By Odeisel
Curren$y surprised many with his Pilot Talk album with its blend of smooth lyricism, carefree spirit and rich, funky live instrumentation. He proved that he was a viable artist with the ability to craft a legitimate album, and not just a mixtape rapper to be relegated to the periphery. On Pilot Talk 2, he continues that formula, albeit without the element of surprise.
Curren$y’s main flaw as an artist is his lack of high level charisma on wax. On Pilot Talk that flaw was addressed with well-timed guest spots and a wide range of music that kept the listener involved. This time around, that variability is absent to the detriment of the album. He hasn’t fallen lyrically but the music doesn’t vary enough speedwise to compensate.
The lively bassline and hand claps of “Airborn Aquarium” is a suitable opening with a light piano and chimes completing the track. “Michael Knight” continues the bassline dynamism and an energized Spitta raps against an electric guitar backdrop.
“Montreaux” is possessed of a live lounge feel, with a fresh live drum and organ work that fits perfectly with the high hats and brass end-measure. “Famous” finds a drowsy Curren$y stumbling through the hook before recovering with a double-time flow. The sultry, Sade-like saxophone is moody and complements Spitta’s narrative. The weed is an escape for the pressure of new found fame and the uneasiness that comes with it.
The bumblebee urgency of the string sample runs counter to the funky guitar, the vibraphone work and lush bass of “Flight Briefing,” but it blends beautifully. Guest rappers Young Roddy and Trademark don’t really have the flair or the skill to do this beat justice but they are serviceable. “A Gee” features a confident Curren$y in full flower of skill; giving a nod to producer Ski for bringing out the best in him, while noting the futility of inferior emcees to duplicate the J.E.T. life.
That J.E.T. Life is flaunted on “Real Estates” and guest rapper Don Kennedy supplies a strong verse that references Kat Williams and Rauce, and strives for “oceans in the back, Porches in the front.” Pianos and the gloomy, airy vocals of McKenzie Eddy bring a saddening noise to “Silence.” The song is delivered well but slows an already slow-to-mid tempo album to a near crawl.
Roddy and Trademark return and trade bars on “Hold On” with more serviceable placeholding verses. Piano work again manifests on “Fashionably Late” this time in conjunction with synth and a muddy drum for good measure. Big brass and strong drums are bolstered by a brutal bass on the Pimp C tribute, “Highed Up.” The track supplies some much needed high energy that carries over on the snare-heavy “OG (The Jam).” No Limit’s most underrated, Fiend brings his deep-voiced delivery to the track with good results. Raekwon’s street rhymes add a new dimension to the “Michael Knight” remix to close out the album.
There isn’t a bad song on Pilot Talk 2. Curren$y continues to grow as an artist. This second flight however suffers a bit of turbulence from the overabundance of similar speed tracks and no overwhelming guest spots. It’s music to fly to, just not as high as the first voyage.
3.50 out of 5
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“There isn’t a bad song on Pilot Talk 2. Curren$y continues to grow as an artist. This second flight however suffers a bit of turbulence from the overabundance of similar speed tracks and no overwhelming guest spots. It’s music to fly to, just not as high as the first voyage.”
Worth mentioning twice!!
You know what I like about Currency. I don’t have to really think when I listen to his album. Sounds bad but I mean, it’s one of those albums where you put it on and just sit back and do what you do. I had it on playing NCAA 11 and it was perfect. I had background music going and could concentrate on the game itself. We need artists like him to balance out the game. He’s a dope artists and he does what he does well. I thought it was a good album. And the production was just stellar. I hope they drop the instrumentals for this one.