This is where I realized that Curren$y wasn’t just disinterested in making another Pilot Talk – he was incapable of it. Whereas 2011’s Weekend at Burnie’s, his debut on Warner Bros., still sounded defiantly like any other Curren$y release, The Stoned Immaculate – a Doors reference – is him trying desperately hard for mainstream acceptance. Whereas McKenzie Eddy singing the hook on “Silence” on Pilot Talk II was an absolute anamoly at the time, here he ditches the rapped chorus for sung ones. Whereas the rapping features on preceding efforts were more often his Jet Life brethren, here, they’re more often big names (Wale, 2 Chainz, Wiz Khalifa) than they are his usuals. Whereas the beats on preceding efforts were tailored to his lethargic rapping, these ones are BIG beats made by BIGGER names; J.U.S.T.I.C.E. League, the Neptunes, Daz Dilinger, etc; “No Squares” samples the God of War soundtrack, if that’s any indication of what has changed. Normally, this isn’t a problem for me; I actually love mainstream rap. Love the choruses, love the club-ready sound. But it doesn’t work here because Curren$y isn’t a rapper fit for clubs, and he disappears behind every beat here.
Anyway, I’m of the opinion that the best Curren$y mixtape not named Pilot Talkis the one that you make yourself, and I leave here with two cuts. Wale has the best lines on the entire album on opener “What It Look Like”: “Every shy bitch can get a rose/arose / Meaning aroused, I’m sorry, I’m not too good with vowels / I got a thousand bitches, I’m not too good with vows” – clever. Meanwhile, Pharrell gives us the catchiest chorus on the album and the best beat. Hypnotic percussion, indelible vocal sample. None of those songs are highlights because of the rapper whose name they fall under, though.