Saturday, November 16, 2024

The Most Gangsta Gangsta Outta Gary: Ranking Freddie Gibbs' Discography


Straight from L.A., by way of Gary, IN comes one of hip-hop's most incredibly gifted and technical emcees around in Freddie Gibbs.  Known for his brand of coke rap with tales of violence, hustling, and struggle, Gibbs is quite the narrator of the hood in ways that the likes of contemporaries such as Benny The Butcher, Conway The Machine, Scarface, Spice 1, and the late, great Prodigy are/have been revered for, Gibbs is unflinching and unapologetic of his truth as well as his brutal street tales that certainly mirror a society that glorifies, if not promotes and exploits, these bloody ghetto streets.  His early mixtapes of The Miseducation of Freddie Gibbs, Str8 Killa No Filla and Midwestgangstaboxframecadillacmuzik got a little buzz within the Midwest underground before eventually catching the ear of Jeezy and signed him to CTE to distribute the tremendous Cold Day in Hell mixtape to great acclaim.  it was off to the races then, delivering subsequential follow ups such as his debut effort, Str8 Killa, Baby Faced Killa, and his full-length debut, ESGN, his first album removed from CTE.  However, it was his magically menacing collaborative album with the one and only Beat Kondukta himself, Madlib, Pinata, that officially put him in more people's mouths and made more people pay attention to him.  His discography is quite a dope one and shows not only how dumb talented Gibbs is as a verbal spitter, but as an excellent writer as well. Do not expect commercial accessibility or radio friendliness from the emcee who also refers to himself as Freddie Caine or Freddie Corleone.  He's straight from the streets, for the streets, in all its beautiful violence and marvelous hustling.  Here's a look at Mr. Gibbs and his discography that excludes her early mixtapes in favor of those that put him on the map.  By no means should one sleep on Miseducation nor Midwestgangsta.  For that matter, don't snooze on his projects even earlier than them that came out in '05 like Full Metal Jacket and This Is My Hustle.  From worst to best, Gibbs has delivered a really dope assembly of efforts that rank among the best of his generation.  Without further ado, let's go!


 

12. Str8 Killa EP

Production: Blended Babies, Kno, Block Beattaz, K-Salaam, others

Guests: Jay Rock, BJ The Chicago Kid, Bun B, others


We start with his introduction to the game, 2010's Str8 Killa.  Gibbs provides plenty of trunk bumps within this ten-track effort.  This is especially prevalent on the "Str8 Killa No Filla", the opening cut, in which we get a clear vision of how dumb dope his emceeing abilities were, plus guest rapper, Big Kill, provides enough rah-rah to get the Alpines some good work.  He follows with the Jay Rock-assisted, "Rep 2 Tha Fullest", in which both the Gary and L.A. emcees rap about how these streets are no joke.  This theme is the overall riding theme throughout.  Gibbs presents how big his nuts are out in the streets on other neck crampers such as "Personal OG", "Live by The Game", and "Oil Money".  He gets personal on the Bun B-assisted "Rock Bottom", while getting angst on mainstream media on "National Anthem".  Gibbs' talents of being a technical emcee were especially more polished on this effort, while he was still trying to figure it out on his aforementioned prior mixtapes, and the results are of an emcee that was on his way to being among the most in-demand emcees in hip-hop.  We see Str8 Killa as the effort that the mixtapes were bound to end up being, and that's a great thing.



11. ESGN (Evil Seeds Grow Naturally)

Production: Cardo, Fire & ice, Willie B, Tone Mason, Lord Zedd, Lifted, others

Guests: G-Wiz, Daz Dillinger, Spice 1, Problem, BJ The Chicago Kid, others


After his publicized falling out with Jezzy and his CTE imprint, it was back to the gutter bumpers Gibbs had previously been known for prior to mixtapes such as Baby Faced Killa and the ever-knocking Cold Day in Hell.  The trunks get rattling again with the thump of this effort and is ultimately seen as his first full-length album.  He goes back to his Str8 Killa days with the raw gangsta appeal of this album. Cuts like "The Color Purple", "The Real G money", and "Eastside Moonwalker" are filled with the familiar raw dog hip-hop Gibbs had been known for. The biggest story to emerge from this album is the length of the album at twenty tracks and that all but seven cuts have him with at least one guest on the cuts, especially from his crew of Screwface, G-Wiz, Big Kill, Fleezy and D-Edge, who all do decent contributions on this effort.  The production is primarily a southern to western bumper filled with plenty of Alpine overkill, 808s and enough trap that you could hear the likes of Gucci, T.I., or his old cohort Jeezy floating over any of these cuts.  The rawness of cuts like "I Seen A Man Die" (calling back to his legit fandom of the ever legendary Scarface) and the JasonMartin (then known as Problem)-assisted "One Eighty Seven" are nothing that reinvents the wheel, but holds him to the standard of uncompromising hip-hop filled with aggressive, gritty street narratives that usually end up in violence, crime and plenty of bricks.  With the exception of the BJ The Chicago Kid-crooned "Lose Control" with its slight R&B turn, don't expect anything less than unforgiving gangsta shit that Gibbs completely excelled in on this album all throughout. Other cuts like "9MM", "Dope in My Styrophone", and especially the Spice 1/Daz Dillinger-assisted "F.A.M.E." are not for the weak, radio-accessible fan that likes their rap filled with catchy hooks and equally catchy melodies.  While we don't knock Cold Day in Hell nor BFK, as both mixtapes before this effort were definitely worth the spins, ESGN was a return to form for Gibbs that heads had been missing since Str8 Killa.  The best was next up later in the year with the generational classic, Piñata, but hearing Gibbs at his most unfiltered and aggressive was intriguing and set the tone for what would end up becoming quite an astounding year for the "space rabbit".



