Watch Ludacris’ Amazing Acoustic Rendition Of ‘What’s Your Fantasy’

4 Apr 2015 | Author: | No comments yet »

If There Was Ever a Question About Ludacris’ Lyricism, It Stops With This Intro (Video).

While visiting “The Tonight Show” to talk up his new album Ludaversal and his role in “Furious 7,” the Atlanta rapper recruited The Roots to put an acoustic spin on his raunchy 2000 hit “What’s Your Fantasy.” You remember the one: “I wanna, li-li-li-lick you from your head to your toes/And I wanna, move from the bed down to the down to the to the floor.” Sadly, Shawnna wasn’t there to reprise her part in the chorus (where IS that girl today, anyway?!). Within that time, the rapper was able to cross multiple platforms, making palatable music for varying tastes tinged with his trademark Dirty South sound. But Luda and The Roots put their own mellow spin on the sexcapade-filled song, with Questlove showing off his multitasking skills by playing drums and piano at the SAME.

With a G0Pro camera capturing his every move, Ludacris sounds right at home over the stripped down production and kills his verses from his first smash. Now, with Ludaversal, Chris Bridges returns in effort to re-validate his street cred after building up his iMDB cred, dropping his first studio release in five years. Luda gets straight to the point with his very first line, stating “Ain’t nobody ___ing with me when it come to getting lyrical, murdering a rapper and when it comes to killing beats…” And, from there, he shifts into high gear.

With his eighth studio album Ludaversal out now, Luda has been making the press rounds and appeared on ESPN’s Highly Questionable–a popular destination for rappers–for an interview that got a bit testy. And in another unique twist, Luda rapped the whole thing into a mic tethered to a GoPro camera, which resulted in some pretty interesting camera angles. Instead, it seems as though the realities of the reformed gangsta lifestyle have seeped their way into the consciousness of the multi-platinum recording artist, making it so that whether he likes it or not (or we like it or not, for that matter), some room must be saved (even on banger tracks) for the sentimentality of a 37-year old man looking back on his life and career.

From his manager and T.I. fighting at the BET Awards; to his very public beef with Bill O’Reilly; to getting dropped by Pepsi as a result, Luda kept his cool for the most part but did begin an answer to one of the questions with, “Again, man, I love the fact that we’re talking about stuff that happened 12 years ago. While some releases over the years have proven that the right artists teamed with the right producers can crank out a quality record that balances themes from opposite sides of the spectrum, Ludaversal is not one of those albums. There’s just Luda, with minimal lights, in an abandoned warehouse, going back to basics, reminiscent of what Rocky did when it was time to get serious.

Yes, on a handful of tracks there are the belly-busting bars told via yell-flow deserving of a megaphone that audiences have come to expect from Luda (“I leave rappers confused like Will.I.Am’s barber”). It’s okay and I’ll talk about it but from here on out can we talk about stuff that’s happened in at least the last five years?” Though he was annoyed, Ludacris handled the situation with great poise.

However, even the Atlanta bred emcee’s best lyrics on Ludaversal are oftentimes overshadowed by mediocre beats that feel like leftovers from the previous decade. A song like “Get Lit” may have life in a boozy club somewhere over the coming months, but there are better odds in it being totally transparent to even the most turnt of audiences. “Come and See Me” has some banger value, but gets little lift from Big K.R.I.T.– and with its car references, it winds up feeling more like a commercial for the “Fast and the Furious” franchise than anything else. The way the album begins sets high expectations for the rest of the album, perhaps too high, with Luda diving head first into the deep end “getting right into it.” “Beast Mode” lives up to its name, as Luda lets himself loose for nearly four minutes (“and since I’m always high it’s kinda hard to overlook me” speaks aptly to the track’s stand-out value on the album). By the time the album reaches its conclusion, tracks like “Grass is Always Greener” and “Real Good Lovin” actually come across as perfect example of what this record could have been, wherein Bridges allows himself to get a little raw, weighing the sometimes-heavy options that come with nearing 40, without betraying the bravado that makes him so beloved.

His thriving film career is a testament to that, and his desire to– on Ludaversal– tackle the topics that tax him at the end of the day is surely commendable. Ludacris spends so much time on this release fending off the hierarchy of the current rap landscape, though it doesn’t ring true because it’s not clear where his paranoia lies. With little to no clarity as to whether or not it is a nostalgia tour, a reinvention, or a reinvigoration for Ludacris, it settles for none of the above, winding up as just a collection of a few new Luda tracks – some duds, some not.

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