Ronan O'BrienAl & Fredo
Freddie Gibbs is one of my all-time favourite rap artists. A native of Gary, Indiana, his fast flows and cocaine-inspired lyricism certainly piqued my interest when I first heard him. My first introduction was the 2012 mixtape Cold Day In Hell. Becoming a real fan of the slick flows and good production, it didn’t take long to take in the rest of his discography.
The next discovery was Piñata, produced by the legendary Madlib. Freddie’s versatility to adapt his style over another producer’s beats is mesmerising. This may sound easy, but blending both artists’ sounds together is no easy feat. Freddie has done this time and time again, reuniting with Madlib on Bandana, working with a multitude of producers on $oul $old $eperately as well as with The Alchemist on the Grammy-nominated Alfredo.
Alan Daniel Maman, better known as The Alchemist is a legendary producer. As far back as the 1990’s, The Alchemist has been a staple in hip-hop production. First appearing with Cyprus Hill’s affiliates, The Whooliganz, The Alchemist has gone on to become one of the most respected producers in modern hip-hop. I mean, the credits he has accumulated speak for themselves.
Alfredo The First
Although Freddie Gibbs and The Alchemist had worked together previously on Fetti, the real breakthrough for the duo was Alfredo. Released in May 2020, the album debuted at number 15 on the Billboard charts, making it their highest ever placing respectively. The title, “Alfredo”, is a combination of the two artists’ names, Alan and Fred.
Critically praised for its production mixed with Freddie’s tantalising bars and flows, the album was nominated for Best Rap Album at the 63rd Grammy Awards. Conceding to Nas’ King’s Disease, the album remained as a real favourite in the hip-hop community. The bellies were left unfilled for a couple of years, and with fans like myself wanting more, the sequel was surprisingly announced earlier this year and we were not left disappointed.
1995
The album opens as a sequel. The first track, “1995”, is a titular homage to the opening to Alfredo, “1985”. The track opens with a smooth vocal sample with a variety of percussion instruments. Freddie comes in with smoothness and a flow that few can replicate. The flow only increases during the interlude, where the beat switches up. Much like “1985”, the song features a strong guitar riff providing the main melody. A testament to both artists, it sounds effortless but it is anything but. The refrain, “Ooh Freddie Kane, why you do ’em so cold?” is a reminder that he’s back and ready to serve again.
“Mar-a-Lago” opens with smooth guitar and bass, with a steady kick beat behind it. It’s a smooth jazz loop and Freddie is once again effortlessly rapping over the beat. This and the opening track retain that atmosphere from the first Alfredo and can feel a bit slow to begin. The album really opens up at “Lemon Pepper Steppers” where Freddie’s flow is a lot harder on the beat. The track has incredible gangsta-rap lyricism from the offset, “Smokin’ opps, walk down your block, I put that bitch in shock”. The beat definitely takes a step back in this one, and the spotlight is completely on Freddie’s flows.
Ensalada
Featuring the first guest appearance on the album, “Ensalada” opens with a swinging beat that you can’t help but groove to. Perhaps a play on the words “it’s a lotta”, this one is yet another display of Freddie’s versatility. The emphasis on the last word in each bar landing on the kickdrum is impressive, and the ability to rhyme the same words without sounding amateur is plain cool. The opening verse rhymes “bitch” with “bitch” and it just helps build that emphasis. The guitar is so smooth as is the piano, and the groove is topped off by Anderson .Paak providing a R&B chorus.
Similarly titled “Empanadas” is the follow-up which has another soulful sample and a smooth bass-line providing the groove to a synth-heavy melody. The flow is a bit more laid-back, but there’s still plenty of fire on display. A standout element to this song is the reference to Freddie’s beef with Jim Jones and Benny The Butcher: “Smacked him in Miami, his boys jumped me, he played it safe / Bitches in Buffalo get the same thing, they was throwin’ plates”.
Another titular homage to Alfredo‘s tracklist is “Skinny Suge II”. The kicks are so heavy on this track as are the synths. Like the first instalment, the song is a display of skill and power from Freddie, his delivery ever-dominant. The wordplay is cool in the lyrics, with references to his alias; “I survive, like Easter Sunday, Rabbit on the rise”.
