This lack of discrimination of what goes down in his book as awesome is what sets Curren$y apart, and at the same time, makes him so relatable- or at least it did at the time.
On one track it’s all money talk about money and girls, in another he delves into the meaty subjects of updated rosters and Nintendo DS'. His lackadaisical approach allows him to throw caution in the wind and boast about finer things both common and uncommon for the genre. It’s true stoner rap, in that all of the triumphant self-touting lyrics come THC tinged, puffed through the smoke that surely filled the studio. The party sound, much like the party-goer, burns out, so that by the end of the album- you’re melting into the couch like it’s 11:59 PM on 4/20 more than you are bobbing your head, like you were at the beginning.Ĭurren$y’s debut studio recording is the perfect introduction to the unique style of the emcee and it is also his quintessential album. PT1, if not just because it was Spitta’s studio debut felt like a constant ascension to the skies, whereas PT2 definitely delights - maybe too much - in the descension of that flight. Perhaps the worst bit of turbulence that Pilot Talk encounters is its latter half, wherein the horns are replaced for strings and keys. It’s this trend that keeps the album going, running on fumes of marijuana smoke and dreamy psychedelia both lyrically by Spitta and via Ski Beatz’s production.
#Pilot talk 3 spinrilla full#
Curren$y’s affinity for catchy choruses is in full effect, with hooks that seem to hover over the shoulder and haunt the songs like weedy whispers ("Ocean’s in the back, Porsches in the front"). The celestial sound comes layered with Jazz and Latin Fusion horns that cement the stoner party sound. It starts off strong, with hypnotic beats with samples that seem to whiz by. The first Pilot Talk sequel has so many songs creep up on you, which makes sense considering it crept up right behind its predecessor, being released just four months after the original.ĭespite the back-to-back releases, it’s still hard to top the original - especially if the original is as fresh as the first Pilot Talk. Maybe it's the production, but PT 3 feels like more of the same that Spitta's been doing lately (not necessarily a bad thing, but.) and not necessarily advancing the Pilot Talk sound we loved so much on the first two. The cameos and tighter production help keep this Pilot Talk enjoyable. “Pot Jar” in particular is impressive, with Jada and Spitta both dropping bombs ("Send a bottle to your table, it’s a celebration/Rolling Presidential, inauguration/Stones clearer than an HD station").Īll of the Pilot Talk albums have their merit, however Pilot Talk 3 feels a bit stagnant when compared to the previous two albums. It's a welcomed change of pace after Pilot Talk 2 abandoned the cameo vibe found on Pilot Talk 1. Cameos by Jadakiss, Wiz Khalifa, J Townshend, and Master P (even Riff Raff does alright on the none-Ski-Beatz-beat “Froze”) bump the albums fun-factor up a bit. Some of the albums greatest highlights from PT3 come not from Spitta himself, but those he gets chummy with.
While Ski-Beats shows up with some fresh beats that up Curren$y's lackadaisical persona a gear or two, the roads covered on Pilot Talk 3 are just too well-trodden at this point to truly feel gratified by the record. Perhaps Curren$y is just too comfortable at this point. With that in mind, it should come as no surprise that, with the comeback to Pilot Talk, there’s a more concise vibe to the third collaboration between Curren$y and Ski Beatz. Spitta has made a point to carve out his career in his own image, seamlessly transitioning from Young Money signee, to being big-wig Dame Dash’s pet project, into the self-sustaining smoker/rapper with a rabid fanbase.