Although Wins and Losses largely picks up where the rapper's preceding DC4 mixtape left off, Meek Mill's third proper album is destined to be known as the one released following his and Nicki Minaj's split. In the skeptic-deflecting "1942 Flows," the rapper stays mum ("Fuck I look like telling my business on Wendy?"), and only fleeting allusions and unspecified references are placed elsewhere. Meek moves on with "Whatever You Need," a successful crossover bid with help from DJ Mustard, a Tony! Toni! Toné! classic, Ty Dolla ...
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Although Wins and Losses largely picks up where the rapper's preceding DC4 mixtape left off, Meek Mill's third proper album is destined to be known as the one released following his and Nicki Minaj's split. In the skeptic-deflecting "1942 Flows," the rapper stays mum ("Fuck I look like telling my business on Wendy?"), and only fleeting allusions and unspecified references are placed elsewhere. Meek moves on with "Whatever You Need," a successful crossover bid with help from DJ Mustard, a Tony! Toni! Toné! classic, Ty Dolla $ign, and Chris Brown, while "Fall Thru" opens with a declaration of new love. Meek otherwise alternates across familiar combative, celebratory, and reflective modes, cutting off traitors, basking in wealth, and continuing to honor late associates Lil Snupe, Chino, and Dex Osama. The opening title track and "Connect the Dots," two of three cuts produced by recent Dreamchasers signee Papamitrou, are among the grimmest, most thunderous moments in Meek's discography, the latter peaking with "When we catch him, head-shot, disconnect his top." Somewhat buried in the 67-minute album's second half is the highlight "Young Black America," featuring the-Dream and subdued gospel-soul courtesy of Street Symphony, where Meek takes a rare step back to illustrate the violent cyclical effects of systemic forces that don't value black lives. ~ Andy Kellman, Rovi
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