10. Freddie

Production: Kenny Beats, RichGains, Tony Seltzer, Dupri, others

Guests: 03 Gredo


Following up his dumb dope, You Only Live 2wice, album, Freddie Caine dropped, Freddie, a ten-track gumbo of trap-filled production with thick 808s, and enough bass to hear counties over from where you reside.  Don't let the R&B-influenced cover fool you. This album is as street as anything Gibbs had delivered.  This is evidenced by tracks like "Set Set", the Mary J. Blige-sampled "2 Legit", and "Triple Threat", as the latter has him going melodic at times but still so Gibbs.  Due to the fact that this is a lot more southern and trap, he doesn't go track to track and delivers his typical almost breathless flow and expansive cadence, but that doesn't stop cuts like the bass-heavy "Weight" and "Toe Tag" from being Cadillac-approved. He goes back to his ever technically gifted self on the hard "Automatic" and the Alpine BUMPING collab with 03 Gredo, "Death Row".  He even gets assistance from his daughter on "Diamonds 2", in which this may possibly be the smoothest cut on the album and appropriate for a late summer night cruise around town.  We hear Gibbs more energized than he had been in some time on Freddie, and when he does turn up the knob on his energy, one feels it through the speakers as Gibbs is on one pretty much throughout the entire project.  The Teddy Pendergrass-saluted cover was quite the troll job for an album that ranks amongst his most consistently snapping efforts.



9. Lord Giveth, Lord Taketh Away (with Statik Selektah)

Production: Statik Selektah

Guests: Daz Dillinger, Chace Infinite, SMoke DZA, Fred The Godson, Trae Tha Truth, Reks, Termanology, others


Just before he dropped his much talked about, Cold Day in Hell, mixtape, Gibbs collaborated with acclaimed DJ/Producer Statik Selektah for a seven track EP entitled Lord Giveth, Lord Taketh Away.  If you're familiar with Statik's style of production, you'll already know he likes to ride the boom-bap train a lot with impressive samples and melodies.  However, his frequent collab albums with the likes of southern giants Bun B and Paul Wall show that he can extend beyond the Tristate area and Massachusetts.  He took his production talents to Gary, IN and Gibbs handled his own over dope Statik production.  The title track is a great example of how Gibbs can float over damn near any track, including a track with sharp drums and haunting two note organs.  On every track, Gibbs has at least one guest with him, and the pairings are overall pleasant.  Daz Dillinger guests on the highly dope "Rap Money", Termanology and the late Fred The Godson blaze the track "Wild Style", and H-Town's Trae Tha Truth brings his smooth vocal delivery to "Already".  Because this was an EP, both artists knew this had to be a project where not one single moment gets wasted, and fortunately with Lord Giveth, Lord Taketh Away, they don't at all.  Gibbs showed his chameleon style, being able to adapt to Statik's east coast boom-bap and melodies excellently.  One can only hope for another Statik/Gibbs project, but if we don't, this alone was a knocker and kept Gibbs' underground momentum going.



8. Shadow Of A Doubt

Production: KAYTRANADA, Speakerbomb, Frank Dukes, Boi-1nda, Mike Dean, Murda Beatz, others

Guests: Gucci Mane, E-40, Black Thought, Tory Lanez, others


After the monster that was Piñata in 2013, the roll was up for the Gary native.  The outstanding momentum he was garnering had him in more of a spotlight, becoming more in demand and becoming more of a household name little by little.  With his follow-up album, Shadow of A Doubt, Gibbs may not have had Madlib with him this go around, but that didn't stop him from delivering a bumping effort.  This was also seen as his most experimental album as well.  Gibbs started flirting with melodic rap and even straight out singing on a few tracks, and even gets deep on a track or two.  He starts strong with the cuts of "Rearview" and the somewhat catchy "Careless" and puts it into more into thump category with cuts like the coke rap themed "Packages", "McDuck", and the haters addressing "Lately".  As we had been seeing from Freddie Caine over the last couple albums, we had heard bits of him getting not juts personal, but honest and even revealing at times.  He gets real on the track "Insecurities", in which he confesses his need for attention but expresses the need for his daughter to get the attention she deserves.  Also, on "Forever & A Day", he expresses the struggles he faces internally concerning different issues including regrets such as disappointing his mother with his actions.  Over snapping 808s and somewhat moody melodies, Corleone expresses a rare look inside himself that showed vulnerability yet still as Gibbs as ever.  We get right back to the bumpers with highlights such as "Fuckin' Up The Count", the dope Black Thought-assisted "Extradite" (which has these two being yet more emcees gliding over the ever oversampled "Nautilus"), and the Gucci Mane/E-40-collaborated "10x", which has a Bay Area groove with it that doesn't have Gibbs nor Gucci sounding out of place, whereas 40 Water sounds right at home on it.  Gibbs showed his tremendous talent once again on Shadow of A Doubt. While at times some of his style switches may tend to have fans give of confused faces, he still makes it all sound great, and Gangsta Gibbs showed once again he's in this rap game for the long haul.



7. You Only Live 2wice

Production: KAYTRANADA, Dupri, BADBADNOTGOOD, others

Guests: N/A


Fresh off coming home from an SA case that he was ultimately acquitted of, Gibbs dropped You Only Live 2wice, which a lot of it was written while incarcerated awaiting trial, and the results of it all showed how much of an in-depth writer and impeccable emcee he really is.  Truthfully, you don't have to look further than the closer, "Homesick", in which he goes pretty introspective in a way that's both to be respected and admired.  Willing to leave his crew alone for the sake of his daughter, Gibbs admits he misses them but ultimately, he did what had to be done for the sake of his then-infant child.  Once we get that out the way, the rest of the album is both hard and haunting.  The first single, "Crushed Glass" uses the same sample Mobb Deep used for "Where Ya Heart At" from Murda Muzik in which Gibbs goes personal and reflects on what made him who he became and seeking a better sense of self.  He follows on the tremendous "Andrea", in which he has his own Bonnie & Clyde-type relationship with this woman.  He gets back to his trap bag with the bumpin' "Amnesia", which conjures up his Str8 Killa and ESGN days for the better, showing he's never above bringing his signature street grit over some mean ass 808s.  He hits another home run on the outstanding sounding "Alexys", in which BADBADNOTGOOD and KAYTRANADA provide him with a dazzling melody for Gibbs to express how much he's tired of the same shit he sees and experiences with his friends to the point where he feels he's outgrowing them.  Gibbs even goes the sing-songy route on "Phone Lit", but don't let this confuse you. This is a dope cut and shows his ability to not stay in one box and having it come out effectively.  With You Only Live 2wice, Gibbs shows a more consistent vision of introspection and honesty more than we had heard from him in previous efforts. Based on the obvious aforementioned events, it's no reason as to why, but this resulted in one of most engaging albums to date.



