The Lil Durk feature on “Like a Thug” may leave much to be desired – an ode to the power of pussy without capturing the bravado required for the intended role reversal – but the opening three-track run of “ 777 Parts 1,” “2,” and “Wheelie (feat. (While Latto cited harassment from an artist who she collaborated with, she never made a specific claim fans named Kodak Black, but he and his engineer, Dyryk, have both denied the accusations.)Īt a tight 33 minutes, Latto doesn’t give much of a chance to dwell on the low moments every serviceable club track like “It’s Givin’” is followed by the bright and booming bass of “Stepper,” paired with equally gutsy lyrics. “Bussdown” – a song that became the subject of heavy scrutiny in the days leading up to the album release, due to increasing fan and media speculation of sexual harassment by Kodak Black (who has recently had to settle criminal charges of sexual assault) – seems like Latto’s spin on a Young Thug track absent a feature from Thugger himself, the song feels negligible and could have been swapped for a stronger track in Latto’s deep bench of tricks, if not another freestyle.
The highly anticipated “Real One,” unfortunately, falls short of expectations despite the thrust of Pharrell’s production, Latto never seems to settle into the groove of the melody, delivering a formulaic R&B ditty that seems interchangeable with any one of the toxic relationship songs out in the market today. Latto is at her best when she is given space to breathe life into a track with a mixture of her wordplay and drawn out southern inflection, making a couplet like “Panamera comin' down Tara, Audemars cost a Camaro/Ho think she fuckin' with Latto, Bitch can't see me in the mirror” rhyme, as she does on “Southside.” On “Sleep Sleep,” Chicago rapper Twista’s “Get It Wet” is sampled for an erotic fantasy that seems to be begging for a feature verse from the Greater Atlanta area’s reigning king of the sex anthem, Ludacris – the structure seems to even be reminiscent of his 2004 single “ Splash Waterfalls.” “Sunshine,” a self-proclaimed “hood gospel” from Latto, has the young rapper holding her own against heavyweights Lil Wayne and Childish Gambino (Donald Glover), a marked high note in the album that is only mildly deflated by Glover’s insistence to insert a superfluous and unwelcome lyrical juxtaposition for the moment: “my sons are mulatto.”
The hope is that it is the harbinger of “good fortune financially, spiritually, emotionally,” as she tells NME. That evolution extends to her newly abbreviated name – Latto, and occasionally Big Latto, harkening back to her 2019 EP of the same name – hoping to be shorn of the racial overtones of her previous iterations, it is now short for “Lottery,” which she emphasizes on the unyielding “Trust No Bitch”: “Big Latto – short for lottery / So ‘fuck I look like losing?” Her updated moniker is the culmination of a year-long legal process for a performer whose catalog going back to when she was 8 years old. “It’s balance, it's completion, it's evolution, it's growth, it’s the universe. “It holds a very deep weight with me,” the Clayton county rapper says during a Hot 97 interview about her new album, titled after the triple-digit number. In numerology, it is an angel number the Supreme Mathematics of the Five Percent Nation establishes it as a God Number it is ubiquitous in Abrahamic religious texts and references and represents harmony in Confucianism.
The number 777 – emblazoned on the backside of rapper Latto’s right hand – holds significance in many cultural capacities.
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