Feeling
Another guest appearance, this time with Larry June, “Feeling” opens a string of laid-back beats. The piano is melodic, and supported with scattered vocal samples giving a soulful sound. Freddie opens singing before evolving the track with his flow. It’s almost yearning, and as soon as Larry June enters the room the energy becomes even more relaxed.
Even more pining is the incredibly melodic “I Still Love H.E.R” where the beat is so smooth. The keys are high and melodic, once again supported with a soulful vocal sample. Much like the previous song, Freddie is bragging about his romantic conquests but there is as much love shown to the people in his life. Aside from flexing on the opps and calling them nincompoops, there are words of recognition to his manager Lambo, as well as his late friend Mac Miller.
“Shangri La” opens with a beat that feels like an extension of the previous track. Once again, it’s laid-back with vocal samples, a groovy bass-line and chimes throughout. The flow is strong yet again, with Freddie reminding us why he is at the top of his game. It’s hard to know who this is directed at, but the line “Now I wonder, if I ever crossed you or lost you / Would you ever set me up, wet me up? / Yeah, you a sneaky bitch” indicates that it may be about an ex.
Gas Station Sushi
The coke-rap elements return with “Gas Station Sushi” with the opening sounds of Freddie snorting. Freddie references his affiliation to cocaine in this track a lot, despite himself getting older. Despite the age, he reaffirms that nothing has changed, “Stuck in my ways, the more I exist, ain’t shit but my age changing”. The lyrics are full of brags, most notably taking shots at Curren$y, who he had collaborated with on Fetti. It’s includes a nod to The Alchemist, where he states “Could’ve ran that fetti by myself, bitch, I’m the best with Al”.
Another incredibly smooth guitar sample with straight-edge drums, “Lavish Habits” can fool anyone into thinking Freddie is taking a break. In fact, it’s the opposite. He takes shots at more people in the industry who he has held beef with; “I’m still gon’ squeeze Akademiks titties, that fat bastard / Gunna dissed me and took a plea, he a rat bastard”. Even in the latter stages of the track and album, he is reminding us that he is still on top of his game; “I be god, damn it”.
The final feature artist on the album is JID who contributes superbly on “Gold Feet”. The flow is set by Freddie from the get-go, where he navigates effortlessly around the beat increasing and decreasing in intensity. Lyrically there is so much to digest, even a homage to OutKast; “Feelin’ good, feelin’ great / Feelin’ great, feelin’ good, how are you”.
The standard is set high by Freddie, but JID is more than able to match that flow. The rhyming scheme in his opening bars is impressive and shows he is more than ready, “Bro, I’m coolin’, lookin’ ghoulish, feelin’ great, the flow is fluid”. It’s a hugely enjoyable feature from another fantastic artist in the industry.
Jean Claude
“Jean Claude” appears to be named after Jean-Claude Van Damme, with Freddie utilising some cool bars for the comparison. The hook, “Life a Bloodsport, you gotta be Jean-Claude” is more evidence of Freddie’s genius lyric writing, and the song is dotted with these gems throughout. Again it’s another display of his belief in his own success, and the closing line “Even at the top of a fuckin’ mountain / It’s always another peak” introduces the final song brilliantly.
“A Thousand Mountains” finishes the album on a high, with The Alchemist letting loose. The kicks are so strong, the samples are plentiful and the flute provides a seriously cool melody. Freddie’s lyricism is strong yet again, even referencing the instrumental throughout; “I should go get me a flute and just disappear in the mountains”. Once again, he reminds us all why he is still on the top of his game; “‘Bout to put these pussies in a box like that Barbie movie”. One thing is for sure, holding beef with this man is something every rapper should think twice about.
Final Thoughts
Although I firmly believe that albums should not be compared in a hierarchy, it’s hard to not see the similarities between Alfredo and Alfredo 2. They are a series. While it may be a sequel, I don’t think the duo were trying to better the predecessor in any way, but instead provide an extension. And it feels like they succeeded here.
Alfredo was one of the biggest hip-hop successes of the 2020’s, and Alfredo 2 definitely belongs in that bracket. While Freddie and The Alchemist provided us with a delicious dish, I still find myself hungry for more. Not that this album didn’t satiate, it feels like there is so much more to come and that has me excited.
