Joey Bada$$‘s latest album, Lonely At The Top, released on August 29, 2025, arrives amid high expectations following rappers-rapping that’s positioned him as a torchbearer for East Coast hip-hop.
Clocking in at 11 tracks, the project explores themes of success’s isolation, personal growth, paranoia, and balancing Brooklyn roots with broader ambitions—echoing the introspective vibes of his earlier work like All-Amerikkkan Bada$$ but with a glossier, more experimental sheen.
With forgettable features Joey Bada$$ bars remain a highlight, delivering wise, personal reflections that cut through the haze of fame. For fans of thoughtful hip-hop with R&B edges, it’s worth a spin; for those expecting a triumphant post-battle opus, it might leave you feeling, well, What Songs Do I Need To Hear Live.
Ranking Lonely At The Top Songs By Order They Should Be Performed At Dark Aura Tour By BANGERNESS
Something about good R&B/Soul that will make a man pillow talk.
Focused and innovating Mariah the Scientist studio album, Hearts Sold Separately released on August 22, 2025, marks a bold evolution in her R&B sound, blending vulnerable lyricism with atmospheric production to explore the battlefield of modern love. Clocking in at just 35 minutes across 10 tracks, the project feels concise yet immersive, positioning Mariah as a “toy soldier” fighting for romance amid heartbreak and resilience.
Musically, Hearts Sold Separately shines through its seamless transitions and standout production, with highlights like the ethereal “United Nations + 1000 Ways to Die” offering one of the project’s best sonic shifts.
The album’s modern take on classic R&B avoids over-reliance on trap influences, opting instead for a somewhat “old R&B vibe” that resonates deeply, with no filler tracks.
Here’s OBK RANKING HEARTS SOLD SEPARATELY BY ORDER IT PUTS ME IN FEELS.
… Through the lenses of Westside Gunn it’s clear to note as JID embarks on his fourth solo album obviously any under 40-years-old rapper is u-g-l-y compared to heem and should not be mentioned on any Mount Rushmore with him as he is self proclaimed Top-3 not Top-5!
It’s been a long time coming, three years, but after his #CeilingChallenge he is no conscience rapper he just likes what he likes. JID’s latest album, God Does Like Ugly (released stacked 2025 industry release date), cements his status as one of hip-hop’s sharpest lyricists. If music is going back to regional sounds how would an East Atlanta rapper garner new audiences and attentions; and show his technically proficient emceeing.
As I examined JID’s “God Does Like Ugly,” I was blown away by how it builds on the lyrical density of his previous work while exploring themes of growth, karma, and spirituality. With production that is cinematic and varied, the 15-track album clocks in at around an hour and feels ambitious and introspective at the same time. My rating would be 8/10-while the cohesion is not as flawless as “The Forever Story,” JID’s pen game is sharper and his standout features from Westside Gunn, Vince Staples, and Clipse elevate the album without overshadowing its star. JID can say he is doing it because he is cold not because of J. Cole. Let’s talk about the album, track by track, the highs, the lows, and everything in between. Just listened to it, and now I’m ready to break it down.
1. YouUgly (feat. Westside Gunn): Has JID produced his Meek Mill Dreams and Nightmares (Intro) moment. Right out the gate, this opener slapped me with its dark, glitchy beat and aggressive energy—it’s like JID is declaring war on doubters and industry BS. The beat switches keep it unpredictable, weaving in conversational bars with sharp observations, like lying “from the depths of hell with angel wings.” Westside Gunn’s verse adds that gritty contrast, making it a true banger. It’s got this reckless poetic vibe that had me replaying it instantly. The album’s thesis on resilience and defiance is set in this aggressive, high-energy opener. JID and Westside Gunn deliver stacked verses over stuttering 808s, live drumstick snares, and dizzying shifts from aggravating bass to gospel organ. Several reviews have called it the best opening of the year, with heavy bass and crooked percussion, while another has called it the most disarming opener yet, as it pits haters and sales checkers against each other, thus making it an endurance test of lyrical performance.
