![]() Khaled’s aversion to risk is unrivaled: He gathers the biggest names in rap, then has them make the same music they’d record on their own anyway. It’s not for nothing that he’s made “Another one.” one of his guiding mantras. But over the years, he lost any sense of scene stewardship, and his purview expanded to include anything that sells-out went Trick Daddy and in came Justin Bieber, who joins 21 Savage on one of Khaled Khaled’s lowlights, “Let It Go,” recycling the summery, Bud Light Lime-A-Rita vibes of 2017’s “ I’m The One.” Consider it one of Khaled’s unwritten keys: If it worked before, then repeat. His earliest records lovingly hyped his native Florida rap scene and other kindred pockets of the south. Khaled’s albums weren’t always this cynical. Khaled Khaled is his 12th record, and we’re so used to them by now that you can forget what a radical exercise they are: rap albums where the A&R rep is the star, unapologetic unit shifters that don’t even disguise their disinterest in artistry, cohesion, or substance. There’s a growing disconnect between Khaled the gregarious living meme and Khaled the auto-pilot behind star-studded rap albums with all the individuality of a Now That’s What I Call Music compilation. He’s always taken a backseat to the collaborations he curates and lately, he’s been less of a presence on his albums than ever-he doesn’t even shout or ad-lib much anymore, and that was his one thing. ![]() ![]() ![]() Buying into DJ Khaled’s shtick has never been a prerequisite for enjoying his music, though. ![]()
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