photo: chris sikich · cc by-sa 2.0 ↗Robert Rihmeek Williams cut his teeth in Philadelphia's brutal battle-rap circuit, trading freestyles on burned DVDs before Rick Ross signed him to Maybach Music Group in 2011 and turned his aggressive, lung-busting delivery into a national sound. His debut Dreams and Nightmares (2012) set the template -- hustler's-parable verses barked over cinematic, triumphant beats -- that he refined across Dreams Worth More Than Money and Championships, all while his own probation battles and incarceration made him an unlikely face of criminal-justice reform.
Meek has explained his signature yell-rather-than-rap delivery directly: "I just rap aggressively. I come from a DMX type, Busta Rhymes era, and that's the way I came out expressing myself."
listen for"Ruff Ryders' Anthem" is DMX barking every line like a rally cry over a stripped-down, drum-forward beat; "Lord Knows" puts Meek in the same register, half-shouting over Tory Lanez's hook like the track can barely contain him.
Meek has called Jay-Z his business and life "blueprint," saying he came up "listening to the blueprint of real life" since he didn't have a father growing up -- and he's credited watching Jay rap without ever writing lyrics down as the reason he abandoned the notepad himself.
listen for"Izzo (H.O.V.A.)" is Jay at his most quotable and off-the-dome-sounding, turning autobiography into a victory-lap chorus; the "Dreams and Nightmares" intro does the same trick at scale, an unwritten-sounding torrent of hustler backstory building into a triumphant beat switch.
Meek has said watching Lil Wayne rap without writing anything down -- following Jay-Z's lead -- convinced him to do the same, feeding the dense, tumbling, seemingly off-the-cuff verse-runs that mark his early mixtape work.
listen for"A Milli" is pure free-associative wordplay stacked without a hook to lean on; "House Party" chases the same restless, joke-packed, hook-light verse density across a party-record beat.