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His supporting cast doesn’t do him any favors. He’s trying to tell a story here, but he’s just not much of a storyteller-his bars keep the narrative going, but he doesn’t offer enough arresting imagery to make his scenes come to life. “They want me catch a murder, I ain’t goin’ back,” he vows on “Commercial.” Baby keeps glimpsing the world he left behind in his periphery, and his most evocative writing finds him in between worlds on “Same Thing,” he goes plain jane because the public associates bling with thugs, and on “Gang Signs” he returns home as a philanthropist and local legend.
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Much of My Turn concerns the familiar calls of street life and the uncertainty that comes with pursuing a rap dream at full tilt. “I never call myself a G.O.A.T., I leave that love to the people,” he hedges on “Emotionally Scarred,” a claim that seems to contradict the album’s baby goat-covered artwork. He is ready to embrace his notoriety, albeit cautiously. The album is only saved by his minor improvement as a songwriter and lyricist. There are songs called “ Solid” and “ Consistent” here, and that tells you almost everything you need to know. His mellow, lilting raps have poise, but when they lock into a groove they lose all momentum. Where Thug is explosively unpredictable, Baby is reliably inert. Lil Baby is like the inverse of Young Thug.