Opening the path for rapper’s like Mac Miller & Chance the Rapper, Curren$y choose the route of independence when it comes to releasing his music, which is ground breaking to say the least. From Young Money to his current position, Spitta has seen success in many different ways, including cars, weed, and fashion. On top of that, Curren$y has one of the most loyal followings in hip-hop (JetLife to the next life, fool!). Spitta has linked with Diamond Supply in the past, and continues to be a leader in the shoe industry. It seems like whatever he puts his hands on becomes gold.
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Drive In Theatre is one of many projects Curren$y has released up to this date, and might be one of his best as well. From the beginning, all the way to the last record I find myself astonished by the subtle differences that he usually doesn’t do any normal tape. One example is the type of production he used on this tape. Although it sounds like every other Curren$y mixtape, his use of brass instruments and trumpets were used in a more significant manner. The song “Stove Top” is filled with beautiful sounding trumpets, and even better sounding baseline. The more-and-more you go into the tape you start get a very jazzy feel like something you would hear in the roaring 20’s. Curren$y utilizes #SaveMoney producer, Thelonious Martin, who has proven himself to be one of top producers in the game. I swear it’s like that dude can’t make a bad track.
Per usual, Curren$y has a very small range when it comes to lyrics, but unlike most rappers I am completely fine with it. Usually Spitta likes to keep his lyrics consistent, but on Drive In Theatre you see him stray into areas that he really never talks about, like the bad side of the gangster lifestyle. You find him doing this the most on “Stolen,” “Vintage Vineyard,” and “Grew Up In This.” Overall, Spitta keeps it like normal Spitta with talks of lavish cars, good weed, and amazing fashion, but never really digs any deeper than that.
Although for the most part I loved this project, there is some things that I do dislike. Besides the complacent lyrics (Which I always look past when listening to a Curren$y project), Spitta rarely utilizes the song to reach it’s full potential. If it wasn’t for the flawless production, most of these songs would of been ruined by his mediocre hooks and lackluster fillers. Songs like “10 G’s,” “Stolen,” “Grew Up In This,” & pretty much every single track on this tape could have been THAT much better with an enticing hook. He tries to make up the ground by adding his signature adlibs, and although it does sound professional, lacks the creativity I need to see in a great mixtape. Curren$y is still the man, but I definitely think he could of made some improvements on this one, but all-in-all, I give it a 7.9/10.
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