The new Big Sean and Metro Boomin album Double or Nothing dropped last week and was highlighted as part of Go 95.3’s New Music Friday. Every Monday, we follow up with some critical thoughts.

The hosts listened over the weekend, and the verdict’s in. All reviews are on a 1-5 scale.

= unlistenable

= a few thrills

= above average

= one of the year’s best

= lit today, and forever

DJ Bonics – Big Sean and Metro Boomin is a nice little treat to get before the end of the year. I definitely respect what these two have brought to the game. I’m feeling the beats on this one, like how Metro started a few of these songs with a cool little sample (“Go Legend,” “Who’s Stopping Me,” and “No Hearts, No Love”) then goes into those bass driven trap drum beats that he’s known for. I really like the Brothers Johnson “Strawberry Letter 23” Sample and how he incorporates it in “No Hearts.” Big Sean has his moments where I love what he’s saying. On “In Tune,” I like what he has to say about his ‘3rd eye’ life. Unfortunately right when I’m getting into a song Sean will say some really cheeky, weird rap lines, that got you scratching your head. For example in “Who’s Stopping Me” Sean says ‘I love P**** so good it taste like syrup, mixed with ciroc, and coconut.’ Like huh? My picks for this album: “Go Legend” featuring Travis Scott, “Who’s Stopping Me,” “Savage Time,” and Kash Doll’s verse on “So Good.” I think Metro Boomin’ really shines on this production and Big Sean is still consistent as an Emcee.  

Sophia Eris – While listening to Double Or Nothing, I quickly remembered how difficult it is for me to listen to an entire Big Sean album in one sitting. Although I do respect Big Sean, the cadence and lack of diversity within his flow can feel droning. The moments of excitement I had was during “So Good” featuring Kash Doll (who slayed her time to shine and made that song one of the projects best), and also when Big Sean semi- emulated Young Thug‘s flow on the Young Thug-featured “Even The Odds.” All in all, the album was a hit or miss for me, and based off of the song “Reasons” feat. Swae Lee, it just left me hoping Swae Lee would just make and R&B album already and stop playing.   

Auggie 5000 – I find myself defending Big Sean all the time. I feel like he is super slept on when it comes to lyricism, so when Sean says, ‘I feel like our vision was to get this s*** out here for the fans, to get it out here because there was a shortage of quality music out here, honesty.’ I gotta take him seriously. But when it came time for this album to prove that it was put here to save fans from sub-par music, it fell short. It did have it’s highlights, “Pull Up and Wreck,” “Go Legend,” “So Good,”  and “Reason” all delivered well. But I found myself wanting more from Sean. Metro always delivers heat. His beats always have big bounce. So what I wanted here was the swaggy, charismatic, effortless Big Sean that we heard back in the day on songs like “Marvin & Chardonnay” and “Ass”. We got tastes but it didn’t hit as hard as I would have liked it to.   

DJ Advance – 2017 Has been a big year for Detroit’s very own Big Sean. Earlier this year he released I Decided which went platinum. Most artist would relax with such an accomplishment, but Big Sean is looking to follow the footsteps of legends like DMX who released multiple albums in one year with his most recent release, Double or Nothing, produced by Metro Boomin. The intro to the album reiterates what Big Sean has been rapping about his whole career, and that is to be legendary. The track “Go Legend” is so dope, and sets a precedent for the album that Big Sean delivers upon with each track. G.O.O.D Music is alive and kicking. I can’t wait to see what 2018 will bring for Hip-Hop, but in the meantime thank you Big Sean.   

Chaz Kangas – It’s exceedingly rare that I’ll listen to a rap album and ask myself “Would this listening experience be markedly improved by removing all of the rapping?” Double or Nothing is one of those kind of records. Metro Boomin has had a banner year between “Bad and Boujee” and “Mask Off,” but you could make a case for his sonic masterpiece being his album-length work here. It’s absolutely incredible, and downright depressing that Big Sean had to veer into such a limp cruise control with his performance. While the lyrics have been rightly criticized, namely how Sean somehow makes the act of sexual intercourse sound like the least sexy thing in the world, there’s moments here where Sean is just straight-up off beat, something just baffling and inexcusably for an artist of his stature at this point of his career. Fortunately, the album’s finer moments are compensated by Metro showing why he’s more than a beat-maker and one of the best overall producers in the game by treating Sean’s voice and flow more like an instrument to decorate his soundscape. I really hope the instrumentals are released and fall into the hands of literally any other rapper to hear what a potential classic this could become.  

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