Freddie Gibbs & Madlib - Pinata '74 - 2014 RSD Hip Hop - Audiophile Half Speed Mastered Sealed LP
Freddie Gibbs & Madlib – Piñata '74
Madlib Invazion – MMS-041
Vinyl, LP, Album, Limited Edition, Reissue
Limited to 2000 copies.
After the original release Piñata in 2014, artist Pathetic Pixels created his own personal version of Piñata as an early 70s Blaxploitation movie poster. This design only existed in the digital realm until being prepared for release on Record Store Day.
The ’74 edition is a single LP edit of Piñata lacquered at half speed master by Metropolis Mastering in London for the highest fidelity. The Record Store Day version (’74) was released on October 24, 2020. This Limited Edition was offered once and won’t be repressed.
24 Oct 2020
Featuring – Danny Brown
Featuring – Raekwon
Featuring – Domo Genesis, Earl Sweatshirt
Featuring – Scarface
Featuring – Ab-Soul, Polyester The Saint
Featuring – BJ The Chicago Kid
Featuring – Big Time Watts
Featuring – Casey Veggies, Domo Genesis, G-Wiz, Mac Miller, Meechy Darko, Sulaiman
Freddie Gibbs is the product of violent, drug-laden streets but unlike most rappers with similar resumes, he brings the block to the booth without inhibition or an exaggerated rap persona. Piñata, a 17 track collaboration with producer Madlib, is the best distillation yet of his transparent approach to making music, combining an at times stark honesty with electrifying talent as a lyricist and performer. Piñata is "a gangster Blaxploitation film on wax," says Gibbs, who came up on the streets of Gary, Indiana, the disregarded city previously best known for producing Michael Jackson.
Here he is joined by Mac Miller, Earl Sweatshirt, Raekwon, Scarface, Domo Genesis, Ab-Soul and a host of others in setting his soliloquies of the streets alongside film snippets and dusted funk, soul and prog musical tapestries. While this is the latest in a series of single-artist collaborations for Madlib, after Jaylib (J Dilla), Madvillainy (MF Doom) and the street-centric O.J. Simpson with Detroit's Guilty Simpson, the pairing is unique as it is the first time for Gibbs working with just one producer.
On Piñata, where Gibbs can shift from textbook lessons in robbing and drugging on trackslike "Scarface" and "Knicks," to perhaps the album's most personal song, "Broken," a collaboration with Scarface, who, along with Tupac, DMX and 50 Cent, make up the rapper's own Mount Rushmore of MCs ("You re getting a hurricane of all those motherf&%kers hitting you at once when you listen to Freddie Gibbs," he says).
"Deeper," a Gibbs favorite and the third single from the album after "Thuggin'" (2012) and "Shame," (2013) is an ode to hip-hop in the mold of Common's "I Used to Love H.E.R."; "High," featuring Danny Brown, is self-explanatory and just what you would expect from Gibbs, Madlib and one of Detroit's finest; while on "Real," Gibbs addresses an old score just as Michael Corleone settled all family business on baptism day.
This feels like Gibbs' "official" debut. Madlib encompasses something along the lines of "grunge soul" and Gibbs swims along each beat like they were crafted after he laid his vocals. Nothing feels out of place. You'll listen to some songs over again just to try and pick up on the intricacy of what Madlib's put together and inadvertently catch another line Gibbs laid. This is a genuinely enjoyable, masterfully mixed, amazing album