2. Glory: This one hit me like a motivational sermon, with epic gospel chops and JID reflecting on his come-up and spirituality. The beat switch amps up the hype, and lines about his brother’s incarceration in the “Garden of Eden” analogy really stuck with me—it’s dark yet uplifting. I felt the personal growth theme kicking in here, making it a standout for its emotional depth. Highlighted for its motivational, gospel-tinged sermon-like quality, this track uses stormy piano-driven soul and a transposed soul loop to ground soaring samples, allowing JID’s fast syllables to shine. The beat switch serves as a turning point, elevating the emotional intensity and reinforcing the track’s themes of perseverance and self-reflection. JID’s intricate flow and poignant lyrics, combined with the dynamic production, create a powerful listening experience that resonates deeply with listeners.
3. WRK: Man, this track’s chant-like “work” hook got under my skin—it’s a war cry about hustle and drive, with horror synths and gang vocals creating a massive trap anthem. JID’s wordplay, like comparing his unstoppable drive to cruising ’85 in a ‘52 Dodge, had me nodding along. It’s one of those songs that feels like a flex on his work ethic, though it reminded me a bit of his older stuff. It is important not to sound too Taylor Swiftish in another reaction, but FORCED-POP is at an all-time high in the year 2025.
4. Community (feat. Clipse – Pusha T & Malice): I can tell you about “Community” however I rather just inform you ain’t nobody care when lil bro was laying dead on that block. No bad & boujie Malice is a highlight of Clipse audio adventure on God Does Like Audio and it’s clear both Pusha T and his brother were in album mode when penning these verses taking us bik to the state-skreet where the two blossomed and where JID created an adult life. This boom-bap infused cut had me hooked with its themes of suffering, violence, and cultural resilience. JID’s rage boils over in bars like putting “a bullet in Bob the Builder” to fight gentrification, and passing the mic to Pusha and Malice keeps the storytelling seamless. The hypnotic vocals drive the anger home—it’s urgent and prophetic, one of my favorites for its cohesion and wordplay.
5. Gz: The aggression here floored me—JID embraces the “ugly” side with confrontational lines on racial injustice, like questioning Martin vs. Malcolm. The warped sax loop and bass-heavy production give it a mad, sewer-grate jazz feel. It’s short but packs a punch, fitting perfectly in the album’s early high-energy run. This bass-heavy cut is about gangster image expectations, systemic problems like racial injustice, and cycles of struggle.
6. VCRs (feat. Vince Staples): This moody track snapped me into focus with its dusty, collage-like beat and snapshots of the American Dream gone wrong. JID warns haters not to test him, and Vince’s feature is one of the strongest, adding depth to the soul-searching. It’s got that introspective edge that makes you think about fame’s toll. A standout with spellbinding Spanish guitars, sandy percussion, and dusty collage-like production deconstructing capitalism’s damage. JID warns naysayers while Vince Staples delivers deeply, making it frictionless and potentially special; one calls it the best beat on the album, complemented by guitar flutters.
7. Sk8 (feat. Ciara & Earthgang): The tone shift here was refreshing—a throwback block party jam with Miami Bass vibes and highlife rhythms that made me want to move. If you have never skated backwards or sat out during couples-skate I wouldn’t expect you to understand; It’s JID’s most danceable track yet, with Ciara and Earthgang bringing melodic joy. For my ladies who always wanted to do it like a boy this is the fun record of the album where JID pen is less wordy and just let as the youth say let the vibe win! I appreciated the kinetic fun after the heavier start.
8. What We On (feat. Don Toliver): This dreamy, spacey cut with reversed bass and autotune had a vibey, eerie Silent Hill feel, but it dragged a bit for me—Don Toliver’s part felt phoned in. Still, it’s a solid flex, though not as gripping as the surrounding tracks.
9. Wholeheartedly (feat. Ty Dolla $ign & 6lack): The orchestral strings and harmonies here gripped me emotionally—it’s like a slower, more vulnerable “Kody Blu 31.” Ty and 6lack’s cameos create this shared ache, making it a beautiful breather in the album’s midpoint. An orchestral ache with creaking strings and choirs, it’s one of JID’s best sung performances, evoking shared emotions, but criticized for limp production and not emphasizing concepts, serving as a soulful counterpart to darker tracks.
10. No Boo (feat. Jessie Reyez & Mereba): This luxurious R&B fusion with sultry vocals and piano had me in my feelings—JID’s smooth singing in Spanish alongside Reyez is a highlight. It’s lush and romantic, though it borders on generic radio fare at times. The most luxuriant moment, with floating piano and rich male-female vocals in a back-and-forth conversation, JID in his R&B bag and Reyez sultry. It’s compared to “We Cry Together” but criticized for not reaching vulnerability, though it livens the album.
