Track 18: “Gun Shot”
Sounds Like: Less sharp-shooting than the title would imply–this is a ballad–but exactly as patois-laden as the artist credits would imply.
Pros: The chiming piano that appears throughout is exactly the sort of subtle-yet-pretty riff called for, Nicki sounds much more invested in her singing than on at least three out of the past six tracks, and Beenie Man is a welcome enough presence that when he calls out “Girls Dem Sugar,” you don’t just wish he’d be doing that instead. (See: Bobby V.) Some nice production touches, too–check out the shuddering synths toward the beginning, or how Beenie Man and the beat both crack harder just as the strings settle down. Oh, and there are cocked-gun and gunshot sounds–you could’ve figured out they’d be there without even listening–but they’re deployed subtly enough that you only realize they’re there halfway through.
Cons: Skippable, particularly considering what comes next.
Roman Rating: 4/10. More Roman: gunshots in the lyrics and the sound effects. Less Roman: those references to gunshots used for a sweet metaphor.
WTF Moment?: You already know the WTF moment: “Beenie Man.” The comeback of Beenie Man! Yes, he’s been working pretty steadily since his early-’00s heyday, but not on albums this big. If you don’t follow dancehall closely, you probably had to Wikipedia this too.
Previous Reviews: “Roman Holiday,” “Come On A Cone,” “I Am Your Leader,” “Beez in the Trap,” “HOV Lane,” “Roman Reloaded,” “Champion,” “Right By My Side,” “Sex in the Lounge,” “Starships,” “Pound the Alarm,” “Whip It,” “Automatic,” “Beautiful Sinner,” “Marilyn Monroe,” “