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Track List
01) High Art
02) IV Play
03) Equestrian
04) Pussy
05) Turnt
06) Where Have You Been
07) Too Early
08) Michael
09) Loving You/Crazy
10) New Orleans
11) Self-Conscious
12) Holy Love
13) Outro
14) Slow It Down
15) Divine
16) Y'all
17) Tron
18) Psycho
01) High Art
02) IV Play
03) Equestrian
04) Pussy
05) Turnt
06) Where Have You Been
07) Too Early
08) Michael
09) Loving You/Crazy
10) New Orleans
11) Self-Conscious
12) Holy Love
13) Outro
14) Slow It Down
15) Divine
16) Y'all
17) Tron
18) Psycho
4:29
5:38
4:24
3:58
3:46
3:51
5:36
4:54
6:52
4:08
3:08
3:37
0:23
4:10
4:26
5:32
3:38
4:18
Data Complete
30%
Total Rating
30%Total Rating
(0 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
2013
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Medium
Album
0 copies
Album Description
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On Love King's "Sex Intelligent Remix," the-Dream announced the title and arrival date of his fourth album. 6-6-2011 instead brought the substandard double single "Body Work"/"F*ck My Brains Out," followed a couple months later by the hyper-indulgent "Internet album" 1977, credited to Terius Nash. In 2012, two middling singles -- "Roc" and "Dope Chick" -- poked radio in the eye rather than killed it. A week before Christmas, as the fourth Dream album remained unfinished, Def Jam altered 1977 and gave it a quiet official release. After several title changes and two years of delays, the fourth proper Dream album arrives with none of those previously released tracks and not much in the way of foreplay. It's more "Panties to the Side" than it is "Playin' in Her Hair," and there are only slight traces of the inspired creativity -- the ebullient melodies, the clever couplets, the emotional lows and highs -- that fill Love/Hate, Love vs. Money, and Love King. As the-Dream sleepily declares in the title track, he "can give a f*ck about the foreplay," and that's symbolic of the album. He's never been one for lyrical subtlety, but this set contains several stretches of monotonous, joyless carnality. "Equestrian," an unimaginative homage to Ginuwine's "Pony," is quick to dispense with euphemisms, with a hook containing "We gon' f*ck all day/We gon' f*ck all night." A robotic "Are you ready to put it in your mouth?" finishes the song. In the plodding "Michael," he performs a poor MJ impersonation that sounds like it was recorded prior to passing out and tosses out lines -- "I just wanna f*ck you," "F*ck a love song/I need to f*ck you," for instance -- like he can't be bothered to think. Even the introspective and relatively romantic songs are dreary, lack vitality, and are 2007-2010 bonus track level. The-Dream produced all but four of the songs by himself and adds some new sonic tricks that are a little brow-raising if not all that momentous. "P*ssy" (as in, "Got my left hand on that booty, got my right hand on that p*ssy") resembles a Mike Will collaboration rather than a desperate imitation, while the strung-out slow jam "Too Early," a standout featuring blues guitarist Gary Clark, Jr., sounds little like anything else in the catalog. The guest appearances from Big Sean, Pusha T, 2 Chainz, Kelly Rowland, and two members of the Knowles-Carter clan are, like most of the album, trivial.
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Available in:
On Love King's "Sex Intelligent Remix," the-Dream announced the title and arrival date of his fourth album. 6-6-2011 instead brought the substandard double single "Body Work"/"F*ck My Brains Out," followed a couple months later by the hyper-indulgent "Internet album" 1977, credited to Terius Nash. In 2012, two middling singles -- "Roc" and "Dope Chick" -- poked radio in the eye rather than killed it. A week before Christmas, as the fourth Dream album remained unfinished, Def Jam altered 1977 and gave it a quiet official release. After several title changes and two years of delays, the fourth proper Dream album arrives with none of those previously released tracks and not much in the way of foreplay. It's more "Panties to the Side" than it is "Playin' in Her Hair," and there are only slight traces of the inspired creativity -- the ebullient melodies, the clever couplets, the emotional lows and highs -- that fill Love/Hate, Love vs. Money, and Love King. As the-Dream sleepily declares in the title track, he "can give a f*ck about the foreplay," and that's symbolic of the album. He's never been one for lyrical subtlety, but this set contains several stretches of monotonous, joyless carnality. "Equestrian," an unimaginative homage to Ginuwine's "Pony," is quick to dispense with euphemisms, with a hook containing "We gon' f*ck all day/We gon' f*ck all night." A robotic "Are you ready to put it in your mouth?" finishes the song. In the plodding "Michael," he performs a poor MJ impersonation that sounds like it was recorded prior to passing out and tosses out lines -- "I just wanna f*ck you," "F*ck a love song/I need to f*ck you," for instance -- like he can't be bothered to think. Even the introspective and relatively romantic songs are dreary, lack vitality, and are 2007-2010 bonus track level. The-Dream produced all but four of the songs by himself and adds some new sonic tricks that are a little brow-raising if not all that momentous. "P*ssy" (as in, "Got my left hand on that booty, got my right hand on that p*ssy") resembles a Mike Will collaboration rather than a desperate imitation, while the strung-out slow jam "Too Early," a standout featuring blues guitarist Gary Clark, Jr., sounds little like anything else in the catalog. The guest appearances from Big Sean, Pusha T, 2 Chainz, Kelly Rowland, and two members of the Knowles-Carter clan are, like most of the album, trivial.
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