Freeway – Free At Last

    Freeway’s got
    expectations. His 2003 debut Philadelphia
    Freeway
    , anchored by memorable records like the Jay-Z and Beanie Sigel-featured
    What We Do, garnered critic and fan love
    for its spellbinding production and Free’s
    energetic, screechy rhymes. Years later, even though his storied Roc-A-Fella label has lost the thunder
    it had in its heyday, debatable classics from franchise players Jay and Kanye West have raised the bar for subsequent releases. Forging a
    new relationship with 50 Cent, Free At Last features executive
    production from both 50 and Jay, two moguls with established track
    records. Freeway, a Muslim, has also visited the Mecca
    since his last disc, and has been quoted as saying that his decision to rap
    directly conflicts with his religious beliefs. And with the leaked selection It’s Over raising buzz with Free’s admittance of zilch beats from Just Blaze and Kanye (who, together, produced 12 of Philadelphia Freeway’s 16 tracks), he better know what he’s doing. Fortunately, Freeway’s sophomore effort answers everything in spades.

    Four years after his debut, fans will be pleased to hear
    that Freeway hasn’t left his Roc roots. While Just and Kanye are
    notably absent, their replacements shoulder the load surprisingly well.
    Long-time Roc contributors Bink and Chad “Wes” Hamilton keep the dynasty’s trademark sound intact, lacing
    Freeway with harmonious,
    sample-driven soundscapes. When They
    Remember
    features Bink utilizing
    a stellar drum set, consistent wails and sparse horns, while the slept-on Hamilton blesses  Free
    and a reinvigorated Scarface with
    the musically-rich Baby Don’t Do It.
    The incredible opener This Can’t Be Real
    features Marsha Ambrosius crooning
    the refrain and a soulful backdrop that employs melodic keys and flutes from
    no-name Karma Productions. All that Jay and Free’s side-by-side flossing on Roc-A-Fella
    Billionaires
    is missing is the Dame
    Dash
    Disco Dance (© Shake).
    Though someone needs to explain to me why Free
    keeps saying “Roc-A-Fella millionaires” in the chorus. Check the title homie.

    More interesting Free
    At Last
    is the clear influence from its other executive producer. Though
    the 50-featured Take It To The Top disappoints with an overly-light J.R. Rotem beat that clashes with Free’s voice, the rest of the seemingly
    obvious 50 contributions work well. Spit That Shit features pounding keys
    from Dangerous LLC (Disco Inferno) that sound straight from G-Unit’s Beg For Mercy, and Freeway
    adjusts his gangsta accordingly. Nuttin
    On Me
    does similarly, with frenetic clanks by frequent Unit beatsmith Needlez.
    A highlight is Walk With Me, on which
    Don Cannon drops venomous pianos to
    back tough bars from Free, Busta Rhymes and new Roc-A-Fella signee Jadakiss. 50’s ear for
    “aggressive content” serves Free At Last
    well, contributing harder material that not only stands well on its own, but
    works as an operative contrast to the soulful sound that fills the rest of the
    disc.

    Though the exceptional outside contributions make it easy
    to do so, overlooking Freeway’s own
    performance would be criminal. His freewheeling, high-octane flow continues to
    contribute as much musicality as his producers’ beats, but on tracks like Walk With Me, he displays the ability to
    tighten or toughen it when necessary. Free’s
    ability to effortlessly transition between the wide range of his producers’
    beats is commendable, and his hardcore and introspective bars are equally
    potent.

    Armed with sharpened lyricism, precise technique and a
    capable army around him, Freeway
    makes Free At Last one of the better
    albums you’ll hear this year, particularly on the major level. Furthermore, he
    joins Roc-A-Fella big homies Jay and Kanye with standout albums in ’07. What is that they say? The Roc is in the building…

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