6. You Only Die 1nce

Production: Lambo, DJ Harrison, Coleman, Moo Latte, 454, K-Notes, others

Guests: N/A


After delivering quite the knocker with his major label offering, $ouls $old $eparately, Gangsta Gibbs returned after numerous appearances and beefs (most notably with Benny he Butcher), and delivered the much-anticipated sequel to You Only Live 2wice, in You Only Die 1nce.  Much like You Only Live 2wice, Gibbs is very introspective and honest.  That being said, we hear Gibbs at his most focused and re-energized on this project as well.  He starts things with the first single and video, "On The Set", in which he does his best Nas "Purple" impression, in which he comments on random things that he's observed and that he contemplates. Items such as his feelings about Diddy, the death of Rich Homie Quan, and even saying he was about to retire when Nipsey Hussle died in one of the most impressive thematic moments on the album.  On "Origami", Gibbs flawlessly glides over an elegant beat that could easily rival an Alchemist production.  This standout has him facing his feelings of being exploited in this rap game with his history in the streets for commercial appeal in another spectacular moment.  Gibbs also manages to transform a couple of R&B classics into gritty narratives with "It's Your Anniversary" (Tony, Toni, Tone's "Anniversary") in which he celebrates the downfall of an enemy of his, as well as "Ruthless" (which redoes 112's "Cupid") that has him devouring exes of his, including his BM, in classic Corleone fashion.  When he's not going in over things that are vital to him and his thought process, he's still excelling in his shit talking like on the dumb dope "Cosmo Freestyle" and "Rabbit Island".   He goes back to the bloody streets on "Steel Doors", but on "Wolverine", over a jazzy-styled beat, Gibbs goes in on everything from his love of R. Kelly as an artist to why Black men go down while their White counterparts seemingly get slaps on the wrist.  If $$$ was him trying to find himself while trying to hustle his way to mainstream acclaim and success, You Only Die 1nce is the more substantive aftermath of that fame he was willing to sell himself for, while also reflecting back to his days of the SA incarceration and reflecting on stuff that's more important, including his own mortality.  It's clear from contemporaries such as Young Dolph and Nipsey Hussle to personal homies of his that have fallen, this all makes him observe things more closely, especially from within.  We may start seeing more of him like this, and this isn't a bad way to be at all.



5. $oul $old $eparately

Production: James Blake, The Alchemist, Madlib, Boi-1nda, Hit-Boy, Kenny Beats, J.U.S.T.I.C.E. League, Sevn Thomas, KAYTRANADA, DJ Dahi, Anderson.Paak, DJ Paul, Jake One, others

Guests: Kelly Price, Raekwon, Anderson.Paak, Rick Ross, Moneybagg Yo, Musiq Soulchild, DJ Paul, Pusha-T, Scarface, Schoolboy Q, Big Sean, Offset, Jadakiss, others


After years of going the indie route, Gibbs finally secured a major label deal with Warner Music Group in early 2022.  The results were him delivering his first major label release (fifth full-length album overall), $oul $old $eperately.  Prior to the album, Gibbs was bringing out cuts that ended up being extended edition bonus cuts such as the cut with Big Sean, the Hit-Boy crafted, "4 Thangs", the Schoolboy Q-assisted "Gang Signs", and the Rick Ross-guested "Ice Cream" to tease us with what type of vibes we could expect from $$$.  What we ended up getting was arguably the most cohesive album of his career.  Gibbs, although ever the technical master, was not against experimenting with different types of deliveries, flows, and cadences.  For the most part, it worked.  With this being a major label album, he was allowed to go over and beyond what he's been accustomed to up to this point, and you could tell early that this would be a more accessible album, while still keeping it true to who Gibbs is.  From the opening jumper of the Kelly Price-crooned "Couldn't Be Done", we knew this would be a fairly new direction for Gibbs in terms of the lush sounds and more dramatic soundscape.  The material here is about making it to the next level by any means, even it means his integrity and character, which in turn has him spitting about the grimmest aspects of doing so.  He collabs with the almighty Alchemist for "Blackest in The Room", while he handles what he gotta do to make a half a million on the Bone Thugs N Harmony-saluted collab with Offset, "Pain & Strife", and goes unforgiving on the violent coke rap cut "Zipper Bags".  On the bumpin' "Space Rabbit", he confesses how much he wanted to be a part of G-Unit but people kept comparing him to Young Buck, while keeping with the "rabbit" theme on "Rabbit Vision", he gets personal as he addresses someone he has issues with while also stating that he and Jeezy "haven't spoken in years", but still has love for him, even after their publicized beef on Gibbs' "Real" cut from Piñata.  He gets right back to the aggressive, middle finger waving on cuts like "Dark Hearted", the Scarface-assisted "Decoded", and the DJ Paul of Three 6 Mafia-collaborated "PYS", but also finds time to finesse the good life on cuts like the Rick Ross-assisted "Lobster Omelet" and the collabo with Pusha T, "Golden Rings".  Don't let the fact that this is a major label album fool you. Gibbs is as gangsta and as street as ever on $oul $old $eparately, and with all the albums he has within his excellent discography, this may be his most well-rounded, but this is also his first official taste of what mainstream critical acclaim looks like.  While just short his classics with Madlib and Uncle Al, $$$ is a beast in its own right.



4. Fetti (with Curren$y & The Alchemist)

Production: The Alchemist

Guests: N/A


When we mention all-time greatest hip-hop producers, especially of modern hip-hop times, the name Alchemist better be at or near the top.  Cranking out memorable album after memorable album, outstanding cut after outstanding cut, the Cali-tuned-New Yorker previously known as Mudfoot during his Whooliganz days is a master craftsman behind the boards and not a single he does have, does, or likely will ever go wrong.  In 2018, he managed to bring Freddie Gibbs and frequent collaborator, New Orleans own Curren$y, together for an EP entitled Fetti.  The mere thought of Spitta and Gangsta Gibbs together doing a whole project together was enough anticipation, but with The Alchemist providing the sound structure, the thoughts were spooky.  The nine-track project was a sincere sizzler from the jump once we were blessed with "Location Remote", and it only got more nuts from there.  Al provided the fellas with a soundscape that resembled Prodigy's Return of The Mac album in terms of the seventy's soul Blaxploitation feel, and the imagery of the cuts was hit home simply by the highly delightful production.  The tag team energy of Gibbs and Spitta was first evident on Curren$y's RIDICLOUS cut "Scottie Pippen" (also done by Uncle Al) on his outstanding Covert Coup mixtape.  They continued their momentum on cuts like "New Thangs", "Saturday Night Special", and "Tapatio", in which the sounds of eighties-styled synths and little to no thumping percussion were the rule.  While Curren$y's laid-back N'awlins drawl wasn't out of place necessarily on this project, especially on his solo cut on here, "No Window Tints", it was the "baby faced killa" himself that was the shiner with his exceptional technical and rhythmic style that propelled these and his solo cuts of "Now & Later Gators" and "Willie Lloyd" to great heights.  For a nine-track project, there was little to no room for error, and Fetti didn't provide one.  Alchemist laid the soulful gangster vibes with this project, while Curren$y and Gibbs used it as their muse to paint one hell of a project that showed that, as the final cut "Bundy & Sincere", pointed out, they're two of the most feared and reputable figures out here in this landscape.



