Drake hasn’t cared about having above average bars in a bout 2 years because he’s on autopilot. He can say, do, sing, or look however he wants because everyone will gobble anything (anything) he puts out. The truth of the matter is that Meek Mill completely owned this track (one of the best beats on the album, by the way) and if there’s a Drake-less version out there, I’m going to find it. However, that still doesn’t take away that there are some lines from Drake’s verse that will have to be explained, because after hearing it practically everywhere since it dropped (because, again, Toronto), some folks South of the border may not understand.

“But they’re from the way fam, there’s not much to say fam
They told me to tell you, you mans are some wastemans
And stay in your place fam
My dad is from Memphis, and I am the king
I should probably just move in to Graceland
Madonna’s a ting I know and I’m the king of pop
I’m building Never-Never Land”

I’ll make this quick:

  • The way (noun; place) = Galloway. A notorious block that I happened to live down the street from (okay, like a 20 minute walk, but still). Home of P-Reign
  • Wastemans (also: waste cyatties or waste youtes; noun) = People who are deemed less than worthy of valuable time because they do nothing with their lives but pree (or heavily observe) the lives of others, when in fact, they should stay in their own lanes.
  • Ting (noun) = West Indian word for a girl (not necessarily a respectable one), a lemon-lime beverage, an object, another way to say ‘a thing’

There’s your Toronto slang English 101 if you didn’t have an idea already. Another reason why Drake’s verse shouldn’t be so gassed, but it is, is because it is again one of the tough guy fronts that’s put up, when in actuality, it’s the people in his camp who have that muscle and threat, so this is just extra. It’s comedic, really. But Meek’s verse, I’m here for all of it, especially because he mentioned the Eagles in the opening bars. It’s all around aggressive and the beat itself is just sick enough to run it back a few times, play it at every BBQ, and blast loud in your speakers obnoxiously so your neighbours can hear – oh wait, you’re probably already doing that. Carry on.

I Got The Juice, huh? Over/Under: How many Tupac references will Meek Mill make on this album. He’s made about 3, so I’ll set the bar at 6. If you don’t know where the Tupac reference comes from, then take a stroll down to Netflix and watch Juice, which also stars Mike Epps (who never ages), and long story short, a common phrase heard in the movie is “I got the juice” or “you got the juice” hence the title of this song. Capisce paisano (you understand)? Then let’s move forward. The build up brings you in and then the beat just hits so dramatically, that I literally pulled it up 10 times after the initial beat drop just because it was that fire.

“Rather eat crumbs with bums ‘fore I split my steak with you snake ass niggas
I rather stay down with my day ones
‘fore I come around you fake ass niggas
I rather have a broke real bitch
‘fore I ever deal with y’all fake ass bitches
And I ain’t with the flooding on the ‘gram, I don’t really fuck with you, don’t take my picture nigga”

Heavy hitting on all sides: production, lyrics, and delivery. It’s truly a street anthem that you know will be belted out by many, even if they’re not in the streets (having the juice also means that you have clout, which means you’re popular, particularly with women). At the end, he shouts out Lil Snupe, and if you’re unaware of who he is, he was an artist signed to Meek Mill (young kid) who was set to have a platform set for him by Meek, as he did show some promise, but unfortunately he was gunned down. Sad times. Pretty sure he’ll be mentioning his name for many projects ahead to keep his name alive. It’s funny that he ends the song with “I got the juice” given that “You got the Juice” is the last line of the movie (oops, spoiler).

Where was my count at for Tupac references? 3? Alright well now it’s 4, because Ambitionz doesn’t even make an attempt to not seem like it has nothing to do with Tupac. Same spelling as the song, Ambitionz As A Ridah, and he also starts off the song in the same way that Tupac had on the hook of the song. Funny enough, Meek was on a song called Tupac Back (MMG Presents: Self Made Vol.1), so there’s that to consider. The beat is also heavy hitting from the jump, so I don’t even mind the over dosage of Tupac influence. I mean Ja Rule thought he was Pac too, remember 50? Remind them. As was Tupac notorious for his poetic and conscious nature, he was equally down with the more aggressive and gang affiliated rap Mafioso style that made people forget the other side of him (you know, the side that made Brenda’s Got A Baby, and Changes).