11. And We Vibing: As a brief interlude, this stacked-voice moment felt heavy with elliptical meaning—a quick palate cleanser that sets up the final stretch. It’s subtle but adds to the album’s layered vibe.
12. On McAfee : This hit like a late-night freestyle—nonchalant yet precise, with rapid bars that land like snipers. It’s a fun, grinning track that could’ve been an EP leftover, but it keeps the energy high.
13. Of Blue (feat. Mereba): A multi-part epic with soft guitars and angelic vocals easing into calm before bursts, confronting self-doubt, religious exploitation, and institutional issues. It’s optimistic yet heavy-handed, with phases tripping over each other in its six minutes. This 6-minute epic bowled me over with its soft guitars turning into a beat-switch sermon on self-doubt and demons. The optimistic chorus about light through darkness is inspirational, though it can feel heavy-handed. Mereba’s angelic vocals elevate it.
14. K-Word (feat. Pastor Troy): The cinematic guitars and shifting moods made this intense karma meditation feel scriptural—part confession, part battle cry. There s a lot going on here, and it’s a dense, dramatic standout that rewards close listening.
15. For Keeps: Ending on this gut-punch recount of JID’s come-up—from SoundCloud uploads to fatherhood—left me emotional. The plainspoken finale is a reflection on early career struggles, paying homage to fans and ending with JID’s child, confirming fatherhood. It’s thankful and accepting of horrors as missions, reading like a memo to his past self. The kid’s cameo asking if “Daddy got best bars in the world?” is heartwarming and bittersweet, wrapping the album perfectly.
In the end, this album grew on me with each spin—it’s dense and rewarding, though some critics call it overstuffed. Fan reactions echo my excitement, with many praising the flows, production, and no-skips feel. If you’re a JID stan like myself, it’s essential; for newcomers, it’s a showcase of why he’s one of the best out. God Does Like Ugly is a must-listen for JID fans and newcomers alike, proving he’s a force independent of mentor J. Cole.
Yo, what’s good? Welcome back to the page! It’s your boy OnlyBlackKid and today, we’re diving into something big— The Artist formerly known as Machine Gun Kelly brand-new album, lost americana, which dropped on August 8, 2025. I’ve been hyped to check this out, from Bob Dylan narrating the trailer to MGK’s whole genre-bending vibe.
If you’re an MGK fan, a pop-punk lover, or just curious, stick around, hit that subscribe button, and let’s get into it! Oh, and drop a comment if you’ve already heard the album—what’s your take? Let’s go!”
lost americana totes no guest features, which is fire and a first for him, and it’s super personal as think rehab, his breakup with Megan Fox, and all the chaos of 2024. His seventh album and IAM not looking for the bars out the intro.
Hard to hear what he is saying in the chorus • Is that not what rock is. • OBK on lost americana’s ‘outlaw overture.’
First up, ‘outlaw overture’ hits like a lightning bolt right out the gate. It starts with these synths that give off major ‘80s new-wave vibes, then it flips into this raw, widescreen rock anthem and MGK’s screaming about addiction and breaking free. The lyrics? Whew, heavy. He says, “I miss my drugs, they’ve been my friends since 21”— that hit me in the chest. It’s like he’s laying it all bare. The beat switch in the middle threw me off at first, but it’s bold. For a tad second I thought I had already reached a new track and MGK makes music for your workday. I’m feeling this as an opener —sets the tone for the chaos.
More checks than Blanks on track by track hot or nah so that makes it Shai-Gild from the field and note none of your favorite players could stop heem 2024-2025 season.
Still: Angry/Happy & full of vulgar. What has changed in MGK music other than his vocal presence. Not Much
Forced pop; no way that is wat “vampire diaries.”
What Lost Americana lacks in Macys fitting room it garners in Rainbow TEST.
Their / there RAP on the album and I will get to it.