3. Alfredo (with The Alchemist)

Production: The Alchemist

Guests: Benny The Butcher, Conway The Machine, Tyler The Creator, Rick Ross


As was previously mentioned, Uncle Al's...ahem...chemistry (I had to) is sharp as nails with Gangsta Gibbs. As obvious with Fetti, Al and Gibbs together is an entire problem.  The very next year, in the height of the pandemic, the two would team up again, only this time without Curren$y, to deliver the surprise album, Alfredo.  Although not the clear seventies Blaxploitation vibes Fetti gave us, Alfredo was no less menacing.  In fact, Uncle Al provided Gibbs with ominous, soulful, and cleverly sampled backdrops that Gibbs was ridiculously comfortable rhyming over.  Nothing new subject-wise from Gibbs, as drugs, crime, the streets, and money are the check points here, but Gibbs brought his sizzling technical ability all over this project.  Cuts like the disrespectfully soulful croonings of "Look At Me", the bleak boom bap of "Baby Shit", and the Conway-assisted "Babies & Fools" are excellent demonstrations of how Gibbs is gifted in not just his themes of the streets, but how incredible he sounds delivering them.  How Freddie glides perilously over these melodically murky beats from Al is something to behold, and on cuts like "God Is Perfect", he matches the rhythm of the production with the instinctive nature to match the rhythm with his flow and delivery and makes the track that much dope.  He teams with (at the time) compadre, Benny The Butcher, for the dumb dope "Frank Lucas", but completely makes Rick Ross sound quite good on the cold "Scottie Beam".  Alan The Chemist leans back into smooth soulful sounds of "Something To Rap About" with Tyler The Creator, in a not bad performance from the Cali Grammy Award winner in his own right, while the closing two cuts of "Skinny Suge" and "All Glass" are classic Gibbs in which he delivers his tough dude talk in such descriptive fashion that the vivid nature of them sticks out like sore thumbs.  While "Skinny Suge" is smoother, and "All Glass" is more of a thump, both are dark in texture, and Freddie all but lyrically slaps the hell out of those tracks.  It serves as no wonder why Alfredo was nominated for a Grammy at the 2021 Grammy Awards, as Al and Gibbs presented a practically flawless piece of art that both artists can stand high on.  At this point, Gibbs was already considered among the highest touted emcees around, but this album all but stamped him within that circle if there was any doubt being considered. As for Alan Maman, well you already know his GOAT status as it is.



2. Bandana (with Madlib)

Production: Madlib

Guests: Killer Mike, Pusha T, Black Thohught, Yasiin Bey, Anderson.Paak


While Gibbs was starting to be a fully established star within the game after the release of his breakout album with Oxnard's mad genius, Madlib, Piñata, the elements were getting put into place for the second of the three-part Cocaine trilogy, Bandana.  As fate would have it, Gibbs encountered legal trouble in the form of being incarcerated on SA charges that he ended up being acquitted on. From this, Madlib and Gibbs wanted to get back to work on the album and, from Gibbs himself, he was "writing like that may have been his last album".  Thankfully, it wasn't, and Bandana was presented to the masses in 2019, and practically picked up where Piñata left off.  While Piñata was more or less a gangsta blaxploitation film on wax, Bandana was more surreal.  Sure, he kept the tried-and-true formula of drugs, crime, violence, and gritty hood narratives, but with Bandana, he presented themes of empathy and learned lessons along with the aforementioned themes.  With a chip on his shoulder and a hunger that spilled out as urgency, Gibbs demolished tracks such as the opener, "Freestyle Shit" and the follow-up, "Half Man, Half Cocaine", in which Gibbs divides this song into a half. The first half has him spitting about his come up, while the second half has him diving into the streets and his drug accounts.  He obliterates the cut, "Massage Seats" into bits, while slowing down his flow slightly on the slightly bouncy "Crime Pays", but still gets gritty with cuts like the menacing sounds of "Flat Tummy Tea", the Pusha T/Killer Mike-collaborated "Palmolive", and "Fake Names", in which once again Madlib splits the song up in two separate beats for two different focus shifts, but the same raw delivery Gibbs always comes correct with.  A bit more reflective, he gets more somber on the cut "Gat Damn", in which he stems back to the time where he was incarcerated and details what was going on inside him during that time but also pours out some liquor for his fallen close ones.  We didn't think it was possible for The Beat Konducta to provide him with even harder, more outstanding production than he did for Piñata, but he did just that, just not quite as gritty and bathed in soul-centric samples that took one back to the seventies at times.  With Bandana, the sound was more up to this era in terms of imagery, but Gibbs presented himself as a guy that still battled the harsh realities of the streets, but also lets people know there can be consequences to the game, and Gibbs' thug wisdom equated into delivering another benchmark in the career of the self-professed "space rabbit".



1. Piñata (with Madlib)

Production: Madlib

Guests: Scarface, Domo Genesis, Earl Sweatshirt, Raekwon, Danny Brown, Mac Miller, Ab-Soul, BJ The Chicago Kid, others


