Freddie Gibbs & Madlib – Piñata

(8 customer reviews)


SKU: B00ICTREHS Categories: ,


Vinyl Pressing. 2014 album from the rapper and producer. Freddie Gibbs is the product of violent, drug-laden streets but unlike most rappers with similar resumes, he brings the block to the booth without inhibition or an exaggerated rap persona. PINATA, a 17 track collaboration with producer Madlib, is the best distillation yet of his transparent approach to making music, combining an at times stark honesty with electrifying talent as a lyricist and performer. PINATA is ‘a gangster Blaxploitation film on wax,’ says Gibbs, who came up on the streets of Gary, Indiana, the disregarded city previously best known for producing Michael Jackson. Here he is joined by Mac Miller, Earl Sweatshirt, Raekwon, Scarface, Domo Genesis, Ab-Soul and a host of others in setting his soliloquies of the streets alongside film snippets and dusted Funk, Soul and Progressive musical tapestries.

Additional information

Weight 0.23587 kg
Dimensions 31.29 × 31.39 × 0.79 cm
Product Dimensions

‎ 31.29 x 31.39 x 0.79 cm; 235.87 g


‎ Madlib Medicine Show


‎ 0989327002211

Manufacturer reference

‎ MMSLP 22

Original Release Date ‏

‎ 2014

Label ‏

‎ Madlib Medicine Show



Country of Origin ‏

‎ United Kingdom

Number of discs ‏

‎ 2

8 reviews for Freddie Gibbs & Madlib – Piñata

  1. Amazon カスタマー


  2. popo

    Madlibのアルバムは全て聴いた訳ではないけど、これが一番好きです。Freddie Gibbs のラップスキルも間違いなく本物で、何度も聴きたくなります。アルバムを通して二人の相性のよさが伝わってきます。ギャングスタラップ×ソウルフルビート、本当に素晴らしいと思います。

  3. zkizm

    デビューからわずか5年の間に高品質のミックステープを幾つもリリースし、ヒップホップの最前線で戦い続けるギャングスタ・ラッパー、Freddie Gibbs。アンダーグラウンド・ヒップホップの金字塔とまで評された”Madvillainy”や”The Unseen”で絶大な支持を得たにも関わらず、頑なに表舞台へ上がることを拒んできたプロデューサー、Madlib。Gibbs自身が「Madlibは俺の知らない世界から来た男だ」と評した、この一見相容れないような二人によるコラボが発表されてから二年。ついにLPがリリースされました。一聴して分かるのはGibbsのラップスキルの高さ、過激な歌詞でありながら息を飲むほど華麗なライミング。サンプラーで作られたMadlibのビートは、必ずしも常に完璧なBPMを刻んでいるわけではありません。その人間的なビートに60分間食らいついてこれるラッパーはそうそういないはずです。(事実、今までにそれを出来たのはMF DOOMただ一人でした)助演として、Scarface(Geto Boys)、Danny Brown、Earl Sweatshirt(Odd Future)、Ab-Soul(Black Hippy)ら、若手、ベテランを問わずハイレベルなラッパーを集めていますが、Gibbsの息をつく間もない高速ラップは、そんな彼らをも圧倒しています。(ただし#6″Bomb”のRaekwonはさすがに格が違う。)彼は謙遜して「今回の主役はMadlibだよ」なんて言ってましたが、こんな凄いラップやってて脇役なわけないでしょう。Madlibの方は、2004年にMF DOOMとタッグを組んだ”Madvillainy”以来、実に10年ぶり(!)となるラッパーとのコラボレーションLP。しかも、抽象的で複雑怪奇なライミングを得意とするMF DOOMと、あくまで硬派なFreddie Gibbsでは、ラップスタイルも全く違います。というわけで、一体全体どんなプロデュースをやってくるのか期待半分不安半分でしたが、Gibbsのスタイルに合わせたオールド・スクールなものを上手くチョイスしてきました。レイヤーにレイヤーを重ねた埃っぽいメロディのループ、ハードでサイケデリックなビートは、聞いているだけで眩暈のしそうなほどドープ。感覚としては”Beat Konducta”シリーズに近い作りですが、ここ数年では最高の内容です。ファンならこのプロダクション目当てで買っても良いんじゃないでしょうか。Mdalibによるこの統一感あるプロダクションを道標として、Gibbsが明確かつ一貫性のあるコンセプトを作り上げているため、捨て曲は一切無し。美しいストリングスのサンプルの上で、Gibbsにしては珍しいちょっと感傷的なリリックが語られるキラートラック”Deeper”をはじめとして、ノスタルジックな旋律に心を打たれる”Bomb (feat. Raekwon)”、”Uno”、”Robes (feat. Domo Genesis & Earl Sweatshirt)”、Jeezyをディスった”Real”、本作中でも最高速度のラップが披露される”Shitville”など、見どころを上げればキリがありません。LP一作を丸々一人のプロデューサーが担当するケースは年々減っていますが、その魅力を再確認させられる素晴らしい作品でした。

