Meek Mill is the evolved Twitter rapper. He’s not replying to random tweets with a link to his Soundcloud and promises of that fire, but his raps work well in the 30-second video format. Some of the best promotions for his sophomore album “Dreams Worth More Than Money” were video snippets like these that capitalize on the Philadelphia rapper’s attention-grabbing energy to preview the album.

DWMTM’s original September 2014 release date was delayed many times after Meek Mill’s probation was revoked and he served a five-month sentence. It was released on June 29.

We know that Meek murders every intro and it hasn’t changed. In “Lord Knows” he eclipses any expectations he faces as he reigns down on a sample of “Requiem in D Minor” flipped over trap drums. With a gunfire flow, he repents his wrongs and boasts his new relationship with Nicki Minaj. It’s an impressive beginning. But there are still 13 songs to go.

The beat selection on this album includes a range of modern hip-hop styles with production from Boi-1da, Metro Boomin, Bangladesh and others. Multiple features are scattered through the album to give the listener some breathing room from Meek’s sometimes tiring flow. “Dreams and Nightmares,” Meek Mill’s first album, has almost faded into obscurity. This time around, there’s a calculated effort to form a cohesive project. DWMTM hits all the bases of what a mainstream rap album with crossover radio appeal in 2015 should sound like.

There aren’t many weak bars on this album. Meek Mill flows like someone in a cypher winning the audience with every line. His confidence and energy are intense, and when he snaps, it’s like hearing a dragon roar. This is why Meek was deemed worthy. When he’s at his very best it feels like he could start a riot. When he’s not, his breakneck pace can be tiring.

Future steals the song on “Jump Out the Face.” Drake bodies the opening verse on “R.I.C.O.,” and Meek can do nothing but try to follow in step. The Weeknd does his thing on “Pullin Up,” and Meek holds his own among these artists but doesn’t surpass any of them. His restraint from going as hard as he could doesn’t hurt the quality of the songs, so it’s an overall win.

The Nicki Minaj co-engineered “All Eyes On You” proves that missteps can still be made when a rapper widens his scope. The couple trades verses about their fateful love and Nicki’s pink shoes over a dated instrumental that would have fit a 2008 middle school dance. Meanwhile, the third-wheel that is Chris Brown bridges the verses with a chorus that sounds like every song Chris Brown has ever done. “Bad For You” is a more authentic song about their relationship on the same album (it also has Nicki on it), and it makes “All Eyes On You” look over-pandering.

Realness is woven through the album as one of the central themes. Meek wants you to know that he really does everything he raps about. A quick look at his criminal record shows that he’s probably telling the truth. Even though gangster rap is worn out by this point in 2015, it’s hard to fault him for rapping what he knows.

While the authenticity that Meek Mill brings is refreshing, it should beget more authenticity in expression. He claims to be looking for something greater in some of his lines. In “Ambitionz,” he laments—“Money the root of evil, wait ’til them shooters see you.” But in every other song, he doubles down on money, clothes and women as objects of glory. How does Meek deal with that contradiction? “Dreams Worth More Than Money” is a promising title; one that he seems to have changed his mind about mid-recording.

Still, there’s artistic growth in songs like “Stand Up,” where Meek slows down and trades in his gun raps for some groove. In this song, he experiments with autotune while he raps over a smooth bassline for a pleasant effect. The album closer, “Cold Hearted,” features a surprisingly genuine speech from Diddy on the ills of money. It’s a touching end to a frenetic album.

If you like Meek Mill, you’ll probably love this album. He’s still the same, but getting better.

Favorite Songs: “Classic,” “Jump Out the Face,” “R.I.C.O.” and “Stand Up”

Momin Rafi is a sophomore newspaper and online journalism major. You can email him at mrafi@syr.edu or reach him on Twitter at @Mominat0r.

Published on July 7, 2015 at 6:38 pm