With Gibbs' name becoming more and more spoken about within hip-hop circles, it was only a matter of time before we were to receive that album that would officially establish his name into modern hip-hop consciousness.  The man responsible for aforementioned dope albums such as Str8 Killa, ESGN, and Cold Day in Hell linked up with Madlib for the first of their three-part Cocaine saga.  We previously mentioned Bandana and the significance it brought to both careers.  As the second of the three-part saga, the inaugural installment was the 2014 monster, Piñata.  It's been well established that Gibbs is a technical psychopath on that mic, and with his gritty street narratives and gangsta imagery, Madlib provided him the quintessential backdrop for this outstanding album. The Beat Konductor's unparalleled style of production blended heavy elements of seventies soul mixed with occasional jazzy and bluesy undertones that are as methodically chopped and sampled as only he could execute.  This helped to make cuts such as "Deeper", "Uno", and "Shitsville" such excellent cuts to peep and repeat often.  We hear Gibbs going into straight reality rap mode, chronicling real life drama, beefs, and even the occasional regret without coming off soft in any way, shape, or form.  On cuts like "Thuggin'", he's unapologetic about his gangsta lifestyle and how he walks in it, but on cuts like the fantastic collab with the legendary Scarface, "Broken", he details how his life was like growing up in a broken home with a father who was a police officer and left the home, only for him to dive even further into his lifestyle in the streets.  There's surely a balance of the unapologetic and even brazen, but also the method behind the mayhem.  We get a bouncy collab with the ever quirky, yet dumb talented, Danny Brown, "High", and the vivid, yet bleak, imagery of "Scarface" that have him acknowledging his dirt, faults, and vices, and at the same time, we get cuts like the double-sided "Lakers" and "Knicks", in which "Knicks" has him detailing his need to hustle in order to make it, whole "Lakers" has him utilizing the fruits of his hard-earned labor.  This dichotomy of Gibbs is essential in exploring more about the man behind the excellent emcee.  He's damn sure been a hustla and has been caught up in the concrete jungle throughout his life, but also makes room to let the listener in as to his view of why he was the way he was, and why he is who he is today without excuse making or remorse.  He gets in your face on the venomous diss cut, "Real", in which he viciously goes after former mentor, Jeezy, in almost 2Pac-like fashion, but gets back to reminiscing about his surroundings on "Harold's" and the outstanding, yet menacing, collab with Raekwon, "Bomb", that has quite the storytelling aspect about it.  Madlib basically brought out the very best out of Gangsta Gibbs at this time with Piñata, and it became the true groundwork for what would be an impressive career and set the standard to this day of his finest overall offering of his career, which considering Bandana, is a mouthful.


Freddie Jamel Tipton (Mr. Gibbs to the uninformed) is a talent the likes of which we should've gotten in the late nineties, as his legacy would've already been established as quite possibly a GOAT emcee.  He's definitely among the best around in today's hip-hop climate.  His technical ability is second to none and his cadence and breath control is stellar.  This discography showed how valuable Gibbs is to the game and this Grammy nominated emcee isn't done yet.  With Montana hopefully aiming for a 2025 release as well as another Alchemist collaborative effort to follow up Alfredo, Gibbs is determined to be one of those emcees you tell your kids about when they get older.  Sure, he's had controversies with SA charges, beefs, and label issues, but he's also a made man.  Collaborating with names such as Scarface, Bun B, Nas, Raekwon, Spice 1, among others, have him within elite hip-hop circles, and one can only imagine what else is to come from the best emcee to ever emerge (if not the only) from Gary, IN.  Until next time folks!


Here are some tracks that display the tremendous talent that is Freddie Gibbs:


On the Set

Look At Me (production: The Alchemist)

Thuggin' (production: Madlib)

Alexys (production: BADBADNOTGOOD, KAYTRANADA)

Baby Shit (production: The Alchemist)

Stay Down

Flat Tummy Tea (production: Madlib)

Forever & A Day

Crime Pays (production: Madlib)

Dark Hearted (production: James Blake)

Kush Cloud feat. Krayzie Bone, SpaceGhostPurp

Shitsville (production: Madlib)

God Is Perfect (production: The Alchemist)

Real (production: Madlib)

Weight

Half Manne, Half Cocaine (production: Madlib)

No Window Tints feat. Curren$y (production: The Alchemist)

My Nigga feat. G-Wiz, D-Edge, Hit (production: Cookin' Soul)

McDuck

Education feat. Black Thought, Yasiin Bey (production: Madlib)

Live By the Game

Origami

The Real G Money

Bundy & Sincere feat. Curren$y (production: The Alchemist)

Crushed Glass

Bomb feat. Raekwon (production: Madlib)

Let Ya Nuts Hang feat. Scrilla

Space Rabbit

Middle Of the Night

Lord Giveth, Lord Taketh Away (production: Statik Selektah)

Broken feat. Scarface (production: Madlib)

Personal OG

Boxframe Cadillac

F.A.M.E. feat. Spice 1, Daz Dillinger

Automatic

Smoke The Pain Away

Brick Fees

I Wanna Do It feat. Sir Michael Rocks (production: DJ Fresh)

Extradite feat. Black Thought

Willie Lloyd (production: The Alchemist)

2 Legit

Blackest In the Room (production: The Alchemist)

Wolverine

Heaven Can Wait

Rap Money feat. Daz Dillinger (production: Statik Selektah)

The Color Purple

Rob Me A Nigga feat. Alley Boy

In My Hood

Black Illuminati feat. Jadakiss

Thursday, October 24, 2024

Requiem of an Underground Savant: Ranking Ka's Discography

 


The hip-hop community was stunned with the news that, on October 12, 2024, Kaseem Ryan, known to the world as Ka, had suddenly passed away at the age of 52.  The Brownsville native had just released, what tragically turned out to be his final recorded album, The Thief Next to Jesus, on August 19 to unsurprisingly acclaimed reviews and praise.  Ka was heavily revered as one of hip-hop's most alluring writers.  His style of writing was ghetto poetry-meets-hood sensei; A visionary that wrote from cold benches in Brooklyn throughout the darkest parts of the overnight.  His way with words, from a lyrical perspective, was second to none.  He had a way with wordplay that was imaginative and rivaling those of the likes of other magnificent lyricists such as E L U C I D, billy woods, Lupe Fiasco, or even his Metal Clergy partner, Roc Marciano.  His delivery was faint, almost in a whisper tone.  Flow was conversational, yet with a narrative pitch. As a producer, he was steeped mostly in atmospheric, gloomy, and dark production.  Mostly sample-free, he approached his sounds with minimalism.  Haunting, if not straight out brooding, undertones comprising of mainly guitar, strings, and piano chords along with drum-less patterns that you hear from the likes of Nicholas Craven, Preservation, Roc Marci, and, at times, Uncle Al himself.  He truly was a gift among his peers within the underground.  His discography also heavily reflects this.  With one of the most unparalleled discogs in the game, it's hard to truly pick out which was his finest moments.  In this list, we will make out the overall best of this bunch, but trust and believe, this wasn't easy to compile considering all of his works are outstanding.  It goes without saying this is meant to be fun and promote discussion and maybe even some small debates, but as a whole, Ka's penchant for music is under-recognized by mainstream hip-hop, as his music was, and will remain, generational.  With all this being said, let's begin.




