He boasts about having a cooking show on Netflix called “The Best Bricks”, which, come on-at least call it “House of Birds” or "Orange is the New Crack". He’s got birds like Chick-fil-A however, he’s on the block on Sundays, unlike Chick-fil-A. He made light of this on The Recession’s “Word Play”, which silenced the “lyrical” heads with half a bar-“I’m way too intelligent/ To play with my intelligence.” And here, Jeezy delivers a host of howlers with the aplomb and lack of quality control you’d expect from a stand-up working out new material. That’s what he’s always been, really-his bars were all slogans, ad-libs, and smart/dumb similes that were delivered so confidently, you could only briefly eye-roll before ad-libbing right along with him. It’s not necessarily an insult to call Jeezy a punchline rapper at this point. Jeezy’s more respected than influential right now-the sound of Atlanta rap bears more in common with the vocal and lyrical unorthodoxy of his former rival Gucci Mane or current collaborator Future-making Jeezy a classic rock riffer in a post-punk world, which means he’s lasted long enough to possibly appeal to the purists who dismissed him back in 2004. But their beats lack that record’s assured sound. He’s given tracks from Mike WiLL Made-It and Drumma Boy, which barely sound that different from what Shawty Redd provided Jeezy on Thug Motivation 101: Let’s Get It. Moreover, Jeezy struck up a valuable alliance with DJ Mustard and even if you don't remember a single track from TM103, it still sold 233,000 copies in its first week. But since it’s the hottest track here, the bosses ostensibly let it slide. He calls out Def Jam's endless meddling by name in “Me OK”, all while threatening to drop his album on Atlantic. The guy is in a spot that makes executive decisions more difficult: he’s still bankable, but not an A-lister. You might’ve noticed that Jeezy's dropped the “Young”, but that’s the only time the transitional nature of Seen It All is entirely his doing.
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