Freddie Gz. South Carolina’s rapidly emerging flagship artist is providing his fans a look into a life, rarely exposed, by way of “This Thing of Ours”. A life grounded on principles, loyalty, and a work hard/party harder ethic system that fuels an unstoppable organization. Hosted by DJ Khaled and DJ Frosty, this is the fourth project from Freddie Gz to be made widely available through the viral market, and the biggest debut, alongside recent major radio play, a short movie soon to premiere, and a show schedule that’s losing room every day. Freddie Gz is no doubt a polished artist, and the attention is not without warrant. He sounds very confident on a track, with no direct resemblance to any other artist in particular. The compact flows constantly switch, but the clear annunciations keep the listener grounded, alongside innovative adlibs that seem to carry a melody of their own behind the lyrics, a melody that always complements the flow of the bars, as an easy on the ears delivery wrestles with commanding presence on the track. At this point, the only questions that remain are “Can he beat the traffic in his lane? Can he remain different? And is his style too easy on the ears?”
As the journey begins, DJ Frosty begins with a toast to Freddie Gz, the mission statement, and the allied organizations. Very simply setting up the stomp-on-the-beat approach Gz takes in “What Up”, an up-tempo record, introducing Gz, what he’s about, and giving you a look into where it goes down. Showcasing his composure skills, Gz gives you all the miscellaneous ad-libs you can handle while shouting out relevant cities and associates, by way of a cool flow over heavy drums and eerie whistles. Simple by nature, he opens by showing that he doesn’t need to jump through hoops to make a great record. “36 Oz” showcases more lyricism, without straying from his easy on the ears flow. The tempo of the instrumental is slower than the last, but Gz responds with a faster flow that still rides. These signs of a veteran are only sidetracked by ad-libs that walk the line of being overpowering, says DJ PM. Still, as he delivers “Interstates & 4-Ways/Chrip Phones & Throwaways”, you can’t help but run with it, if this content grabs your ear, and the ad-libs aren’t going to knock anybody out of their cloud, especially with what Gz follows up with.
In a day that mix tapes are being flooded with features, it’s notable that Gz only went for a couple, and that they were good choices, obviously incorporated into tracks that suited the styles depicted in their previous works. On “Gangsta”, Gz brings out OJ the Juiceman for a classic street anthem that sounds like it could have the craziest crowd rockin’ together. Quick flow switches, great drops and an infectious hook match the intense energy, as Gz and Juiceman jump on the track like they’ve been feeding off of each other’s energy in the studio for years.
One single after another, Frosty decides to jump right into the popular record, “Quagmire”. Based on everyone’s favorite animated sex addict, Freddie Gz can thank “Shadow” of Quiet Room Studios for a drum-heavy, but smooth slow-tempo party record, as they can be rare, in good quality. The track is finessed by a easy going flow, but battered by technicality and punches, as Freddie Gz states he didn’t want lyricism to be lost to a funny concept. “Long pine/ Beat it up/ I Dog mine/ I quagmire dat ho, and them I’m gone slime!” Gz raps, appreciating the mass appeal of the record. Rapidly gaining momentum, “Quagmire” is a record to anticipate impressive growth from. SDM’s Charlemagne the God makes an appearance for the skit that provides the album’s one intermission, by way of a satire of the typical hater, dodging his opportunity to act on the jealousy that eats him alive every day. Hilarity ensues, as the second half of the project doesn't disappoint.
Gz jumps out of the intermission with “Work”. This record didn’t do too much for me, but it didn’t down my mood either, a safe record to come out of the intermission, but I did expect a little more. Frosty responds to this with “City Goin Ham”, arguably the best record on the mix tape, and currently the lead single of the project. This is what you call “A” game. Gz brings the perfect mix of lyricism, delivery and ad-libs, while still being easy on the ears. This sounds like the “car, party, or crib” record that every artist talks about making one day. Gz showcases all of his skills, along with his charisma, as he stunts on all outsiders. “I know you don’t like it/ but your bitch love it/ so tell me why ya wifey is callin me her husband.” What’s not to like? “Trap Talk” follows the lead single like the Pippen to a Jordan, with content carrying NY trap appeal and memorable chants, meant to motivate soldiers in the streets. “Body Language” steps out of the trap to speak to the ladies, and it sounds like it. The content switch might have been a little too rapid, as the approach to the track is technically sound, but the actual presence of Gz on the track doesn’t hold the same weight I’m accustomed to, at this point in the LP. Further out of the shoes of the trap’s ambassador, Gz gives us a vivid look into a date with Mary Jane with “Who Got It”, the beat doesn’t ask for much, but the expectations are met and exceeded. “Lose my cool/ Lose my mind/ Listen up here don’t blow my high/ we’ll flip-out das F-Y-I/ Cuz I’m far from a Hippie no kum-ba-ya”, he raps, as the presence of a gangster never leaves the project. It’s not the first time I’ve heard the beat, but its absolutely a lesson on what to do with it.
The project is concluded with a slew of solid records. The legendary Bun B makes an appearance on “Money Don’t Lie” with some semi-memorable bars, and Gz laces this and “We gettin’ it” with heavy bars, and high energy, before closing it out with “Drippin Wet”, just in case “Body Language” wasn’t enough to convince you not to question his versatility. “Drippin Wet” provides a completely different experience from the previous female focused record, with no current references and a top-notch hook, sure to produce some baby trapsters. In all, “This Thing of Ours” is more than a solid record, offering consistent good vibes, and playing easily from start to finish. In an era that provides so much accessibility to independent artists, its nice to see another that’s still doing it like a major, in terms of quality. Freddie Gz is definitely here to stay, just in case DJ Khaled’s screaming wasn’t enough to get it through your head.
You KNOW you gotta PASS THAT to the LEFT! WAhh!
Vibe Reading: 8.25 out of 10 (Not only one to twist up to, but a great soundtrack to any cipher, any ride to one, or any party before or after one!)
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