Breaking Down ‘Piñata’: Gibbs & Madlib
See how Freddie Gibbs' sharp lyricism pairs with Madlib's smooth production to deliver one of the greatest albums of its era.
The announcement of a collaborative album featuring the gritty, uncompromising street rap of Freddie Gibbs juxtaposed with the boundless and often eccentric sample artistry of Madlib elicited both anticipation and apprehension. The concern was that at least one of the artists would deviate too significantly from their signature sound to complement the other adequately. However, the trio of EPs released in advance demonstrated the impeccable synergy between this duo, with Piñata emerging as one of the most exceptional rap fusions since Madvillainy.
Freddie Gibbs asserted his unapologetic stance in the previously released “Thuggin’,” proclaiming, “I’m straight thuggin’/And it feels so good, and it feels so right.” He eschews compromises and rap about rap, instead opting to convey the unfiltered brutality of the streets, despite his established reputation as an MC: “Give a f**k about your feedback/Critically acclaimed, but that sh*t don’t mean a thang.” Madlib, the producer, refrains from merely accentuating the gritty narratives of drugs, crime, and betrayed trust; instead, he extracts only the most exquisite elements from his enchanting reservoir, as exemplified in the Kush anthem “High.” The amalgamation of a stately beat and Freddie’s swift-paced verses might appear incongruous initially, but it achieves a remarkable harmony.
As the smoke thickens, blurring the surroundings and reddening the eyes, the ubiquitous gap-toothed rapper Danny Brown inevitably makes his presence known:
“I was in the crib laying on a kush cloud
Getting zoned out, eyes red.”
Even his slightly overenthusiastic contribution finds its place within the context of hashish, angel dust, and cocaine. Thus, ample material is available to numb the pain that Gibbs eloquently describes against the backdrop of bright strings in “Deeper.”
Betrayed and abandoned while incarcerated by the woman who once admired his “Thug Life” but now deems him too unsavory, preferring an educated, respectable man whose child she now bears. Undoubtedly, “that cut a ni**a deep.” Then, after years apart, a call surfaces, evoking both cherished and agonizing recollections. The reason becomes clear as the suspicion that Freddie could be the child’s father is substantiated: “That cut a ni**a deep.”
Seeking solace, he ventures to “Harold’s,” his preferred chicken eatery. “Six Wing Mild Sauce with all the fries you can give me,” he orders, his hand never straying from the grip of the .38 revolver concealed in his pocket; one can never be too cautious. At last, Madlib presents the fare, but instead of a frosty Coke, he delivers casual loops and a beat devoid of drums yet endowed with a robust bass.
The result is utterly delectable.
The “MadGibbs” collaboration is poised to become a resounding success among rap connoisseurs, as evidenced by “Sh*tsville,” demonstrating Gibbs’ ability to adapt to every template his congenial partner presents effortlessly. While Madlib primarily samples funk and soul elements throughout Piñata, he crafts a fast-paced, aggressive sci-fi beat on this track, which Gibbs employs to deliver a scathing message to hypocrites:
“You shed tears when you hurting; if I cut you, then you bleed, right?
You mutharf**kas just like me, but b*tch, you acting like your sh*t don’t stank!”
Once unleashed, the comprehensive assault against the wrong players in the game cannot be retracted. Jeezy, in particular, bears the brunt of this attack, as his past actions have not consistently aligned with being “real.” Gibbs, who acrimoniously departed from Jeezy’s label in 2012, reminisces, “I looked up to you, put that on my momma.” The “Snowman” portrayed himself as an untouchable, oppressive, and valid label boss but ultimately proved thoroughly disingenuous. Freddie could easily expose the true face of his former role model: “Don’t make me expose you to those that don’t know ya.”
However, the elective Californian is not one to merely point fingers at others. He vehemently refuses to glorify drugs and crime, expressing remorse in “Broken” with a melancholic baritone. He deceived his grandmother and could no longer look his father in the eye without feeling ashamed of his daily activities: dealing, robberies, and shootings.
His only companions were found in a gang that provided support and allowed him to forget his insecurities temporarily. The somber atmosphere evokes certain tracks from the Geto Boys’ “The Foundation.” Fittingly, Altmeister Scarface delivers a remarkable verse justifying the necessity of evil deeds:
“Ni**as don’t respect to live and let live
So I pack a .40 caliber ‘cause that’s how sh*t is.”
The fact that only one track, the dreamy and jazzy “Robes,” features two young Odd Future Wolf Gang members, Domo Genesis and Earl Sweatshirt, underscores the distinctive nature of the feature list on Piñata. “MadGibbs” not only amalgamate various styles in their work but also bring together different generations of rappers. Veteran Raekwon delivers a powerful performance on the ominous “Bomb,” while TDE member Ab-Soul joins the beautifully melodious tribute to Los Angeles (“Lakers”)—the city to which Gibbs owes so much:
“My home, my home, L.A. I ride for you
When I am gone, just know that I owe you.”
The final title track, featuring contributions from six MCs, must catch up as the only marginally weaker offering. Nevertheless, the record stays within its welcome, which is remarkable given its 17-track scope. Each piece captivates the listener from start to finish with tailor-made samples, sophisticated rap skills, and authentic narratives. Moreover, despite the abundance of successful features, the leading rapper remains the focal point—his performance remains the most compelling.
With Piñata, “MadGibbs” presents the unequivocally best rap album of the still-young year. Over beats of ingenious virtuosity, Freddie Gibbs illuminates the darkest aspects of street life—ruthless, raw, and brutal. Even if he desired to tell different stories, his credibility would be questioned:
“Granny found my dope; I told her I would stop for selling it
Ni**a please, she knew I was lying before I even spoke it.”