It is no surprise, then, that the songs we’ve got in this list include everyone from the King to Mr. Songwriters, over the years, have been overwhelming in their use of the endearment, ‘baby’. The once-objectionable song is now seen to be sending out a positive message to women, encouraging them to embrace their curves, rather than trying to achieve unrealistic standards of beauty, personified in part by the media and the fashion industry. 22 years since, the song has been revisited by Jonathan Coulton for Glee, and more famously by Nicki Minaj in Anaconda. Sir Mix-a-Lot’s smash hit, Baby Got Back ran into a lot of trouble when it released in 1992, thanks to its rather outspoken rant on women’s posteriors. “So Cosmo says you’re fat/Well I ain’t down with that!” This is a list of 15 most popular romantic songs with the word ‘baby’ in the title. Over the somber, a capella barbershop-chorus bop, he raps, “One day, I’ll tell you how my life was unfortunate/For now, I’ll tell you how fast these Porsches get.” Life is a bitch, but Baby Keem won’t let it kill his vibe.‘Baby’ happens to be one endearment which features a little too often in romantic numbers. It’s perhaps Baby Keem’s most poignant and expressive lyrical display. If “South Africa” doesn’t exactly hint at Pan-Africanism, it’s at least a reminder of the complicated core of 21st century Blackness on both continents.Ĭentering this impressive project is “Scapegoats,” with its angelic chorus by mystic crooner, serpentwithfeet.
Here, lyrics about impromptu flights to the former apartheid nation share the same psychic space with warnings against tap water as a cause of diabetes, as well as characterizations of money as the root of violence. While the generic “…Cocoa,” with its late-to-the-party references to OnlyFans, falls flat, the buoyant, Bēkon-produced “South Africa” just about summarizes Keem’s mischievous expansiveness. Whether satire or social commentary, the song playfully, though not crassly, pinpoints the contradictory nature of so many rap hits by simply describing just another day around the way. The dull 808 thud and tastefully spare synths are offset by Keem’s wry depictions of a local woman enthralled by his unconcealed firearm (”Freak bitch keep starin’ at the Draco”), and the prospect of getting fellatio before he gets his hair done (”Give me top and braid my hair”). The latter song has him mourning loved ones (”Grandma and I missed you/You don’t know what we been through”) in a wounded, sing-songy tenor that works at your tear ducts, even as it looms like a luscious earworm.ĭestined for heavy rotation, the Travis Scott-assisted “Durag Activity” sounds, paradoxically, as if it were tailor-made for venues with strict dress codes. Much of Keem’s appeal lies in his adaptability, be it the triumphant Game 7 Championships brashness of the aforementioned “Family Ties,” or the reflective slow burn of “Issues,” this multifaceted freshman has a knack for hitting a plucky pocket as well as crafting a mellifluous hook. The track’s rumbling backdrop feels fit for a club where the bottles are being popped about as often as the gunshots (“Whole lotta murder when it drop/Get the sticks, get the mop”). “Trophies hidin’ in the nosebleeds/Baby, get to know me, I got rich off no sleep,” he boasts. On “Gorgeous,” he seems to be already celebrating that achievement, though the specter of violence-like in some Gen Alpha version of a classic Hughes Brothers flick-is always lurking somewhere in the background. Meet the Beatle: A Guide to Ringo Starr's Solo Career in 20 Songs Opener “Trademark USA,” finds him anticipating naysayers, asserting, confidently, over growling bass and blaring flatline-invoking bleeps, “I took the torch, I quit being nice/I took the torch, now I gotta fight.” That you won’t “little bro” him is as palpable as Keem’s conviction that he’s ready for prime time.ħ0 Greatest Music Documentaries of All Time And while those are pretty big shoes to fill, The Melodic Blue, Baby Keem’s scrappy debut makes it clear that this is, unquestionably, his narrative. To be sure, there’s a trace of his Pulitzer-winning kin in his agile stop-and-go flow. On “Family Ties,” featuring his cousin, Kendrick Lamar, Keem details a murder on the way to a Popeyes (”Fuck around and bury two of them guys”) before flexing on a vacation to France (“I’m OD in Paris”) and leaving an exorbitant nest egg for his grandmother (”A million to grandma, who did I offend?”). That the Carson, California native has seen a lot in his 20 years is evident in each well-enunciated bar, which seems to boil down his distinctive worldview into bite-sized vignettes. Baby Keem raps in an exasperated rasp, with an abrupt rise in his tone, as if he were stunned by something he just recalled.
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