Politics within the Music Business can be a bitch. It’s those type of rules and regulations that have held back many talented individuals from reaching their true potential and really achieving the success that they truly deserve. Freddie Gibbs seems to be the latest victim to Industry Politics proving that it takes more than just having serious aptitude to really make it in the cut throat business. Having being dropped by Interscope due to Politics, Gibbs signed to Young Jeezy’s CTE Label and many thought this was the exposure that Gibbs truly needed to make a name for himself. Jeezy was already a platinum artist so hopefully with him guiding the project, Gibbs would reach new listeners along with reaching Jeezy’s street core.
Despite being featured on Platinum records, putting out critically acclaimed mixtapes such as Cold Day in Hell and doing features with Gold and Platinum selling artists along with putting out joint ventures with Mad-lib to reach a new underground following, It seems that for some odd reason that Jeezy and Def Jam didn’t want to push Gibbs. Could it be that his unpolitically correct comments towards his peers hurt his chances? Is it the fact that Gibbs material is hard for the masses to grasp? Whatever the case or excuse maybe, Its clear that the figureheads is sitting on million dollar talent and not giving him the full push he needs. His latest offering BabyFaced Killer II further proves that the people who are guiding the direction of his career are either clueless or have a lack of infidel in Gibb’s work because BabyFaced Killer should be a DEBUT ALBUM, NOT a mixtape.
What I like about Gibbs is the fact that he can be very versatile to the point where it comes across as him showcasing his true talents instead of trying too hard to experiment He has a certain Midwest swang that can appeal to the dirty south listeners as well as can provide enough catchy courses to reach the ears of people who like simplicity within their music. He has the ability to craft street songs, love songs, smoke songs, riding songs and really deep introspective songs You can’t sit and tell me that songs such as Bout it Bout It, Box Frame Cadillac(which features a killer verse from ZRo), On Me and Middle of the Night where he also showed that he can flip for the ladies. What ended up possibly being one of the most commercial records Gibbs have ever done ended up being one of my favorite.
Gibbs also feeds his core what they want to hear from him on songs such as The Hard, Money Clothes Hoes which even though is the typical cliche rap song even sounds right due to the catchy course sung by Gibbs himself and the flipped Blackstreet sample. The Guest appearances also serve justice on Babyface Killa: Krayzie Bone proves that he’s one of the best rappers alive today on Kush Cloud which is a ode to the Chronic smoke. Curren$y also continues to impress me throughout 2012(Wasn’t a big fan his at first) with a very dope verse on Tell a Friend.
My favorite cut on here is the CTE featured Seventeen as every member reflect on what they were doing in life at the age of 17. Gibbs outshines everyone on here as he paints a picture of what the wild life was like growing up in Gary Indiana.
Aside from Go for It, My Nigga, and Breaking Bad. This has to be one of the best releases of 2012. The reality of this not being a album is a travesty because Gibbs deserves the exposure and for his hard work to be compensated. With his release from CTE happening just recently, Fans of Gibbs can only hope that he can broker a better deal that can give him the exposure.
Vic Rating: 8.8 outta 10