New Orleans rapper Curren$y is under the bright lights with The Stoned Immaculate, his eighth studio album since 2009, and he has the talent to use the opportunity to get his message out to the world. It’s just too bad said message is extraordinarily uninspiring, misogynistic and unoriginal.
The inexhaustible artist, also known as "Spitta," was born Shante Scott Franklin and dropped into the rap game as a member of the 504 Boyz on Master P’s No Limit Records. This was back in 2002.
After moving around labels and guest-spotting on tracks by the likes of Lil' Wayne and C-Murder, Curren$y began to put some focus to his own career and released some mixtapes. These revealed his talent, but still had him overlooked by a lot of the major labels. By 2011, though, fortunes changed and he signed with Warner Bros. Records to release music under his own Jet Life Recordings imprint.
The Stoned Immaculate is Curren$y’s most mainstream kick at the can to date.
As with most hip hop records, there is a veritable sea of producers and guest spots. Curren$y enlists names like Wiz Khalifa, Pharrell, Daz Dillinger, 2 Chainz, Wale, and Estelle to add some punch, while producers Monsta Beatz, The Neptunes, Tone P, and The Innovatorz are among those behind the dials and switches.
"What It Look Like" announces "Jet Life" and Curren$y’s oft-repeated philosophy on "living life to the fullest." The track, produced by Bink!, employs an easy-going backdrop and a cool beat. Spitta is joined by the always-chuckling Wale and drops the anticipated clichés about smoking pot, cars, women, and generally not giving a fuck.
The tireless weed allusions continue with "Privacy Glass." The track, produced by Rashad Thomas, is a slovenly sonnet to "bitches who don’t mind being called bitches." Drowning in a haze of "kush clouds," Curren$y mumbles monotonously about "breakfast at the boat launch" and other recession-proof concepts.
Luckily, Curren$y digs a little deeper to outline (and celebrate?) his hypocrisy on "Chasin’ Paper." The "been there, done that" track talks about the appeal of "Jet Life," but Pharrell’s vocals are plain ludicrous.
Curren$y’s muttering, languid flow is every bit as leisurely and laidback as should be expected on a record called The Stoned Immaculate, but his content is wearisome and generally two-faced. Hollow veneration of money, weed and "bitches" infiltrates nearly every track, while the customary condemnatory notes fall flat in this inopportune festival of excess.