1. The Beautiful & Damned 👌🏻
With twenty songs on this double album, G-Eazy gets right to it with the title track. He appears determined to own and reflect on the life he’s created for himself – the fame, the fortune, and all of the struggles that comes with it.
2. Pray for Me 👎🏻
I was wondering what song would come after The Beautiful & Damned after I initially heard it. This was not what I envisioned and it seems to deviate from the vibe that kicks off TB&D. It’s clear that G-Eazy feels the pressure from the industry to produce turn-up beats built for clubs. It doesn’t feel authentic – he’s never been one to blindly follow trends, but “Pray for Me” feels like it was written by Future, for Future.
Coming off his underwhelming summertime EP “Step Brothers” with DJ Carnage, this type of song coming from G-Eazy still feels forced. Perhaps this style is something that fans will just have to accept is a part of G’s repertoire.
3. Him & I 🗽
This isn’t the old G, and this isn’t club G. This feels like a modern take on hip-hop that fits into the city-vibe that he effortlessly pulls off. It’s an elevated beat that pulls away from typical hard-hitting hip-hop bass that shakes speakers. It’s urban rap, made for 2018. Adding his girlfriend Halsey with a feature adds substance and a “Bonnie & Clyde” vibe to the already moody attitude that seems to linger over his past two albums.
4. But A Dream 👌🏻
This song brings back vibes that remind long-time fans of “I Mean It” and the These Things Happen album, in general. It doesn’t carry the same aggressiveness that When It’s Dark Out carried — it comes off as more self-reflective of his journey. The lyrics have depth, and focus on the theme of being self-made.
5. Sober 👍🏻
G-Eazy raves about the work he was able to do with Charlie Puth on this song. Stylistically, it’s very much a song that reminds of his time with Hoodie Allen on the All American Tour – clean, a driving beat, and a smooth chorus. Lyrically, it may be one of the weakest on the album, though. It follows a tired narrative about nights spent with women, alcohol, and regrettable decisions.
6. Legend 👎🏻
“I’m back drinking whiskey” see the first words on this track, and they tell you all that you need to know about the direction of this song: trappy, empty lyrics about boozing. There’s not much else to analyze about this song- it is what it is: a song that you won’t remember having heard last night at the club.
7. No Limit 🙌🏻
A turn up song you’re going to hear for years to come at clubs. If G was aiming to become a club staple on this album, he’s certainly putting the effort to build his reputation in this style. The beat drives hard and he enlists A$AP Rocky and Cardi B to add credibility among the clubgoing crowd that spans across racial stereotypes in rap. The only other white rapper that could pull off a song like this and seem genuine might be Logic.
8. The Plan 🆘
The Plan reminds very much of When It’s Dark Out, though Gerald sounds like he’s had a few years of wear-and-tear on his voice from drinking too much cough syrup and liquor in between. Truthfully, his voice doesn’t sound healthy in this song – It would be a shame to look back and call this the beginning of the decline of his vocals.
9. That’s A Lot🤮
Auto-tuned and ‘complete’ with a flute on the track. No comment.
10. Pick Me Up 👍🏻
11. Gotdamn 😑
Just when you thought it was over and the album was moving away from the club, this song embodies trap music in 2017. At his preview party, G was really excited about this hook, but it seems forced, stuck in the middle of an album that’s confused as to what its identity is at this point. This sounds like something Gucci Mane should be rapping, not G-Eazy.
12. Leviathan 😎
Upbeat. Boppy. Still maintains the vibe of the album. Solid chorus with lyrics that seem to be thought out. To play devil’s advocate, it does approach copycat status to his song “Calm Down”, both lyrically and in cadence. This seems like it would have fit better following Sober than thrown in here at #12 on the album. It would have been a good opener before jumping into the club-vibes that hit from songs 6-10.
13. Crash & Burn 👍🏻
Classic G Eazy. Aggressive, emotional, and drawing from his past, while living in the moment. This isn’t the rage-your-balls-off G Eazy. This is pre-hype G Eazy.
14. Summer in December👍🏻
Introspective about the lifestyle he’s living and the people and environments that he finds himself in (Los Angeles), G Eazy reflects on what’s seemingly a paradise, but is in reality a constant-pressure to be on display and producing for the hand that feeds.
15. Charles Brown👍🏻
Eazy brings back Jay Ant and E-40, his Bay Area comrades for a west-coast-vibes song that doesn’t drive as hard as others on the album, providing a nice break from the action while still feeling genuine and as if belongs here. It sticks to its Bay Area roots in style and vibe. The real surprise here is that E-40 is still actively getting features in 2017.
16. No Less ⭐️⭐️⭐️⭐️⭐️
The beat is cold and smooth, blending Marc E. Bassy style with a cadence that seemingly comes off as effortlessly conversational. The only thing he could’ve done better is include more songs like this in the second half of the album.
17. Momma Always Told Me 👌🏻
A song about accepting risk in the name of love, G asks his lover for a chance to prove that he’s worthy of her attention and affection. The flow is clean and the lyrical content seems authentic – there’s no pretending here, these lyrics seem to have come directly from G. The beat provides nice balance here, driving the song forward and following in a style that compliments “No Less”.
18. Fly Away 🏆
This is probably the saddest song on the album because from all appearances, it appears to be an accurate reflection of the struggles of life under pressure as an entertainer on the road. The message: Gerald doesn’t feel like he’s good for the one he’s with, and wants her to leave him behind along with his problems. This song is vulnerable and open.
G-Eazy always finds a way to include one of these types of songs in each of his full-length albums: Check out “Opportunity Cost” and “Everything Will Be OK” off These Things Happen, and When It’s Dark Out.
19. Love is Gone👍🏻
The penultimate song on TB&D, this song starts to drive the album toward closure with purpose. The emotionally heavy, driving beat sounds familiar and genuine, in line with both of his last two albums. This almost feels like it should’ve been the final song on the album, since “Eazy” could’ve fit well as the second song on the album.
20. Eazy 🤨
A song that’s confusingly at the end of the album, “Eazy” is closer in line with the G-Eazy fans recognize. Put at the end of the album, i found myself wishing it would’ve come sooner. It fits the style of the first quarter of the album, and begs for something to follow it and push the album further in this direction, rather than transitioning to trappy club vibes that feel inauthentic.