Album Review: The Stimulus Package 2 by Freeway & Jake One
Rapper Freeway and producer Jake One reunited for a sequel to 2010’s Rhymesayers release.
Freeway emerged as a key figure within the Roc-A-Fella roster, tracing his rise to an agreement with fellow Philadelphia rapper Beanie Sigel. Both up-and-coming artists met at a local nightclub and promised that whoever secured a record deal first would help the other. Freeway’s debut about 21 years ago saw him introduced on a massive platform alongside JAY-Z’s Roc-A-Fella crew, appearing alongside Jay and Beanie on tracks like “1-900-Hustler” and “Rock the Mic,” where his raspy, energetic flow seamlessly fit.
It’s significant that Freeway, despite a major label debut that sold over 500,000 copies, moved to an independent label for his third album. Philadelphia’s Freeway signed with Rhymesayers—a label known for artists like Brother Ali, Atmosphere, and P.O.S—to release The Stimulus Package in 2010. Unlike other releases from the label, the album features complete production from Jake One. Housed in a massive money clip, The Stimulus Package comes with liner notes printed on oversized dollar bills featuring Freeway’s and Jake One’s faces. It includes a cardboard wallet containing the CD and a download card for its instrumental version.
Who would’ve thought fourteen years later they would reunite for a sequel? Jake One’s versatile production on The Stimulus Package 2 allows Freeway to focus on his rhymes without being constrained by his flow. This smart yet hard-edged album is perfect for the transition. Freeway’s lines are as strong as ever, his distinct voice blending well with Jake’s beats. He rhymes about a range of topics, as the two artists collaborate in a way that will please their respective fan bases while also appealing to new fans who they maybe missed their heydays. Freeway uses his voice as an instrument with more freedom and substance over Jake’s focused production. This development enhances the overall experience. In the past, Freeway has almost always employed his voice as an instrument, but now he does so with greater liberty and more to express.
The dusty boom bap opener “Time” brings a gritty, visceral look into lives forged by the streets and polished through hardship. Opening with Freeway’s raw imagery, “We from the ghetto, we keep metal, we keep product with us, Conway the Machine’s subsequent verse continues the theme with lyrical finesse, proclaiming, “Lyrically inclined, I exist through time travel/My physical design, elements that are not natural.” The Black Thought-assisted “Keep Winning” endures the spirit of Black life, as articulated through vivid storytelling and introspective reflections over Jake One’s mellow production. Freeway initiates the conversation with lines that underscore the consequences of life’s choices. Black Thought, known for his incisive social commentary, complements this with a focus on the collective trauma and resilience of African Americans, captured vividly:
“Life is a blessing, how quick we forget the message
How it’s more of a lesson in losses than in successes.”
Peedi Crakk reunites for a mini State Property reunion on “Philly” that proves he and Free’s chemistry hasn’t lost a step. Jake One’s production throughout this sequel is outstanding and we don’t understand how underrated he is as a musician. He provides a nice bassline on “Nothin They Can Do” where Freeway can showcase his signature rap style (especially on “Freezer,” my God!), but on “Bearded Legend” and “Crystals and Keys,” Jake also delivers a gospel-influenced beat that we come to know and love. But he can mix things up on the 808-heavy “Surgery” where Free does his thing and Symba fits right at home that he doesn’t chase trends.
More features include Jadakiss on “Ringin” and it makes you wonder why doesn’t Jada hop on this style of beats instead of going the other way which doesn’t benefit him in the long run. In “My Own,” Freeway and Sauce Walka paint a raw, unflinching portrait of street life and its inherent contradictions. Free articulates his virtues without the reliance on traditional writing tools, boasting, “Niggas rap game’s pitiful, but I’m a different individual/No pen and pad, I live it, think some bars then spit a few,” and Sauce Walka’s verse brings a similar intensity, juxtaposing moments of vulnerability and violence. His reminiscences of shared pasts turned adversarial underscore tragedy: “Ain’t it funny how money make you murder people that you used to hang with? Brother jealous over success or some lame bitch,” Sauce spits.
Free keeps the introspection going on “Price of Fame.” Through a narrative lens, he explores the fracture in relationships and the complex emotional landscape engendered by his ascension to stardom. He offers a meditation on betrayal with the enduring bonds of family and loved ones, while framing the myriad of emotions and experiences within a broader spiritual perspective, illustrating how success, fame, and hardship coalesce to shape his reality. However, he does switch things up beyond the heavy topics and barfests on songs like “Heartbreaker,” while nothing groundbreaking, it doesn’t make or break the album.
The most compelling track on the album is “Family Tree” as Free presents a compelling reflection on his journey through the lens of struggle, unity, and aspiration that intertwines the harshness of street life.
“Turned into a savage, had to bury my own child.”
Additionally, it touches on themes of unity and community that seem to be betrayed by violence, “Folks say they bout that unity, but they all lyin’,” Freeway raps. The sequel to The Stimulus Package brings two worlds together, resulting in a mutually beneficial outcome. Free contributes some of his best work, matching the quality of his previous output. The collaboration between Freeway and Jake One on this album showcases their growth and synergy, creating a rewarding listen for existing and new fans.
Great (★★★★☆)
Favorite Track(s): “Keep Winning,” “Price of Fame,” “Family Tree”