I find that an odd choice for an album … it’s hard to give credit to “Dope” for being a clubbed-up “Deep Cover” with Tyga and Rick Ross. The urge to take old, epoch-defining tracks is retained from his most successful mixtape/Youtube runs. The song might not have been any better, but it wouldn’t have begged us so badly to take it seriously. Likewise, “For the Road” (formerly “Fuck for the Road”) is such an utter clash of lowbrow concept and pre-teen shine that Chris Brown ought to have been paired with a more ludicrous rapper in the Lil’ Boosie or Busta Rhymes mold. “Diss Song” is a very well-performed song in every phase, but nobody’s listening to Tyga for J. Hotel California is neither as overlong or overwrought as the still-mysterious Careless World: Rise of the Last King, but it remains just as confused about what makes Tyga work. Tyga seems to have little interest in being disliked, though. In an earlier era, many rappers would embrace the idea of being hated by the public in preference of the love of their audience. When he goes this route, things can work out just fine for him even when the festivities get as simple as being “loose off the goose”. Tyga’s not an especially creative person, but he’s certainly well-versed in what makes a great jackass.

In the case of the latter two songs listed above, he may have leaned heavily on early-90s west coast classics to do so (the guessing game’s not hard, given the titles), so throw in “Faded” and that remix of “The Motto”, but he was certainly a part of making those songs work. Tyga is good at talking mean, mad game to women of indistinguishable design other than their designer apparel. It’s easy to pinpoint what Tyga’s good at, after a pair of summers propped by “Rack City”, “Deuces”, “Bitches Ain’t Shit” and “Bitch Betta Have My Money”.

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