12. Iron Works

Production: Yanedus

Guests: Los, Dugga


We begin with Ka's first solo album of 2008, Iron Works.  The Brownsville emcee had a ruggedness about him that had become more focused than when he was a part of the group, Natural Elements, in the mid to late nineties.  After he split from them, he became part of a duo as Nightbreed, and then faded into relative obscurity until GZA came along and scooped him to be a part of his highly underappreciated album, Pro Tools.  The ferocity and no-nonsense within his delivery made this quite the return to the game for Ka.  This album was packed full of hard rhymes and more than enough heat for this full-time NY Firefighter.  Just from the starting cut, "DNA", you can tell he's not pulling any punches here.  Hardcore rhymes over a mean beat by the album's primary producer, Yanedus, this is basically the structured premise for this effort: He continues with "I Know What It's Like", which has him coming from a first-person narrative of identifying with those that suffer on the streets and within poverty, while "365" is a hustla's anthem of sorts about getting to the paper by any means.  However, he gets more light-hearted relatively speaking with the track, "Children", as he stresses the need for the hood to look out after our future and to have them be protected out here.  Going into more innocent times in his life, he reminisces on some of the things that brought joy to him such as playing tag.  Although one wishes we had more of these types of easy going cuts on here, but then we get back into the reality of things with cuts like the police awareness-cut "Mr. Officer", "Sunday To Sunday", and "Bully", where he lives and breathes the cold streets of BK and wasn't about to back down from anything or anyone.  He hits a home run with "Patience", ass he spits as a wisened-up veteran that was trying to straighten his life up and make better decisions, but quick to let cats know he's still the one to cross or play with.  Over excellent production, Ka struggles with the internal conflicts of letting things slide or confronting disrespect how he traditionally knew how to handle it.  While Iron Works didn't break any new ground per se, it was definitely a hard rock street album and was seeped in authenticity.  Of course, we would hear and see much finer efforts from him throughout time, but this was a dumb dope introduction to the world from legends like Biggie, Jay, Skyzoo, and others were made. 




11. Grief Pedigree

Production: artist

Guests: Roc Marciano


After the underwhelming commercial response to his otherwise impressive debut, Iron Works, Ka came right back sat us with his sophomore album, Grief Pedigree, which was arguably as rough, yet a bit more wise and even more observant.  His pen game stepped up more and his imagery, while still laced with brutal visions of the stressed-out survivalists' nature of Brooklyn, contains a bit more inner reflections and jewels for the those who's shoes he's been in.  The album starts off very strong with the cuts "Chamber" and "Cold Facts", as he quickly establishes that he's no game out in those Brownsville, BK streets, but also gives everything context as to why there's such a need for him to be the way that he is.  On the cut, "Decisions". Ka wrestles with constant scenarios of which route is the best route, even if they're both lose-lose scenarios in what could be regarded as the most intriguing track on the album.  Meanwhile, on "Up Against Goliath", we hear him facing obstacles that are seemingly insurmountable, but he finds ways, most with his chrome four-fifth, to overcome them.  A survivalist by any means, Ka has no problems stating how he defeats these giants.  With "No Downtime", the production is slightly more upbeat, as we hear Ka go in about how the ghetto is always on edge and is often times draped in paranoia.  He manages to get his first of several collabs with Roc Marciano on with the quite dope, "Iron Age", in which we hear a match made in metal heaven.  These two are kindred spirits on this cut and set the tone for all other future collabs between them into becoming the Metal Clergy (how dope would it have been to get a REAL version of their unreleased album, Piece Be With You).  While other bumpers such as "Collage", "Vessel", and "Born King N.Y." also do a bunch of service here, Grief Pedigree was another step forward in the reborn career of Ka.  This arguably picked up where Iron Works left off, but with slightly more maturation in it much like Scarface's transition from the full maniacal, psychotic nature of Mr. Scarface Is Back to the almost as deranged yet slightly more introspective The World Is Yours.  Ka was getting his feel back under his feet, and as we would see with the third album, The Night's Gambit, the amount of conceptual and lyrical brilliance he would tap into hadn't even been reached yet.  Regardless, Grief Pedigree was a block bumper and got his underground buzz increasing steadily.




10. 1200 B.C. EP

Production: Preservation

Guests: Roc Marciano


After a wonderful, yet highly atmospheric, outing with The Night's Gambit, Ka followed that up the next year with a collaborative effort with west coast DJ/Producer, Preservation, to deliver the EP, 1200 B.C.  Ka's morbid, yet stripped back and minimalist, production was super prevalent on The Knight's Gambit, and it is somewhat continued here, as Preservation is traditionally known for similar styled production with gloomy, and at times, eerie, overtones.  With this five track EP, each track is highly meaningful with moments of grim visuals of death, despair, and hopelessness.  After the intro, we have the vivid "Still Heir", which has Ka painting depressing images of the previously mentioned outlines.  The streets of Brownsville weren't kind to Ka, as he eloquently, yet painfully, details in this equally dreary sounding cut.  On the cut "Years", he rhymes about how he was a real one out in the streets, but he's wiser now. However, it would be foolish for one to think that, because he's elevated himself, that he won't smack fire out of you if you cross him.  Meanwhile, on the cut "To Hull & Back", he makes no apologies for his upbringings and what he did and witnessed coming up in the game, but also realizes how it could've costed him his life at times.  The transparent nature of his lyrics is refreshing, but also serve as lessons in what to do and not to do out here in the streets. He collabs with Marci on "Fall of The Bronze" for an insightful look at how they were the dirtiest of the dirty if need be and how they were never afraid to let them thangs ring out. As one would expect, Marci conjured up images of Nino Brown meeting up with Pretty Tony in one man, while Ka was more of a chess player and more strategic. Always ahead of the game and filled with survivalist wisdom to self-preserve in the hood.  With spoken intros before each track, he gives insight going into the cuts and lets us in on what would be in store for us as listeners.  For an EP, 1200 B.C. was packed with highly dismal, yet captivating, melodies from Preservation, as well as equally compelling imagery from Ka.  A master storyteller, Ka pulled no punches here with what he was painting, and one could only imagine how a full-length of this magnitude would've been like.  Later, they would collab again for the Days with Dr. Yen Lo project, but this was a hell of an introduction into their excellent working chemistry.




