![]() ![]() He’s not mincing words, only letting those that don’t know aware of how he’s walking both sides. ![]() He’s looking back on a life that has brought him gobs of success, but is doing so knowing that it could have just easily burned him alive:īusiness as usual for Gibbs balancing home life with the drug game. Gibbs’ delivery is like a high powered assault weapon relentless and smooth on the release. It’s menacing and dark fueled by the desire to come up, no matter the price. ‘ Rearview ‘Ī reassertion of ESGN values, delivered with a few hand grenades and a flamethrower. ![]() Overall it’s still one in only a handful of albums that can make claims and back them up without flinching. But in the end he should have just stood alone as a one-man wrecking crew. The guest spots are forgettable too because Freddie’s bars are so domineering, which is how a lead man should treat a solo project. The beats for one don’t deviate from what is by and large a fairly standard formula, and at 15 songs (not including the bonus tracks) it wears thin fast, having some wondering why he didn’t team up with Madlib or a producer of the same caliber. There are however some off-key moments that Gibbs can learn from. He’s a modern day Tupac with the credibility to back it up. And with so much posturing in rap it’s a vast and welcome departure from the norm. What makes Shadow of a Doubtrise above others is the authenticity, as if he’s still floating between two worlds, the drug game and the rap game - that gray area, or as the album’s cover implies, the shadows in which he dwells tells stories that only a man with firsthand knowledge could tell. Only one year removed from one of the best rap albums of the decade and Freddie Gibbs casually walks up to the plate and belts one clear over the left-field bleachers two back-to-back homeruns without breaking a sweat. ![]()
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