His song titles, often named after random, inanimate objects or people (in the past we've gotten "Chandelier", "Breakfast", and "Scottie Pippen", and here we have "Pot Jar," "Briefcase", "Lemonade Mimosas") testify his ability to find something worthy of appreciation in the seemingly ordinary. On "Froze", eccentric jester RiFF RAFF appears like the ghastly clown from Spawn to exchange swank over Harry Fraud’s slow-burn production, and Curren$y keeps his cool.Īlthough Spitta's range is limited, it’s never been a disadvantage he’s a purveyor of lifestyle rap. "Never displaying affection when we out in public/ 'Cause mufuckas lookin', and shit could get ugly/ So walk right past me homegirl, and don’t say nothin'" he advises a female acquaintance.
The ominous "Cargo Planes", produced by Joey Fatts, sounds like the opening of a cinematic crime saga, but in this case it's a typical Spitta infraction: the theft of someone else’s girlfriend.
For just over two minutes, he reflects on his career’s trajectory: "It was right around the time/ I thought I’d have to move back with my mom/ I had to sell my first low-rider/ Halfway to the top went to sleep, woke up at the bottom." The hopscotch path Curren$y has taken to success (from No Limit, to Cash Money, to independent juggernaut) is well-documented, but he rarely deviates from his cool-guy persona to reflect on his struggles.Ĭurren$y remains as irreverent as always, but he sounds more focused on Pilot Talk III than he has in awhile.
Curren$y is a bit of a cinephile, and treats each individual work like a grand production it’s evident in the titles of his projects (see his 2012 tribute, Priest Andretti), and Pilot Talk III begins with "Opening Credits", where he strolls over an authoritative soul sample like Max Julien in The Mack.
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