Turnt Up - Lil Lody
I would never recommend someone pay 30k for a beat or verse by Lil Lody; worst yet no one should pay him 15k to just walk into your club. Lil Lody can make boasts, but unlike the rappers who usually hop on his tracks; he cannot sell them for even a second, as his squeaky whine is not built for this 21st century Memphis fight music. No one would be sending him a twitter messages for a handful of beats, if not for another producers with the same initials of LL: Lex Luger. On “Over Here” on his just released mixtape, “The Theory”, he complains about rappers/producers copying his style, which is one of the most preposterous claims in a rap song this year, right next to Rick Ross claim of selling dope straight off the iPhone.
Lil Lody’s terribly uninspired rapping would be a lot whole lot more forgivable if his production showed any character or unique style, but nope: it don’t. He just copies and regurgitates the style of Lex Luger nearly removing any of the previous Trap styling that Lex Luger’s production had (the variety of production by a Drumma Boy or Shawty Redd combined with their own trademark touches are lost on Lil Lody). “Grove Street Party” has more energy than anything done by Lil Lody; Lex Luger at least works with different synths instead of just finding the ”dark evil” synth and letting the light drum rolls do the rest of the work (Drumma Boy’s drums might sound repetitive, but they have a weight Lil Lody and Lex Luger both lack in their third-rate drum kits). ”The Theory” has songs full of the minor keys, drum rolls, and over-stuffed bass that signify a generic Lex Luger track, but for Lil Lody this is a creative peak of his production skills. Lil Lody is a young producer; who could easily improve and find his own producer voice. Until then, he is just going to continue to get work and a slight critical appreciation reproducing the style of Lex Luger while propagating the false idea he should step behind a mic.