1. ‘indigo’ full breakdown
Mood – EMO
Punches 20 percent vs 80 percent Wordplay
Beat = 100 can hear every word
Cool; Somber chaos to prove that alternative feel. That’s a sample #HelpABroOut
2. ‘tell me whats up’ piviotal moment to tell somebody to LACE THE FUCK UP. It’s raw, and MGK’s flow is on point. It brings back his hip-hop roots, and it’s confessional—like he’s spitting his truth about his struggles
The back half of the album—‘Can’t Stay Here,’ ‘Treading Water,’ and ‘Orpheus’—oh man, this is where it gets heavy. ‘Treading Water’ is MGK at his most honest, talking about his breakup with Fox and their daughter. Lines like ‘I broke this home, and just like my father, I’ll die alone’ had me shook. These tracks are like a gut punch, especially if you’ve follow his story. The acoustic vibes and raw emotion make this the strongest part of the album for me.
SPOTLIGHT
‘Cliché,’ the lead single. [smirks] Okay, MGK knew what he was doing naming it that. It’s straight-up pop, like Backstreet Boys meets modern pop-country. It’s catchy, got that summer anthem feel. To accompany It’s fun, the music video with all the Route 66, muscle cars, and denim vibes screams Americana. But is it deep? Nah, it’s just a vibe. I can see it on the radio, though—already hit Billboard Hot 100
Let’s get to ‘Miss Sunshine.’ Okay, this one’s got that southern-rock swagger, almost like AC/DC meets Sugar Ray [,]. It’s super nostalgic, lifting from ‘You Shook Me All Night Long’ in the chorus, which is bold. I was vibing, cruising with the windows down energy,. I get that—it’s like MGK’s trying to capture this carefree youth he never had.
Conclusion
What’s fascinating is how personal this album is. MGK’s talking about rehab, his public breakup, and chasing this idea of the American dream. The Bob Dylan cosign adds this wild layer of legitimacy—like, how did that even happen? But it fits, because MGK’s trying to reimagine what freedom and reinvention mean, just like Dylan did back in the day.
It’s chaotic, it’s honest, and it’s got something for everyone
U Know my motto if I can write a letter to the book I’m wit it. MGK is his age and whatever that means. If he does not have perfect line it is the next one or the one after. ‘Starman’ proves that.
Turn on notifications, and let’s keep the convo going. Until next time, keep vibing, keep dreaming, and I’ll catch y’all in the next post.
Bitch, 🫵🏻 you guessed it. I skipped straight to track six with da guy VIC MENSA, and the light-skin legion did not disappoint.
“A Yung Nigga Classic!” • OBK on ‘Back To The Go’
That bitch needs to be a single, but VIC MENSA might be too ugly to pose candidly with the new bachelor, Chance the Rapper.
If we blame it on the internet, I listened to my friends and skipped his debut. I was cool letting different South Side artists explain love through their eyes. HA!
Am I the only content creator who cares about a sophomore slump? Or surprise—the writing’s on the wall. We can sing, cook, or dance to your project Star Line while we forget your personal issues for two verses and three choruses. Chance the Rapper is bik. Go crazy; bitch, you guessed it—the track prior to the disrespect, ‘Drapetomania,’ really sets the album to new heights, where Chance raps bars like “I got a nine with no serial number, I call it playin’ hard to get. Got a high-point I call hard to find, and an MK12 called hard to miss.” These are simple lines until a Young Nigga (YN) is selecting music for a Kia Boyz-sponsored reel.
BUT STILL REMAINS:
Where the fuck was G Herbo? Nigga, Chance, you’ve been in Chicago sad since the little pretty baby’s momma disposed of you. How did we land with a BabyChiefDoit when Herb is even doing work with Lyrical Lemonade, aka he’s O-U-T-S-I-D-E?
If anybody asks me, you’ve seen me say no.
If you like to look women in their eyes when you dance, this is the album—just when you think Chance the Rapper won’t, he goes too far and adds the unnecessary extra syllable to extend his speech. Lil Durk, Rapsody, and Latto are featured just because of Search Engine Optimization and we want you to win so big; with records of this impact, Chance may be able to make another run at the Recording Academy for Best Melodic Rap Performance.
Great singing by Chance the Rapper on ‘Just A Drop’ leads into a passionate outro assisted by guest Jazmine Sullivan.
Automatic Playlist Adds:
‘No More Old Men’ because who does not love vocals from an unknown singer on a Chance Project. S/O Jamila Woods you did that girly.
‘Ride’ featuring Do or Die is post “Late Registration” vibes without the Ye. Who does not want new Ye without Ye.
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