By Odeisel

Curren$y’s latest work, Weekend At Burnies takes the production a step higher than the sample-laden Covert Coup and reunites Curren$y with the live music feel that fueled his most recent ascent.

“#jetsgo”, the intro, is a lush, string-infused track on the breaks with a wah-wah guitar and groovy bass, synths and a keyboard progression. High-pitch whine covers distorted lows on “Still” featuring cohorts Trademark and Young Roddy. The duo, specifically Young Roddy, carry similar themes but lack the skill to rise above the mundane.

Atmospherics take the lead on “She Don’t Want A Man” as Spitta tells the tale of a woman out for sausage satiation in lieu of an unfulfilling marriage. She’s guilty but unrepentant that she gives the ass away to Curren$y and goes back to her husband. A staggered drum and a couple deep note piano progressions create a tough rhythm to rock to on “One Life.” Spitta rocks original Jordans with the swoosh and the orange plastic tag while you’re waiting for retros and you star in envy wishing your weed was that good and your whip was that slick.

“You See It” interjects elements of Nawlin’s bounce while a poolside Spitta reflects on the good life. He’s getting that paper and spreading the gospel of the Jet Life; getting head, pushing whips and smoking that green. Streaming synth, murky-voiced ad libs and high pitch keys in the spirit of an Odd Future production fills the speakers of “Televised,” which featured former No Limit label mate Fiend, whose heavy presence hovers over the track and adds that RBX/Lord Digga flavor to the song.

“This Is The Life” injects a higher musicality and energy with its lively piano work and agile drum/high hat rhythm. “Ya’ll ain’t got the heart for it, get the cardio,” raps Curren$y as he games the latest weed-hungry chick ready to hop in the whip. The R&B crooning on the hook is strong and not overdone. The 808 bass synthy groove returns with “In G’s.” Curren$y spreads his largesse as he “rhymes a few bars to buy his homies some cars,” tipping his cap to B.I.G. and setting the stage for Roddy and Trademark. Trademark does his thing on the anchor leg with good presence and a solid confident delivery.

Digital and analog combine on the track work for “Money Machine” as Spitta chronicles how the people around you change as you travel your path to glory. The bitches bounce on it while you rise and bounce on you when the money stops. The snakes in the grass pat your back waiting to strike at the earliest sing of weakness. “What’s What” is a short and sweet tough groove with a timing snare and a snapping drum and a delicious bassline. 

“JLC” flaunts a bounce drum and a paranoid Curren$y watching his back and conversing in secret, not wanting the haters to hear his plans for world domination. The Jet Life Commandments involve weed, bringing the family up as you rise and rhyming over beats that lesser technicians are unable to rock. Get paid features some of that old Beats By The Pound style digital distorted synth and flashes in the background and a final helping of Trademark & Roddy.

Weekend At Burnies is a compact, efficient addition to the Curren$y catalogue. He smartly puts his parters in position not to crash and keeps the album short enough that his limited subject matter doesn’t get monotonous. To further the auto allegory, think of it as a Subaru: not flashy or muscular, but well-engineered and built for the road.

3.75 out of 5

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