In addition to the production prowess of Ski Beats, Curren$y also commissions Miami’s Cool & Dre for production. On the surface it seems more technically complex than it actually is and that is what makes them so easy to listen to. I think that’s really one of the positive things about Pilot Talk 3 and its predecessors. Every now and then producers make a beat to remind us fans that sometimes all you really need is a vicious loop and tough drums and you have a recipe for a dope beat. Ski also shows he can create just a raw banger by crafting the thunderous “All I Know”. Which is really refreshing in a time where being turnt and making stripper cheerleader music is still the de facto vibe.
On tracks such as “Get Down” bass licks and keyboards give the album at some moments a lounge feel. The jazz/boom-bap/funk hybrid style that Ski has perfected through the years perfectly compliments Spitta’s trademark couch-locked style.
Ski seems to have totally figured out his partner-in-crime’s ear and the production from him creates some of the albums highlights. This being the third time they have worked together on a major project its clear that of the many rapper/producer tandems that Curren$y has created (Spitta/Alchemist, Spitta/Monstabeats, Spitta/Harry Fraud) this one remains the best. This creates some really lush and vivid lyrics that aren’t loaded with ideas but loaded in their imagery.īut the true magic of the album is the combination of producer Ski Beats and Spitta’s lazy flow. Where a normal rapper says “I’m riding clean”, Spitta says things like “Ferrari’s 40-yard dashin’// vanishin’ behind gated mansions.” Curren$y is basically to cars and marijuana what Drake is to emotions. In previous endeavors what made the New Orleans MC a draw (beyond his stoner roots) is his hyper acute attention to detail. With this previous knowledge its easy to get into Pilot Talk 3 for a fan but a new listener might not easily get the allure. Even with such a simple formula Pilot Talk 2 remains a personal favorite and hasn’t left my musical rotation since its release five years ago. The album is usual Pilot Talk fare, loaded with weed, women and low-riders. Stuff like that is cool for the super-fan or collectors, but I think the vast majority of the masses just want the music. Downloading was widely available but a physical copy ran $100 and included a flash drive (that held the album itself) a t-shirt and a exclusive look book. Curren$y, also known as Spitta, spent majority of 2015 promoting the unique distribution of the album. One of the most consistent artists in the game right now, Curren$y, finally released the latest installment of his lauded Pilot Talk series.
Curren y pilot talk 3 deluxe series#
It's another lark from a man who has taken plenty of them before, and while some may look to his major-label efforts for the more well-rounded LPs, they can check the Pilot Talk series for that kind of breadth, and appreciate Canal Street Confidential for the sharp and well-executed idea that it is.Sorry for the super long hiatus, but I gave up WP and Twitter for Lent *shrug* I’m back now. Singer Lloyd is a perfect choice for this atmosphere, and helps make "How High" a highlight, while the marquee MC does fine delivering lines with a - gasp - more clear-headed and direct style, sometimes coming close to Lil B territory while still making it his own.
As such, producer Purps got to work and put down a handful of productions that sound like the usual soaring Curren$y stuff but injected with some '90s R&B, as if LeVert remixes are the hot new bootlegs. Instead, Curren$y came off a tour and noticed his fans appreciated both his stoned and his "up" numbers, and he just didn't have enough of the latter. Kelly or T-Pain in sight as the superstars are worthy stoners like Future and Wiz Khalifa, who both perfectly lock with their host on their respective cuts, meaning the main motivator isn't the major-label money. It's his first major-label album in over three years, although it's not a heavy influence and just seems to impact singles like "Bottom of the Bottle," where the production is immaculate, the August Alsina hook is lush, and Lil Wayne offers "I'm gonna give her somethin' to choke on" in stark contrast to the smooth jazz guitars underneath. An artist with plenty of mixtapes and street releases - and many of them are linked conceptually - any single entry in Curren$y's work is best seen as part of a continuum, with this 2015 LP being a bit of an odd duck.
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