Case in point: on the Murda Beatz-produced “Mexico,” Gibbs’ cadence mirrors every which ebb and flow of the trap inspired keys as he invokes Tony Montana’s archetypal criminal character to detail alleged cocaine and codeine exports. Now and again, Gibbs advances his rhymes with a surprisingly rhythmic modus operandi. Like contemporaries who’ve made a killing via a similar narrative, Gibbs’ imagery is vivid and striking. Though the likes of Black Thought, Gucci Mane, E-40, and ManMan Savage are enlisted for verse spots and Dana Williams and Tory Lanez for chorus dynamics, relative to previous installments in the Freddie Gibbs chronology, guest features on this 17-track project are kept to a minimum. Rather than bridge different textures once more, Gibbs returns to and thrives in his most natural of elements: the darkest of catacombs. Madlib’s production on the collaboration was characteristically eccentric, standing on its own merits so much though that, per usual, an instrumental only edition ensued. His second and most incisive, Piñata, was an outright Madlib invasion. Gangsta Gibbs’ third studio LP comes in the form of Shadow Of A Doubt. Shadow Of A Doubt is a dense, uncompromising crime drama starring one Freddie Gibbs.
In any event, Gibbs’ authenticity has not only served him well in becoming formidable as an act, but also in his realization as a commodity – a distinction few could call into question. For an artist as raw and outspoken as he, that adversity rear its ugly head in his career’s path is to be expected.
Though ultimately proving futile to an artist of his conviction, Gary, Indiana’s own has faced challenges in the form of street drama, rap beef and failed industry partnerships. Few artists have endured more than the inexorable Freddie Gibbs.
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