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Battles | Gloss Drop
CD Reviews
Freeway
Free at Last | Roc-a-Fella
By
RICHARD BECK
|
February 5, 2008
FREEWAY, FREE AT LAST
" alt="photo of 'FREEWAY, FREE AT LAST'">
3.0
Stars
Nothing against Just Blaze! or Kanye West, whose flashy production anchored Freeway’s 2003 debut,
Philadelphia Freeway
, but the Philly native isn’t the popster they hoped he would be. No, his guttural, constricted delivery is too weird for that. On this follow-up disc, however, a more modest set of soul-heavy beats rules the day. Having graduated from knuckleheaded threats to a more hardened ghetto perspective that sometimes blossoms into tender complexity, Freeway sounds at home, particularly over the sweetly weeping keyboard loop that grounds “Reppin’ the Streets,” the album’s best track. When he isn’t feeling the pressure to make half-assed appeals to some special-interest subset of rap fandom — “Take It to the Top f. 50 Cent” for the ladies, “Spit That Shit” for the haters — Freeway lives in the pocket of a beat so confidently that you don’t even need to hear the beat to get it, as on “When They Remember,” where he raps, “Nobody but the prophet Mohammed Islamic scholars holla!”
Related
:
Beyond Dilla and Dipset
,
Two great flavors
,
War of the words
,
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Beyond Dilla and Dipset
With a semi-sober face I'll claim that hip-hop in 2010 might deliver more than just posthumous Dilla discs, Dipset mixtapes, and a new ignoramus coke rapper whom critics pretend rhymes in triple-entendres.
Two great flavors
"When I said that I wanted to use 'What We Do' as a single," Freeway explains, "people said it couldn't happen because it didn't have a hook. You know how the rest of that one goes."
War of the words
50 Cent has a long history of initiating beefs before he releases a new album.
On the racks: November 21, 2006
...And You Will Know Us by the Trail of the Dead
Ivory and ebony
Hip-hop will never be post-racial. Pigment plays a major role at every level, and that's not always a bad thing.
Joe the rapper
"One thing I've learned is that if you write about reality, you'll never run out of material."
Chairmen of the boards
Not unlike Swedish, Tagalog, and Esperanto, music is a language, with its own conjugations and (lewdly) dangling participles.
Freestyle fellowships
Although crunk partisans probably won’t care for the comparison, LA rapper Busdriver might be thought of as the indie hip-hop analogue to Lil’ Wayne.
Where hip-hop lives
Ever since rappers got wind of the title of Nas’s recent Hip Hop Is Dead, they’ve been calling up radio stations, printing T-shirts, doing whatever they have to do to get the message across: “No it’s not!”
From ’Ye to mixtapes
To get the full taste of where hip-hop is at, you also have to seek out the unofficial releases, the mixtapes, which often have a bigger impact than the official albums.
Diversified incoming
It’s a testament to the strength of hip-hop, as the medium enters its third decade, that 2006 would see such a wide range of sounds so well represented, from commercial anthems to abstract beat tapes.
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ARTICLES BY RICHARD BECK
PLUCK AND DETERMINATION
| March 09, 2010
People have always thought that Joanna Newsom was indulgent. At first, it was about her voice — the kind of nasal yelp that usually keeps a performer from getting on stage at all. Then, on her second album, it was about her vocabulary and her instrumentation.
SONG OF HERSELF
| August 05, 2009
"Listen, I will go on record saying I love Feist, I love Neko Case. I love that music. But that shit's easy listening for the twentysomethings. It fucking is. It's not hard to listen to any of that stuff."
DJ QUIK AND KURUPT | BLAQKOUT
| June 15, 2009
LA hip-hop has two threads, and DJ Quik pulls both of them. The first is g-funk, a production style that relies on deep, open grooves and an endless parade of funk samples.
FLIPPER | LOVE
| May 26, 2009
Flipper formed in San Francisco in 1979, and they're remembered three decades later because of a song called "Sex Bomb" that's one of the funniest pieces of music I've ever heard.
ST. VINCENT'S ACTOR GETS A RUN-THROUGH
| May 26, 2009
There were not one but two clarinets on stage at the Somerville Theatre on Tuesday night, and that gives you some idea of how intricate Annie Clark's chamber-pop compositions can be.
See all articles by:
RICHARD BECK
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