Curren$y – The Stoned Immaculate, Review.
How did Curren$y do it? He exited relationships with no less than three rap titans and came out of each one stronger. He has a dollar sign in his name, but he’s not a hapless DatPiff denizen or an ironic douchebag. The Stoned Immaculate is his major label debut and it comes after years of free releases and indie maneuvering. It is also his best work to date.
Logically, this album should be a watered down imitation of his earlier work with present day hit-makers shoehorned in wherever possible. Curren$y’s deal with Warner Bros. must have been brokered over some powerful herbals because his first release with the label was a free EP with Alchemist — a blog rap dream collaboration, not a 106 and Park showpiece. The Stoned Immaculate is similarly un-raped. There are famous names — Pharrell, Estelle, Wiz Khalifa, Wale — but they all fall into place within Curren$y’s grand aesthetic.
When Curren$y spliffs up, there are harps, glowing synths, elaborate drum patterns, hallowed strings, flutes, and 2 Chainz. Curren$y could teach Rick Ross a thing or two about luxury rap. Spitta takes care to do each beat justice, but he never sounds like he’s trying. He continues to find new ways to say the same thing, while occasionally dispensing wisdom. The climax is “Chasin’ Papers” with Pharrell, which can only be described as level 5000 Jet Life.
This is what should happen when an indie champion makes it to the big time. The Stoned Immaculate sounds like the album Curre$y was trying to make with each mixtape. And it proves that patience is a virtue.
Listen to the whole thing at Complex.
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