Duke Deuce - Duke Nukem: Memphis Military
I’ve thought Duke Deuce was the savior of crunk music for the past few years. He recalls it himself as being the man to save the genre that has been dead for a long while. Duke signed with Quality Control and then went on a destructive run of hits. Since then he has had one of the most meme’d and played music videos such “Crunk Ain’t Dead” and got Memphis icons Juicy J, Project Pat and Lil Jon to hop on the remix.
The success has been a solid build-up for him, dropping the ‘Memphis Massacre’ series that showed the energy and aggression that his city represents. His music is full of enthusiastic, addictive hooks that will run a muck in your memory. Knocking beats that control the way you dance when you hear it. Duke Nukem is no different.
Deuce brings the same Memphis crunk sound and “WHAT THE FUUUUCK” ad-lib you would find on his projects, but perhaps with a bit more versatility to the table. You wouldn’t recognize that versatility from the first three tracks.
“INTRO: COMING OUT HARD” provides that knock and steady shit talkin’ persona that you knew would be prevalent in his music. Deuce has a knack for bringing hysterical bars along the way as well.
Hit ’em with the moves (The moves), they laughing at my weight (They laughin’ at my weight)
I’m the main fat n***a laughing to the bank - Duke Deuce on INTRO: COMING OUT HARD
But you think Deuce sets the tone in the intro, but “SOLDIERS STEPPIN” cranks it up a few notches. That vigorous crunk music amplifies those southern sentiments, like he’s the commander and chief of the Memphis military he’s re-creating.
The hook “SOLDIERS STEPPING LEFT, RIGHT” gains full control of your eardrums and body as you stomping and head banging to each word Deuce drills out. It isn’t until “Army” where we get to here Deuce in a different tone, a serenade to the Memphis streets if you will. Nothing that is ground-breaking in hip-hop these days, but a required break for the people who don’t have that same energy as Mr. Deuce.
Deuce then goes on a streak in the center of the album that makes the music gel effortlessly. Deuce and Young Dolph come together on “TOOT TOOT” for comical bars about sex, signaling the “choo-choo” sound, getting head, immediately leaving and texting her a simple “thanks.”
The collaborations continue with Georgia rapper Foogiano on “SPIN” where the duo show their cold sides, reminiscing on their lifestyles before the rapping became their job. “DUKE SKYWALKER” is hypnotic trap track with the repetition in the hook and smoked-out flow compared to his usual sound.
Deuce brings a hazy banger on “BACK 2 BACK” where the second verse brings his random comical bars of not messing with unstable women and embracing the toxicity. He caps it off with a collab with Lil Keed on “BUSY” where the two collide with distinct sounds. Keed seems to find the perfect pocket to croon his verse into euphony, and Deuce finds the perfect flow to remind the people that want his woman that there are demands you have to meet.
You want my bitch, she ain’t cheap (She ain’t cheap)
Hair and nails done by the week (Done by the week)
Got all eyes on me (On me)
My lifestyle ain’t sweet (Ain’t sweet) - Duke Deuce on BUSY
Unfortunately, not all features are created equal with this album.
Some are hits, but some are misses that are as equally noticeable. A$AP Ferg doesn’t share that same ferociousness that Deuce carries on “FELL UP IN THE CLUB” behind the gun-shots and crunk mix. When he does finally find that energy, his worst bars are on display.
Offset leaves Deuce in the dust on “GANGSTA PARTY” on a beat that leaves a lot to be desired. Mulatto does the same thing on “KIRK,” but the track leaves a lot of energy behind.
The last two tracks summarize Deuce’s passion for the crunk era, but also the wins and losses brought along the way. “GRRR” provides a reason for the Memphis star to regain aggressiveness with growls after each bar, like he is going to transform into a wild beast.
“OUTRO: GO 2 HELL” brings out the best harmonies Deuce has produced, preaching that his folks and brothers will make it with him. The rest of us can go to hell for all he cares. You can see the versatility in bits and pieces, but none stronger than the outro. But he still proves his “Crunk Ain’t Dead” slogan he is so fervent about.
He is still obsessed with taking a random woman from a hapless boyfriend and still obsessed with bringing that fire that’s engraved in the Memphis native’s skull. He’s served his time and is placing his lifestyle on full display.
