Calvin Harris & Big Sean
Big Sean rambles about having sex with women in the recycled “Open Wide.”
Harris’ own “C.U.B.A..” open the single, setting a suspenseful tone. Big Sean doesn’t know how to respond. He puts his phone down and thinks of something. He’s been hooking up with women since he was freshman in high school. He has a formula to his speech. All he has to do is plug in the girl’s name. He tells them flat out: no condom. Usually, they want to be with so much, they comply. So far, none of the women have come by with little Seans in town. He flips through his phone and watches an old sex tape. (“Lookin’ at your last text/Damn did you even really mean it?/Did you even look through it, did you even read it?/I've been breakin' up with girls since I was 15/It's the only thing that hasn't got easier/A rubber is the only thing that ever came between us/God damn, now look at everything in between us/I mean I'm sayin'/I got more liquor, more ladies, more drugs and no cases/With jobs and no babies/I hope no phone's taping and if so you gon' hate me.”)
In the chorus, he says he’s a club god. He finds a private room, takes a woman there and it has all the luxuries he would find at home. The oral sex is his favorite part. He can convince women to change their bodies for him. A couple women of had gotten their breasts enlarged at his suggestion. (“When you see me standing on the couches/Turnin' clubs into houses/Water to champagne fountains/Turn flat chests into mountains/And ooh I love that ass/But I hate that fucking outfit/I'm taking off her blouses/While she take off my trousers/That's just a couple more problems/To add to the couple's counselin'/Open that shit wide/Let me see how big your mouth is/Let me see how big your mouth is.”)
He’s drinking and taking every drug he sees. It’s amazing he’s alive. Every single one of his ex-girlfriends are contacting to him tonight, trying to hook up wit him. The drugs are messing with his head. He really does like the new girl. There’s potential for a future. But she’ll have to deal with his sidepieces. (“Goin' hard 'til I OD/I'm the newest version of the old me/All my exes are on me/Wishin' they could X and O me/I'm on the edge and I'm hangin' all off/On the ledge and we danglin' off/And if I let go, I won't fall off/If we set a wedding date, don't call off/Bartender, I call the shots/We call for shots, y'all call the cops/Sometimes drinks speak louder than words do/Body language speaks louder than verbal.”)
Big Sean raps the chorus again.
In the final section, he says it’s for his special woman. (“This goes out to, uh, you know who this goes out to, yeah!”)
Harris’synths are nail-biting, what’s going to happen next. Rapid fire and dangerous, it’s in motion (pardon the pun) for the moment it starts. The momentum is halted by Big Sean’s idle rap. He strings some sentences together that do not make sense and end up being non sequitors. There’s no coherent story to follow, even one as ordinary as telling about his numerous conquests.
While it is not uncommon for DJ’s to refurbish their material, “Open Wide” does the original a disservice. It emphasizes how much he has distilled his sound. “C.U.B.A.” on its own, is brilliant. It seems to have its hidden story going on that people can fill in as they listen.
The reprocessed “Open Wide” Harris devalues his own work.