Freeway & JakeOne – Stimulus Package [2009]
Written By Big D
I really did not know what I was thinking when I picked up Freeway and Jake One’s Stimulus Package, but something (and somebody) told me it was a good idea. If your only exposure to Freeway has been his guest appearances on label mate’s records and his debut album Philadelphia Freeway, you’d think he was one of the most unbelievably atrocious rappers in existence. His rhymes, if you can even CALL them that, were choppy and his AB/AB rhyme-scheme made him seem like he was trying to be more abstract than creative. I think it sucked shit. Where the hell did the hype for this guy start? What the hell did Jay-Z and Dame Dash see in this man to put him over as much as they did when they signed him?
I’d be lying if I said I wasn’t a little bit out of touch with music. I mean the last time I was really super hardcore into it was around early 2007. With Stimulus Package, Freeway finally has proven his worth. Freeway is the good rapper that his peers put him over as being for years. When I shared this with a few others, I was told that allegedly he’s been good for a while (probably since his peers now are folks like Murs and Slug as opposed to Young Chris and Sparks). It took years, but Freeway finally reclaims his birthright. How in the hell was I supposed to know Freeway was good?
Off topic for one second: it reminds me of an old pro wrestling angle. In the early 1980s, Hulk Hogan was a bad guy wrestler, managed by Freddie Blassie in the WWF. Due to WWF promoter Vince McMahon Sr. (father of the current owner) not wanting Hulk to participate in Rocky III, Hulk went to Verne Gagne’s AWA and became the biggest good guy wrestler in the company. When Hulk returned to the WWF in 1983, he saved THEIR top good guy Bob Backlund from an attack from the villanous Wild Samoans. After the angle was shot, there was a post match interview where Bob Backlund basically proclaimed Hogan as a changed man, by repeatedly screaming “He’s Good Now!!!!! He’s Good Now!!!!”. Thanks Mr. Backlund, we get the idea.
That’s Freeway though. He’s GOOD now! But he’s definitely not the guy who carries this LP.
Jake One is hip-hop’s hot new producer. While the undisputed champion of beats behind the boards still is and always has been DJ Premier, there’s always a certain “hot” producer who gets everybody’s attention. Kanye West and 9th Wonder were there throughout the middle of the last decade; before them Hi-Tek, Alchemist and Swizz Beats were there in the late 90s/early 00s. And of course we can’t forget the kings of the 90s: Dr. Dre, Pete Rock, Havoc, Rza. JakeOne is most known for his collaborations with G-Unit and Slaughterhouse, and now perhaps this record.
While Freeway’s rhymes shine (and actually rhyme now), it’s Jake One’s ingeniusly energetic instrumentals that carry this record. Remember how refreshing Kanye West was in his early career? Jake One mirrors that feeling. Jake has listed his influences as Pete Rock, Premier, and Marley Marl and it’s definitely seen. Track after track, Jake laces an assortment of different styles, from mid-tempo soul sampling, heavy drum/bass, to guitars, trumpets, claps, etc. Everything just sounds so energetic, fresh, powerful, and epic. It feels good. Stimulus Package feels good.
But that’s not to say Free is a slouch. The best songs on the album is when everything comes together. ”Throw Your Hands Up” provides that effective album-introducing bounce to kick things off (yes there is a song before it, but this is where the LP is kicked into high gear). “One Foot In” feels like a new-school version of a 1990s pop track, with hard chords and hard drums as Free spits about his tenure in music. It’s just a jam. “She Makes Me Feel Alright” is another example of both guys at their best; Freeway talks about his favorite girl while Jake One expertly converts Rick James’ “Mary Jane” into an invigorating composition. While that song might be as light-hearted as it gets, “Know What I Mean” is the exact opposite; dark and bass-heavy. Content-wise, it follows suit, with Freeway aggressively going street. Near the end of the album, “Free People” is another highlight. Musically, it sounds like a Kanye record circa-2004, complete with the high-pitched synth-samples and beautiful keys. Freeway gets introspective, filled with realism and a touch of melancholy. My favorite song on the album.
There are a few really good musical moments where Jake One steals the show. That’s not to say Freeway is weak by any means, but Jake is the guy who makes his presence felt so strongly that it kind of well, overshadows Free. “Never Gonna Change” features a nice storytelling vibe, but JakeOne’s eclectic, tempo-altering marching drums is what really makes it bump (think “Rock Co Kane Flow”). The only con is that Free loses focus around halfway through. I honestly feel that “Product” would be a modern-day classic if it were any other rapper spitting on it (okay so, not ANY other, I mean, somebody good… you know what I mean). Free is decent and makes the song nice, but I can picture four or five other dudes who would’ve tore it in half. If you’re an up and coming emcee, grab this instrumental and mixtape-spit on it ASAP. Again, these are great songs, but just not excellent.
The guest apperances on the album range from excellent to dull to absolute trash. The strongest would have to be LaToiya Williams on “Freekin The Beat”, the 2010 version of Warren G’s “Regulate”, except soulful and about chicks. “Money” is an amazing song. Jake One’s violins and keys hit you hard in the chest cavity. Freeway and his former Roc-buddy O. Sparks spit gems about what makes the world go round while Mr. Porter does his best Ron Isley impression. Raekwon The Chef makes a rather average appearance on “One Thing”, a song where Jake’s “Jesus Walks-esque” harmonic beat and Free’s consistently good rhyming works, but Rae brings nothing to the table. Bun B appears on the dope “Sho Nuff”, where Freeway’s simplistic rhymes are completely overshadowed by Bun B’s charismatic flow. Regardless, the northern-southern blend is very easy to bump. Then there’s “Follow My Moves”, which is trash. I guess because Birdman is the guest, Jake One feels it’s appropriate to do his best Mannie Fresh impression, with the damn loud claps and overly-synthed club beat. Freeway is boring and Birdman is, as usual, an abomination. I’d rather call Gerard Mousassi a pussy to his face than have to hear another Birdman record. Regardless of how open minded you are as a music fan, Birdman will NEVER be anything more than a wretched rapper who needs to go away. Isn’t he in his 50s anyways?
I was thoroughly impressed with Freeway and Jake One on Stimulus Package, to the point where I’m actually looking forward to hearing more Freeway in the future (but not much more, his voice is still a tad bit annoying). Jake One however solidifies his spot on the throne of hot producers who every rapper is going to want to have on speed-dial. Stimulus Package just feels GOOD throughout, and has the potential to some inject life into a stagnant rap game. Get yours!
4.5 Stars
