On November 24, during his tour vlog, Tyga announced Rick Ross, Nicki Minaj, Chris Brown, Wiz Khalifa and Lil Wayne, to be featured on his upcoming album. It was later certified gold by the Recording Industry Association of America (RIAA) in March 2020.ĬEO of Young Money, Lil Wayne appeared on the song '500 Degrees', and served as one of the album's executive producers. Commercially, it was less successful than his second studio album, debuting at number seven on the US Billboard 200, with first-week sales of 54,000 copies in the United States. The album was met with mixed reviews from music critics. Hotel California was supported by three singles: ' Dope' featuring Rick Ross, ' For the Road' featuring Chris Brown, and ' Show You' featuring Future while serving as the promotional single was ' Molly' featuring Cedric Gervais, Wiz Khalifa and Mally Mall. Doman, Mars of 1500 or Nothin', The Olympicks, SAP and Ryan Hunt, among others.

The album features guest appearances from Lil Wayne, 2 Chainz, The Game, Jadakiss, while the production on the album was handled by DJ Mustard, Detail, Cool & Dre, David D.A. It was released on April 9, 2013, by Young Money Entertainment, Cash Money Records distributed by Republic Records. While the reduction in lucid hooks and the uptick in wince-inducing lyrics diminish the album’s appeal, the charms are hard to repel.Hotel California is the third studio album by American rapper Tyga. child Lenny Kravitz - he could be addressing the city rather than a lover. When he pleads devotion to a “you” in the album’s standard-edition finale - which appropriately includes some flame-throwing guitar from L.A.

When Miguel sings of salvation and damnation, of being a pastor and pimp, he could be singing for the city as much as a thrill-seeking protagonist. “Pour your sins on me baby, let us pray” is one of that song’s relatively clean lines, one of the album’s many instances where spirituality and sexuality are mixed.

If there is a “Love Machine” here, it’s the porn industry-referencing third track, though it’s a dragging slow jam, half-whispered and half-wailed, that is much more graphic. Like that 1975 album, this revels in L.A.’s allure, the fantasies it fuels, the dreams it breaks. Rather than attempt to rewrite “Adorn,” a number one R&B hit awarded a Grammy for Best R&B Song, Miguel evidently saw more of a creative future in the seamier, hazier, reverb-laden Kaleidoscope Dream album cuts like “Use Me” and “The Thrill.” Grinding guitars and mechanical beats, played and programmed at sludgy tempos that fuse new wave-era rock and contemporary R&B, dominate a program that curtails Miguel’s melodicism in favor of grunts, moans, and a couplet that ends in (groan) “masturbate” and “master, babe.” He was inspired by his Los Angeles environment to such an extent that it can be felt in this album almost as much as it can in the Miracles’ conceptual City of Angels. A few of the extracurricular moves pointed toward his next solo step, but the clues remained clearest in the darker corners of Kaleidoscope Dream. It would include appearances on a crop of major R&B and rap songs, a cover of Elton John’s “Bennie and the Jets,” and a highlight turn on Hudson Mohawke’s Lantern. A complete anthology of Miguel’s featured appearances released - or disseminated, as the freaky wordplay lover might call it - between Kaleidoscope Dream and this would be assorted, to say the least.

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