9. The Thief Next to Jesus

Production: artist

Guests: N/A


We had always known for Ka to incorporate bits of spirituality themes and concepts into his gritty, yet masterful, penmanship and imagery.  His 2020 album, Descendants of Cain, was quite the shining example of this, with the album revolving primarily around the consequences of Cain's actions, figuratively, and how they resonate within his life and within his Brownsville, Brooklyn streets.  Taking it a few steps further, Ka delivered, what would ultimately be, his final recorded album in The Thief Next to Jesus.  Although it's not one hundred percent clear if he's for or against Jesus Christ, he definitely believes in his historical presence in a context.  He, once again, parallels the betrayal of Jesus' friend and fellow disciple, Judas, to modern day Christianity and how hypocritical and deceiving Black Americans can be within the sector of spirituality.  Over mostly old Gospel samples and church hymn reworkings, Ka pulls no punches with where his views are coming from and how they put a black eye on the overall essence of what spirituality entails.  He starts the album off going after rappers and their typical, bland subject matter on "Bread, Wine, Body, & Blood", but does so in such eloquent manner that you would think he moonlighted as a hood preacher himself.  In what would turn out to be somewhat eerie prophesy, he examines his own mortality on "Borrowed Time", but also breaks down what he feels the aura of organized religion is about and it's interesting to hear.  Also, on "Collection Plate", he expresses his skepticism of religion from his days of growing up, while on "Soul & Spirit", he cuts through the messages of Gospel music and their meanings to show how faith is often wasted by waiting.  His view of challenging religion is especially controversial on other cuts like "Cross You Bear" that examines violence and hurt Black Americans face and the soulful crooning sample of "Hymn & I" has him illustrating the pain, struggle, and strife he's seen and observed and how it's gotten him jaded.  It's not hard to hear his awareness of his internal struggles with how Christianity virtually lied to him, but how he chose to opt for an inner spirituality to keep him guided and together.  He verbally admonishes Christianity with events such as slavery being condoned and even justified amongst our people on the very heavy "Tested Testimony" and "Lord Have Mercy" appears just as bluntly examined with his subsequent Agnosticism in full display.  Maybe it's cathartic that he writes and spits about how he felt the idea of organized religion and Christianity is a farce as he suddenly left this existence on October 12, but with The Thief Next to Jesus, Kaseem Ryan gave us his honest soul about the concept of it all with no flinches or back-peddling.  Regardless of his views of Christianity, Jesus Christ, spirituality, or the like, this remains as his swan song on wax, and he left us with one final powerful performance of a man that bears his transparent mind and soul for the masses, regardless of one views and opinions.  His views could be seen as disrespectful, or even blasphemous to many within the Christian community, but to those that know Kaseem the man, or just Ka the artist, they know he could care less either way.  We just hope that his soul is, in fact, in a far better place as he left us with one final stellar gift for us to grow with.




8. Woeful Studies

Production: artist, AniMoss

Guests: Chuck Strangers, Joi


Out of the blue, Ka dropped a double-sided project for his fans through his website in the form of Languish Arts and Woeful Studies.  Some have called it a double album with different titles. others have stated it as different albums that he decided to drop at the same time.  Neither is necessarily wrong here, but both albums were fantastic when they dropped.  While both sound relatively the same in terms of bleak, stripped-back melodies, as well as both being autobiographical and dense in texture, both albums have their own unique aura about them, albeit barely noticeable.  While Languish Arts, the first to drop by minutes, was a grim, yet conscientious, inward look at how he survived the cold, brutal street of Brooklyn by way of necessity, Woeful Studies appears to be on the same track, only with Ka feeling the remains of that need to survive and how it affected him the older he got.  The album starts off with the seemingly desolate sounding, "We Not Innocent", which is a bleak look at him making it within the harrowing streets of Brooklyn, and the impact it caused within him hustling day to day, even at the expense of his morality. With the cut, "I'm Tired", he details how much he's had to overcome since childhood, but how he's clearly over being the underdog in his story.  Make no mistake: this isn't a pity party he's throwing, but we all get tired of the bullshit and still have to be considered strong out here.  Ever the soldier, Ka proceeds on with the stellar "Obstacles", in which he overcame these perils in his life, but just because he got around them doesn't mean he got over them, as he clearly states in the chorus.  He illustrates his plights of overcoming, and the residual effects of the damage on other excellent cuts such as "Eat", "Reap", and "We Hurting". The grudge-sounding "My Only Home", clearly has him depicting the raw bitterness he still has within him highlighting his Brownsville community and what he saw and got exposed to, but does so in such a meticulous, poetic way that is difficult to tell where his emceeing begins and where his actual, true to life feelings end.  It can be argued that Woeful Studies is more vivid in brooding narrative therapy than Languish Arts, but Languish Arts excels more in the lesson learned department.  Either way, Woeful Studies is a look deep inside Ka, in all its remorseful, resentful, yet firm, approach in how unfiltered those cold streets are, and how even if you survive, you struggle to exist at times.




7. Days With Dr. Yen Lo (with Preservation as Dr. Yen Lo)

Production: Preservation

Guests: N/A


As previously mentioned, Ka and producer, Preservation, are a sharp combination together.  Their aforementioned collab album, 1200 B.C., was a fabulous outing and was as atmospheric as anything you'd ever hear from Ka.  The two go a slightly different route musically with their effort, Days with Dr. Yen Lo, which is a character from the unbelievable thriller of 1962, The Manchurian Candidate.  As one could imagine, the theme throughout the album is taken from the aforementioned novel, in all its intrigue and harrowing description of virtual brainwashing within society.  The unique part of the album lies within the album titles.  The titles are effectively different numbered days and the significance of those days through narration of soundbites and eloquent lyricism.  Preservation comes through as before with moody, dense production that fits the occasion, and Ka's vivid penmanship display as anxiety, fear, paranoia, and anguish, much like The Manchurian Candidate itself does.  Starting things off is "Day 0", in which we get the feel of this sense of paranoia and escaping it, but it definitely gets more trippy and darker as the "days" go by. As evidenced by "Day 3", "Day 22", and "Day 13", Ka is on a mission to unpack his need to take down the forces that are causing him to be this anxious while being fully aware of the obstacles being placed in his way.  On "Day 93", Ka is on the run with seemingly no recollection of any atrocity he has done, as based off the introductory soundbite that introduces this "day".  That's a big part of what makes this album distinctive amongst Ka's collection.  The intro soundbites to ever track leads into Ka's imagery of his words.  Another great example of this is "Day 81", in which he and his Metal Clergy partner, Roc Marciano, are guys that are seemingly on the run. As Marci is very in-your-face, unapologetic in his stance, Ka is more cerebral in his approach. He's more calculating, and they are the perfect yin and yang with this cut that starts off with a soundbite warning about "Antisocial and self-injurious behaviors".  With other cuts like the fake, underwhelming emcee indictment, "Day 777" and the mind fuckery of "Day 912", Ka and Preservation embody the far-reaching aspects of what The Manchurian Candidate explored to do: keep one compelled to the very thought of what paranoia, psychotic behavior and fear are presented to be seen as with this album.  The character, Dr. Yen Lo was a manipulative and cold hypnotherapist that was able to have men think and believe whatever he wanted them to. With Days with Dr. Yen Lo, Ka & Preservation explore what it would be like under his spell, only within the context of the damp, brooding streets of Brownsville and his take on the rap game in general.  Whether Yen Lo in this aspect of this album is the character in the movie/novel, these A&Rs and record execs, or social media and the current climate of our society and cultural norms, we are all hypnotized in some sort of way. These two artists are just ballsy enough to tackle it in such a creative and outstanding way.