“Shackled to our ankles it was like a nightmare
You ever wash out your drawers on the same water you shit?
Doing your push ups right on the floor where you piss?
Cellies with niggas that went to war with the strip?
You got to rumble from night time down to the morning and shit”

The realities of prison that people don’t want to hear are often the more uneasy details that most would rather just watch in a movie for entertainment, rather than hear about it. I’d never been to prison, nor do I have any plans to, and you can watch all the episodes of Beyond Scared Straight or all of the movies to give you a glimpse, but Meek’s details really paint the portrait in terms of the every day struggle he went through during his sentence. It’s not pretty. I can smell the ammonia of urine as I type these words. I need a brown bag for a second.

So to my count, there have been 2 Toronto artists on this album and about 17 ‘Pac references (I know I jumped beyond 4, but that’s not important). The Weeknd, who seems to be Teflon Don in 2015 (his music is in damn near every music trailer since 50 Shades) has been on a tear leading up to his next major album set to release in August 2015. He is the source of Pullin Up, which Meek Mill ‘said’ is loosely dedicated about Nicki, but it isn’t, but we’re just going to say that it is, just because it’s more enticing, and the world loves drama – relationship drama, especially. I will admit that every man has their dirtbag phase in them when they mess with a girl who has a boyfriend, and for some reason it’s that competition of wanting to see what would happen if you took it there – to take it there. I, in no way shape or form, am an advocate of promoting infidelity or cheating…however, for the sake of this song, we’ll let it slide, because a lot of people have been there.

“Seen you with your man and said, “What up to ya”
Like you ain’t give me that work
It was California, 5 in the morning
I was plottin’ on ya, we was hot as sauna”

You ever just have those times when you’re feeling someone who has someone, and they’re feeling you too, and then it just becomes “why are we bullshittin’” and then things happen? This is the song for you, my friends. Embrace the sins in which you’ve committed (and we’re all sinners), but the story is just funny how many times I’ve seen this story play out in real life (and in my own life – that 1 time…in band camp) but with less luxury and really less incentive to provide to the girl who’s cheating on her man. Like, damn it’s that simple? Alright. Women are people too, and people make mistakes, but she’s got the Juice since she’s got both dudes like she can audible to different plays and she’ll score a touchdown either way. Must be nice (WRONG – but nice). The Weeknd’s melodies seem fitting since he’s an advocator for taking guy’s girls and sexualizing the hell out of songs since he came into the game (pause). You have to sing the hook loud at the top of your lungs, although you may not have that person who’s cheating with you. Jay Z said one time “act like an adult, have an affair for once.” I guess we’ve found the issue.

There aren’t many songs that were deemed ‘meant to skip’ which is a good thing, but then Check happens and my mood suddenly turns. I get it for the hype, but it sounds like a throwaway from the Dreamchasers series that didn’t give me any incentive to keep listening to it more than once, because it simply does nothing for me. I could almost say the same thing for Been That, but it brought that Self Made Vol. 1. But at the same time, I was into it because it had that good mixtape Meek vibe that I could keep around, although I didn’t care much for Rick Ross on the song. Truth be told, I haven’t cared for a Rick Ross song since he dropped Box Chevy in 2014. Did anyone else forget that he dropped 2 albums in a year? I did.

I told you it was going to happen and here we have the 2nd Meek & Nicki track, in Bad For You, but she didn’t rap, she sang. It was cute, but unless you’re in that relationship or cuffed vibe (or simply a woman, because women regardless will love a song like this for the hook alone), you won’t care for it a whole lot. Honestly, since the ending of ‘Pullin’ Up,’ I’ve been pretty disappointed and at this point I’m just ready for the album to finish. That doesn’t take away from this song, however. It’s a nice song that continues the outpouring of love and affection (great reggae song, by the way) that Onika & Robert (yes, Meek’s name is Robert) have for each other. It’s cute, and heartfelt. But at this particular moment in my life and time, the Jamaican in me just says “mi nuh care bout dem ting deh.”

Stand Up (great Ludacris song, by the way) has the rare upbeat tempo to the beat and then I hear DJ Khaled (*insert ‘Another One’ meme here) and then my interest completely loses itself and is ready to move onto the final song. Simple and plain, I was already set up for disappointment. It sounds very radio friendly (despite the lyrics), and the vibe was really ‘uhh kay’ like Craig’s mother in Friday. I didn’t know what to think about it, because the last thing you feel like doing to a Meek Mill song, is two-stepping, but that’s what was happening here. It wasn’t working. Nice try, Robert. Gold star sticker for you, but this has got to get off my computer immediately.

The finale. Cold Hearted. Based on the previous songs, I didn’t know what to anticipate other than the fact that Diddy was on it (doing what, I don’t know). All I know is that once Meek started going, it was introspective, it was hard hitting, and I was liking it.

