Rap careers don’t usually sputter and die like that anymore. And I’m pretty sure Luda hasn’t logged a memorable guest verse since 2007, when he showed up on DJ Khaled’s overloaded “I’m So Hood” remix. When Adam McKay used 2006’s “Money Maker” a bunch of times on The Big Short, it was a sudden blast of deja vu I’d forgotten that the song had ever existed. His songs came out, got heavy radio-play, and then immediately evaporated. He figured out soon enough that people weren’t listening to him for serious messages, but there was suddenly no joy or energy in his giddy sex-raps. But the weird thing was that Luda’s music didn’t really change. It got so bad that I saw Luda at Summer Jam in 2007 and was absolutely shocked to see that this guy, one of my favorite rappers a year or two earlier, put on an insanely fun show. Eventually, that same inertia that affected Luda’s albums came for his guest verses. Nobody could maintain that level of inspired silliness for long, and Luda did it for longer than anyone might expect. I will yell the whole thing loud enough to rattle your windows: “Enough with tips and advice and thangs! I’m big dog, having women seeing stripes and thangs! They go to sleep, start snoring, counting sheep and shit! They so wet that they body started leaking shit! Just cuz I’m a all-nighter, shoot all fire! Ludacris balance and rotate all tires!“ Giggles, I can’t stop until it tickles / Just play a little D and I’ll make your mouth dribble.” And if you ever want to watch me dissolve into a loud and deliriously happy mess, feed me a couple of drinks, put on Missy Elliott’s “One Minute Man,” and skip straight to the Luda verse.
Through his Disturbing Tha Peace imprint, Luda was responsible for bringing us the briefly-enormous talentless hitmaker Chingy, but he mostly made up for it with his verse on Chingy’s “Holidae Inn”: “Dr.
On Trina’s “B R Right,” he didn’t have time for lames or games, but he did have time to trill “oooh-eee walla-walla bing-bang.” His verse on Ciara’s “Oh” is a tiny masterpiece in ticcy, tourettic hiccup-rapping. On Lil Jon’s “Bia Bia,” he said, “It’s cool, get at me,” and then his voice got raaaaaaspy. On OutKast’s “Tomb Of The Boom,” he pitied you for your cubicles and Subarus. On Usher’s era-defining “Yeah!,” Luda filled cups like double Ds.
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