Freddie Gibbs & Madlib - Bandana ALBUM REVIEW
Freddie Gibbs is one of the hardest workers in hip-hop today. He’s put out at least one mixtape or album a year since 2004, and he hasn’t seen any dip in quality at all, even in his features. Madlib is a LEGENDARY producer who’s worked with many different iconic rappers on whole albums like MF Doom on the classic Madvillainy, J Dilla on Champion Sound, and most recently, his brother Oh No on The Professionals. His most high profile album this decade has been Piñata, with Freddie Gibbs on the vocals. Many publications have been calling it an instant classic and one of the best of the decade, but I don’t have the same sympathies for it. Yes, Piñata is a great record, but there could’ve been small improvements to me. Now, five years after that, MadGibbs is back with Bandana. How does that hold up? Let’s find out!
Bandana is a rap record if you heard one. Madlib’s legendary production is all over the place, but there are times where he steps out of his comfort zone. What sticks out the most is when the first half of “Half Manne Half Cocaine.” Madlib produces a trap beat, something I thought I’d never hear from him, but it works. Also, the features are pretty much all great. Anderson .Paak swaggers his way through a verse and chorus on “Giannis” and Pusha-T gives an all-time great verse on “Palmolive,” the best track here. I also think that lyrically, Gibbs is in peak form, and he’s better on here than Piñata. He’s funnier, wittier, and a lot more thoughtful on Bandana, and that’s what makes Gibbs so good.
The only problem I have with Bandana is Madlib, sadly. There are some pretty great beats on here, but there were some that just never landed with me. They seemed a lot more vibrant and ever-changing on Piñata, but I’m not saying that there are beats like that on Bandana, but they’re in short supply here, sadly.
Overall, Bandana somewhat lived up to the godlike expectations to Piñata. It’s mainly Freddie Gibbs’ technical ability that steals the show in Bandana, a contrast to Madlib’s beats on Piñata. Their next project together is gonna be called Montana, and if they meet in the middle with great writing and great beats, MadGibbs could have yet another classic on their hands.
8/10
Stream Bandana here
Spotify
Apple Music
YouTube Music
There’s another Freddie Gibbs project out this weekend, so expect that review next week.
Bandana is a rap record if you heard one. Madlib’s legendary production is all over the place, but there are times where he steps out of his comfort zone. What sticks out the most is when the first half of “Half Manne Half Cocaine.” Madlib produces a trap beat, something I thought I’d never hear from him, but it works. Also, the features are pretty much all great. Anderson .Paak swaggers his way through a verse and chorus on “Giannis” and Pusha-T gives an all-time great verse on “Palmolive,” the best track here. I also think that lyrically, Gibbs is in peak form, and he’s better on here than Piñata. He’s funnier, wittier, and a lot more thoughtful on Bandana, and that’s what makes Gibbs so good.
The only problem I have with Bandana is Madlib, sadly. There are some pretty great beats on here, but there were some that just never landed with me. They seemed a lot more vibrant and ever-changing on Piñata, but I’m not saying that there are beats like that on Bandana, but they’re in short supply here, sadly.
Overall, Bandana somewhat lived up to the godlike expectations to Piñata. It’s mainly Freddie Gibbs’ technical ability that steals the show in Bandana, a contrast to Madlib’s beats on Piñata. Their next project together is gonna be called Montana, and if they meet in the middle with great writing and great beats, MadGibbs could have yet another classic on their hands.
8/10
Stream Bandana here
Spotify
Apple Music
YouTube Music
There’s another Freddie Gibbs project out this weekend, so expect that review next week.
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