By Odeisel

Fresh is what’s next. Straight from 80’s vernacular to Madison ave secular, the word universally posits excitement and newness whether it’s Prince William of West Philly or icy white Air Force ‘s which never fall out of style. Fresh is the title of Tabi Bonney’s new album a combination of new millennium slick and old school musicality that makes for a fun listen.

Pusha T assist on the opening track “Make a Killin.'” The slow grinding track,while solid, was the wrong opening shot. The following song,”Get Me” is more representative of the album’s energy and features a solo Bonney over airy atmospheric pops and slick tribal drums. There is the faint remnants of Go Go as Bonney’s Slow 80’s flow rides smoothly.

What Bonney lacks lyrically is accounted for on “Radio” by Curren$y who rips the snare driven track to shreds. Keyboard synth fills out the rhythm and Bonney’s confident slickness is evident in lines like “got plenty girls but it ain’t enough so I ask Q Tip what’s up with Bonita.” “The Slacker’s Farewell” bids adieu to all the loafers as he steadies his road to stardom. The haters say you can’t do it and when you win, they just demean your accomplishments and Tabi wants no parts of it. He also refuses to slack ona track or a stage. Bonney’s rhyme scheme switches over hand claps and pop noise is evidence of his dexterity.

Wale guests amid distorted synth, a booming drum and an electric guitar on “Killer People,” which again addresses the assassins of hopes and dreams. The chorus calls for them to keep on killing but Wale and Bonney will not be hapless victims. Raheem Devaughn puts the peanut butter on the slow jam of “Fever.” The track brings a pace change to the album that isn’t warranted and slows down the bounce considerably.

That 80’s rider music returns on “Go Away.” The pulsing rhythm of the bouncy lows and Tabi’s crooning on the hook restore the fun feel of the album. Bonney is in full star mood, firmly entrenched in the “in crowd” and possessed of that insider arrogance. It works on this song, if not in real life. The trance like rhythm of “Nothing But A Hero” speaks to the worship of fans and how fame intoxicates not only it’s suitor but those who follow them. The sharp violin stabs fit well within the uptempo track and add flow to the beat.

Chimes and 808s run with piano keys on “Sunlight” a song that exhorts you to keep pushing for your dreams and to go after what you want. Tabi’s appetite for the high life is insatiable and his hunt for it is evidence of that burning desire. More 80’s synth and quixotic dream chasing occurs on “Blinding,” a song neither as inventive or as fresh as its predecessor.

Bonney gets at that special girl on “Galaxy.” He’s excited at how different she is from the rest and states that she’s all he needs. There is some ridiculous sentiment but it’s bathed in synth and snares and that takes the edge off the saccharine. Kokayi croons on “Winner’s Tourney,” which returns Bonney to his championship quest. He wants the trappings of fame and his relentless pursuit powers this song.

“Like A King” brings the return of Kokayi and Wale, this time with organs, deep drums and brass on the breaks. The track takes the idealist kid gloves off with dithering effects on the second verses. Wale is certainly a better skilled rapper than Bonney but Tabi’s charisma is many levels higher. Tribal drums seem to bring out the best in Bonney as his flow is fine tuned on the album’s closing noten “Yeah Go.” Blaring horns and bongo drums on the breaks round out the sound.

Fresh is a strong first effort from one of DC’s brightest stars. While he is not a supreme lyricist , there is a feel and charisma that Bonney radiates that separates him from his district brethren. I don’t know if he has prepared himself for the fame and stardom he chases on this album, but he should get ready. Better song arrangement and a few guest appearances on the next could spell a really special disk.

3.75 out of 5

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