“To a fraud nigga, I lost niggas when I got paper
It’s like more money I made, they got faker
And it’s crazy when your best friend turn into your top hater
Wanna roll up and smoke you like top paper
Damn, what a feeling when you and your homie chilling
And you know he got thoughts of probably robbing and killing you
Momma said don’t ever, ever let them belittle you
And stay away from them haters cause they’ll riddle you”

It’s always a sad thing when people change around you because you start making some money. It’s one reason why I always fear that I’ll have some kind of falling out with someone I truly care about, over money, and I really don’t need that in my life. Money isn’t the only thing that can keep people together. It shouldn’t be the determining factor that holds bonds together, but time and time again, money is the root that separates and divides people and communities. It’s stupid, and I can feel the frustration that Meek’s been putting out in the 1st verse. The 2nd provided a lot of insight into the growth of his maturity (maybe jail helped develop that), where he’s seeking the advice of Rap moguls he has ties with, to become something like them. And also, he takes the opportunity to address the fact that his family shaped him to being the man he is, because of the troubled background.

“Mommy was a booster, daddy was a shooter
So they couldn’t blame me when I went and copped a Ruger
Looking at my homies, see the ghost of Freddy Krueger
Cause if he catch you sleeping he’s gon’ knock out your medulla Oblongata
I’m a father and my son don’t see a lot of
If I don’t get he gon’ probably end up with a chopper”

There are a lot of factors that shape people because of unfortunate circumstances, but the question is if you’re going to make something different about it going forward, or continue the cycle that you’ve fell into. That’s where wisdom of others, and valuable life experience plays a part in shaping where your course in history lays. The track is far from over, but first, a word from Ciroc Founder and President, Sean ‘Kettle bell’ Combs.

“This money thing, this shit will fuck you up man
You got to watch what you ask for
You sure you want this son? You sure you want this money?
You sure you want this fame? You sure you want this power?”

For a lot of things that Diddy is known to do, with his wild antics, the man is still worth damn near half a billion dollars and is responsible for a lot of trendsetting styles for 20 years and counting. The man is one to listen to when it comes to his slick talk, because everyone listens to Diddy even if sometimes he flies off the handle a bit. Money has been said to change people’s mentalities since the days of The O’Jays when they sung For The Love of Money. People will still do whatever they can to get a dollar, or some of yours. It’s the unfortunate world we live in when others look at your success as a personal threat. Also, the “everybody eats, b” references back to Paid In Full, which was set in Harlem, the birthplace of Diddy.

The 3rd verse could have brought a thug tear to anyone, I don’t care what you say. It’s as if he was talking face to face to the person who betrayed him, like Avon & Stringer’s last conversation or even Michael & Dukie (although that wasn’t a betrayal, just growing apart).

“And we started off as kids, stomach’s touching our ribs
And them streets all night like we ain’t have nowhere to live
I remember Sundays we ain’t have nothing but Liv
Thirty thousand was the tab and you ain’t have nothing to give”

There’s nothing like having to deal with situations of separation when it comes to childhood friends all over stupid things, and as he rolled out the lifeline of the friendship highlighting the fact that Meek brought everyone on instead of just flaunting it for himself (which he displayed a lot on Instagram), it’s really hard to not feel for him. The people closest to you will eventually want to be you, and God forbid I’m in that position because that can lead to situations going from ugly to fatal, all because of the green colour of jealousy that runs deep in many individuals. I like how the ending of the album ends the same way it starts with ‘Lord knows’ being the highlighted words, which truly reiterates that only God knows what will happen in a person’s life, and it’s been quite the turn of events in Meek’s life to get to the point of where he is now.

This album is better than the first one, and he avoided the Sophomore slump, thank God. Like I said earlier, the ability of his focus to be so sharp on this album, really stood out, and that experience of being in prison and having the chance to really reflect and go through more hardships to see just what he wants for himself, it made him put in more work to put out a better body of work. I’m glad he did, because this is what a lot of people were waiting to see for a long time. Taking time off is what’s necessary to refine your life and get back into a groove. To get inspired by something to spark a newer, brighter idea to put out something of quality measure. Meek certainly did that, and the production, content, and numbers show that he progressed. Minus a few tracks that had much ado about nothing (thanks, Shakespeare), it is a good album and certainly this will be a bar that Meek will aim to top, time and time again. Give it a listen for the summer, and how many months after. But for now, this is my opinion, this is my review

That’s My Word & It STiXX

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