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Stoned Immaculate

4.7 out of 5 stars 36 customer reviews

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Vinyl, September 4, 2012
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Editorial Reviews

New Orleans rapper and Hip-Hop connoisseur Curren$y thrives on making music on his own terms. With his "Jet Life" mantra about living life to the fullest, the savvy rhyme spitter (why do you think they call him "Spitta"?) is focused on a lyrical devotion to the truth and authenticity. It's because of this ethos that the man born Shante Anthony Franklin has transcended any regional rap stereotypes to become a favorite of bloggers, critics, fans and everyone in between. Now aligned with Warner Bros., the plan is to let Spitta be himself, but have even more people get acquainted with the Jet (Just Enjoy This Sh*t) Life.
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Product Details

  • Vinyl (September 4, 2012)
  • Number of Discs: 1
  • Label: Atlantic Urban
  • ASIN: B008MZPULY
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (36 customer reviews)
  • Amazon Best Sellers Rank: #138,889 in Music (See Top 100 in Music)

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Customer Reviews

Top Customer Reviews

Format: Audio CD
New Orleans emcee Curren$y is one rapper that will never be accused of selling out. Despite his breakthrough in 2009, Curren$y actually has been around for about a decade. He was originally signed to No Limit Records and a few years later to Cash Money Records- but struggled with creative differences between both labels. In 2009, he decided to go the independent route with his albums "This Ain't No Mixtape" and "Jet Files". The following year, he became linked with an unlikely ally- former Roc-A-Fella co-founder Damon Dash, who brought him to his new label DD172. It was there he released his most critically acclaimed projects to date: "Pilot Talk" and its follow-up "Pilot Talk II". He also appeared on "Pilot Talk" producer Ski Beatz' "24 Hour Karate School". In 2011, he inked a major label deal with Warner Bros. Records and released the free album "Covert Coup", which was produced by The Alchemist. Later on in the year, he released his second Warner Bros. album, the Monsta Beatz produced "Weekend At Burnie's". While Curren$y has made a commitment to staying underground, his next project would be an exploration into commerical stardom.

In June 2012, he released his new album "The Stoned Immaculate". His newest recording boasts some rather big names on the production as well as collaboration front. He gets help from producers such as J.U.S.T.I.C.E. League (Young Jeezy, Rick Ross, Mary J. Blige), Bink (Jay-Z, Lost Boyz, Blackstreet), The Neptunes and Tha Dogg Pound member Daz Dillinger. While this album is a clear attempt at being radio friendly, not much has really changed in style and sound for Curren$y. Look no further than his duet with Wale on "What It Look Like" as well as the synth heavy "Privacy Glass".
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Wow, I have been listening to spitta for years since he dropped like 8 mixtapes in one year, he has been consistent since then with quality music. I wasn't putting much stock into this album being as good as anything else because most "major lable debuts" are basically the artist under more pressure to make hits which usually makes worse the music worse.

I was very impressed that besides the Marsha Ambrosius & Estelle songs, nothing felt forced and even those tracks are nice when listened to in the right mood. Pretty much all the songs titles that are one-word are classic and Wale drops a scene stealing intro to the album that I wish he would do more often on his own joints. Spitta's crew come through on the cameos and shine, especially Young Roddy whose talent seems to be growing on a rapid pace, even since "Good Sense".

The only flaws with this album I can make are the overuse of Justice League beats which are buttery smooth but those tracks are packed together and make the R&B flavored joints too homogenous sounding. Also the beat for the Corner Boy P song I find tiny, brittle and weak compared to the drums & lush instrumentation found on the rest of the album. Big Krit's verse was dope, but his beat sounded too like Big Krit and after listening to his album, made me wish he would experiement a little more, but not too much because it works more often than not.

I had this CD in my car for a straight month, and is my goto CD when w/e new music I'm playing ain't cutting it. Big shout out to Dat N*gga Daz, and props to Spitta for having him on the album.
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Format: Audio CD Verified Purchase
Curren$y sticks to what got him his underground loyal fans with his main stream debut. He pretty much does what he does without selling out and getting on the "modern" hip hop train. Def must have! JETSSSSSSSSSS! New Orleans is represented properly!
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Format: Audio CD
Shante "Curren$y" Franklin has maybe the best butter drawl ever put on tape over beats, his verses melting over soulful, often-funky beats not at all unlike how Snoop's words did back when Dr. Dre and The D.O.C. were still holding his hand. His background set in NOLA's famous Third Ward - home not only all the big No Limit Records names from the late 90s, but also Louis Armstrong and Dr. John - Curren$y has always had a lot of real life fodder, and thus a lot to say, on his records. As his ear for production gets stronger and stronger, and his drawl more endearing, expectations for Franklin grow, so much so that his fans now stand almost no chance of being satisfied with Stoned Immaculate, Curren$y's first major release through Warner Bros. and most ambitious record yet.

Three of his last four albums, all of which were released in the last two or so years, already considered to be minor modern classics, Curren$y decided to switch up his formula for his major debut. Each of those four records were short, recorded in a matter of days, light on the guests spots and, more or less, produced by one beatmaker. Stoned couldn't be more different. It's not that the record is long or even overly complex, but it's definitely a big project album. Lots of guests, lots of producers and lots of verses and hooks and styles. Rather than taking two days to record like, say, last year's great Weekend at Burnie's did, Stoned was recorded over several months, Franklin even having to utilize the Powers-That-Be at Warners to make some of the needed connections. The result is a diverse, detailed album that, while still a solid display of Franklin's vocal ability, feels far less cohesive than Burnie's or the two Pilot Talk installments. Summer classics, those.
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