  4. RoMa17

    Todo perfecto
    Un infaltable en tu colección

  5. Seth Joseph Rosenbloom

    gangsta gibbs and Madlib?!?
    I couldn’t believe it when i saw that this thing was actually out. I was blown away by some of the tracks that were already on youtube. Once i realized i had played Thuggin about 10 times in 2 days i thought that this could end up being a classic. gibbs flows with confidence on every track on here. Even when a beat has you almost drifting into space (i mean this in a great way), Gibbs is able to catch your ear because of his delivery and aggressiveness. Although he does talk about a few mainstream rappers on this cd, he does it in a way that makes every bar sound like a real warning. He doesn’t have any lines about how he’ll kill these rappers. He just explains to them that he knows just how fraudulent some of them are. Gibbs clearly is portraying himself as the rapper who isn’t like all of the others because of his legitimate street credibility. Rappers before him have used the same tactic, but Gibbs may have established himself as of the king of it on this cd.Madlib is incredible on this thing. Some of the tracks manage to be both beautiful and hard at the same time. Madlib gives Gibbs enough high tempo moments to slash through, but he also slows it down at times so that Gibbs can just speak his mind in a more conversational tone. The production here demands the best Gibbs has to offers. Madlib did not have much of a theme to work with here. Some of the beats are grimy to go with unapologetic rhymes about drugs and violence. Other beats are interesting enough to carry rhymes about how people from more privileged backgrounds have the same vices as people from the hood. Madlib here gives us aggression, soulfulness, and seriousness, but he also remembered to give us playfulness, which is key for this album (Gibbs can sometimes weigh you down with brutal and violent honesty). The album also has a relaxing Cali song for open car window weather. My only gripe with the production is that Madlib injects a few classic samples (i believe to bring a nostalgic or classic feel to the project), but the obviousness doesn’t agree with me or seem necessary. GIbbs already has a flow that can bring that quality, which it already does on a couple of beats on this album.I thought that this project was never coming out for some reason, but i’m glad it did.Both artists pulled their own weight on this album and it doesn’t sound like either had to make sacrifices to their craft. The rhymes and beats blend extremely well throughout.

  6. Kraken

    Almost there, but unpolished
    The first 11 tracks of this album are rock solid, classic material. Every track has great production, classic Gibbs flow and content, solid features by Raekwon, Domo/ES, and (only slightly forgettable) Danny Brown. If these were the only tracks on the album, it’d be a little on the short side, but it’d probably be five stars. To be honest, when I bought this album I was really hoping I’d be able to rate the whole thing five stars, because it had “classic” written all over it being a collab with Madlib and with the big name features.The thing is, in my opinion this album is 6 tracks too long. To be fair, it’s a rare artist who can piece together a 15+ track album without there being any filler. Off the top of my head I can probably only name less than five who’ve done it. Unfortunately (despite my hopes), Gibbs didn’t pull it off. After “Robes,” it just feels like the quality drops off. In fact, “Robes” ends with a kind of weird 1:30+ interlude almost signifying a transition point in the album. I almost wonder if Gibbs actually did originally put together those first 11 tracks to be the album, but decided to throw in some extra B content on the tail end just to feed his fans some extra material. Either that or I’m missing a bigger picture here.And to be honest, features like Scarface, Ab-Soul, Casey Veggies, Mac Miller, etc. look great on paper, but they just don’t feel like they fit the Gibbs vibe. Ab-Soul’s verse on “Lakers” seems uninspired to me, Meech (not a fan anyway) and Mac Miller just sound awkward on the title track–not necessarily in isolation, but it just doesn’t mesh with the vibe. It feels like Gibbs just went more for banner type names to be featured on his album to grab attention instead of really hunting for the artists and verses that meshed with his style. Would’ve loved to hear Ka, Curren$y, or Roc Marci on a couple tracks, artists who seem more fitting with Gibbs’ style at least. The only track on the last six tracks I’d really ever play again is “Shame”–and it’s only okay.I’m glad I bought this album because of those first 11 tracks. Standouts like “Scarface,” “Shitsville,” “Harold’s” and “Thuggin'” make it well worth the purchase, and honestly, 11 tracks of classic material is still great. But like I said, almost 1/3 of the album feels like pure filler to me and just falls flat, so I can’t give it more than 3 stars overall. It’s replayable, but it’s not a crafted piece of art. Gibbs has all the talent, credibility, respect in the world in the rap game right now, just wish we could see it all put together a little better. Last note though, I love that Gibbs is still doing this all independent, and for that reason alone I still completely support purchasing this album in full.Buy it, but just know what you’re getting.

  7. luke walton

    Throwback to the good days!
    Once Again another west coast rapper added to my collection ft the great MABLIB! One thing I like about him. he is a throwback to the 80’s and 90’s Like Kendrick Lamar, Rapsody REMY MA and other that are still around. no mubling!!!!! I love the golden age and silver age of Rap/HIP-HOP!

  8. Manny

    Strong contender for Rap album of the year
    Ever since Madvillainy Madlib has had my attention as a producer. His sound is so in your face with its samples and bass-heavy drums. I can only describe it as beautiful hip-hop. His production on Pinata is no different. Every song has a unique sound to it yet the album flows seamlessly. You’ll hear a wide range of sounds, tempos, and sample variations with this album which is a good thing. As far as production, this album has got to be my favorite since Kanye’s My Beautiful Dark Twisted Fantasy. It’s really that good.I feel Freddie Gibbs is underrated as far as MCs go. He has been putting put quality underground gangsta rap music for years now but has still remained under the radar for the most part. Pinata is the strongest he has been lyrically on any project. He keeps topics diverse and not solely relating to gangster qualities (although there is still plenty of that intact). His storytelling is above par. His flow can get repetitive at times but infectious nevertheless.Madlib and Freddie Gibbs proved themselves to be a partnership capable of greatness. This is a fantastic album with amazing production AND MCing. This might be an album that stays in constant rotation for a long time.

Add a review

Your email address will not be published. Required fields are marked *