Somewhat of a polarizing artist, Freeway is at once a fellow rapper's favorite and an artist that the general public just can't grasp. He's a hate him or love him type; people argue his pitch turns them off, while the cognoscenti hype his ambitious rhyme structures. Free At Last, the Philadelphia MC's second album, delivers the expected gritty street narratives with panache and no apologies to the detractors.
The making of any album has pitfalls, and Free ably addresses them on "It's Over." Want to know why there aren't beats from Just Blaze and Kanye? Free lets you know, straight up, he couldn't link up with Just, but there is no love lost. The previous cut, the album's opener, "This Can't Be Real," is a reflective song reminiscent of Kanye's "Big Brother," with a Philly perspective and twist. It's a personal narrative that covers the unfortunate connection between street and rap life and addresses rap's overt omission of the repercussions that come with negative choices. "Nuttin' On Me," clocks in at just under three minutes, and it's the perfect time scope for Free to address haters. This content is rehashed on several other songs, and unfortunately, this doesn't translate to a diverse and multi-spin worthy effort.
Star laden features bolster the commercial appeal of Free At Last. Jay-Z and 50 Cent, rumored early on as co-executive producers (untrue), both appear in their more or less typical incarnations. "Roc-A-Fella Billionaires," follows traditional Roc fair -- money, cars, jewels and being the top dog. Jay brings his inimitable flair to the track, bragging materially as only he can. Still, the track proves that while old dogs can still perform the same tricks, the appeal of those moves can stagnate. 50 offers a sing-song chorus for the J.R. Rotem number, "Take It To the Top." Free gloats about his ability to provide gifts for his girl and reminds her when he's away its all for the paper. Frankly, the song is as redundant as the myriad of the female-friendly rap songs that infest radio stations daily.
The best of the album's features matches Free with more compatible talents. Unsurprisingly, Scarface provides a dexterous verse on "Baby Don't Do it," showcasing a cold-hearted and ruthless command of hardcore rap. Free is equally successful, and the track shines as one of Free At Last's strongest. The king of the remix (Busta Rhymes) and D-Block's finest (Jadakiss) join Free and urge listeners to "Walk With Me," spitting tough 16s over Don Cannon's beat. "Lights Get Low," with Rick Ross, doesn't have the necessary swagger to succeed. It's a shame, as Rick and Free should have created something special (and, once again, Cool and Dre fail to impress).
There is much reminiscing on Free At Last. Some of the tracks seem trapped in a mire of past interest. Fortunately, the final track, "I Cry," pushes personal memory beyond nostalgic subjects and really resonates. Over Nottz choppy backdrop, Free actually addresses everyday human struggles that many fans will find visceral: childhood losses, friends passing and parental failures. These rightly open the tear ducts, but sadly, so few of the other cuts invoke such passion.
Free's time lapse between releases might be to blame for the album's letdown, but skills wise, he has never faltered, though growth and balance of subject matter are not achieved. With hope of a ROC resurgence (now failed), this album suggests that the dynasty has truly reached an end, as it ventures into a rebuilding era.
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