6. Languish Arts

Production: artist, AniMoss, Preservation

Guests: Chuck Strangers, GonetoHeaven, Joi


As was mentioned earlier in the review of Woeful Studies, in 2022, as a surprise to his fans, Ka released not one, but two albums at the same exact time.  Two albums that are filled with introspection, personal lyrics, and teachings that way penetrate the mind and the soul with his hood sage aura.  The first one was Languish Arts, an album that relies less on conceptually heavy themes involving literature, Greek mythology, or a game of chess.  This is just a virtual diary into the mind of a man that has seen so much within his life that it has him battling himself over right for humanity and right to survive.  The opener, "Full Cobra", is a heavy listen in itself.  Over a sad, yet inviting, guitar loop and his traditional drum-less production, he expresses his pain and struggle in such poetic fashion that it's almost astounding how the words come within him.  One standout is the confessional, "Forgive Me", in which he courageously explains the means behind his actions growing up in those Brooklyn streets. Over some of the melancholiest production on the album, which is quite constant here, Ka puts it all in perspective just based on the hook where he says, "If I ever pulled on you and said gimme, forgive me."  Moments like these are way more the rule than the exception across both Languish Arts and Woeful Studies alike.  He continues his depth into explanations rather than excuses on other tremendous tracks like "Ascension", "No Reservations", and "Touche".  The gems from "Ascension" alone are compelling, plus with his unapologetic, yet humble, brag of making it out the slums is to behold.  The album closes with the excellent "Last Place", as Ka wraps up this look into his personal triumphs and tragedies with a chip on his shoulder dissecting his battles with poverty, the streets, and schoolmates' ridicules.  To say Ka is quite the orator on Languish Arts is an understatement.  There's nothing needed for him in conceptual mannerisms.  He just spits from the heart with a brooding elegance about him that was second to none in hip-hop.  This was a truly outstanding moment.




5. Orpehus vs. The Sirens (with AniMoss as Hermit & The Recluse)

Production: AniMoss

Guests: Citizen Kope


As The Night's Gambit was thematically based within the mind of a chess grandmaster when it came to surviving in the streets, and Honor Killed The Samurai was effectively in the theme of the downfalls of someone that lives by ancient Bushido code, we see Ka exploring Greek Mythology and applying to modern day hood existence with his collaborative effort with very dope LA-based producer, AniMoss, as Hermit & The Recluse. Their debut album, Orpheus vs. The Sirens is a stunning effort that has each of the ten tracks named as a different chapter of this story.  In Greek mythology, Orpheus was a famous poet but was also a prized musician. His voice was able to outshine the deafening wails of the Sirens, but not without a fight.  The first cut on the album, "Sirens", is a sonically stimulating and hypnotic epic gem that contains one of the sweetest string sequences one will hear as Ka lets us all know that he's in fact Orpheus, and he's aware of the struggles to come, but that he'll ultimately defeat them all.  He delves even further on "Orpheus", as he personifies the ancient story of Orpheus surrounding how he mistakenly looked behind him, despite being told to not do so until he and his wife reached Hades. This mistake caused him to lose his one true love, and Ka similarly looks back at his past and reflects on how much his past affected him day to day.  Also, on "Golden Fleece", he compares the prized hair of Colchis that the King could obtain as a sign of power and control to that of modern-day glory and respect.  With each passing chapter, you're entrenched in the story he tells, from a hood journalist perspective to someone that suffered battle scars in the field, his imagery within Greek culture and its mythology is stuff to admire and be sharply impressed by.  Such is the case of "Companion of Artemus", which is a parallel to being someone that's constantly on alert for the corrupt and shiesty much like Artemus' dog within Greek mythology, and "Atlas" reflects this as well, as Atlas was famous for holding the Earth up, while Ka feels he has the world on his own shoulders only in figurative fashion.  To say Ka and AniMoss crafted a mesmerizing album here is cutting it too loose.  These two artists shined wonderfully with Orpheus vs. The Sirens and with production that very well matches the typical sounds Ka is known for rhyming over, mixed with stellar storytelling, one never made Greek mythology in hip-hop sound more outstanding.




4. A Martyr's Reward

Production: artist, Preservation, Navy Blue

Guests: Navy Blue


Following up the mesmerizing Descendants of Cain, Ka delivered A Martyr's Reward, which is more of a personal reflection of his upbringing and struggles in the streets with lessons for those that need the proper guidance. He's willing to suffer for others so that they won't go through what he had gone through.  That's arguably the common element throughout this album is his relative sacrifice.  After a great intro cut, "Everybody Cut", we get into "I Need All that", which is more venomous than we've heard in past Ka fashion.  Clearly aggravated about how the culture has been practically characterized and mimicked, Ka expresses how he wants back what the culture is truly about: Authenticity.  That's one thing that Ka is about, and he shows it more in other dumb dope cuts such as the wisdom-based "PWH", the melancholy-sounding "Subtle", and "Like Me".  The gems he drops within this album are virtually non-stop, while also bringing forth his own experiences and transparency.  It's clear he has a mission to be the sacrificial lamb amongst his people in order to prevent them from either going through what all he has gone through or to school them on what lies ahead at the rate their lives may be going in.  The standout is that he does so as more of a scholar who's been in the trenches more so than someone who is looking from the outside in.  He collabs with another excellent orator in Navy Blue with the two-part cut "We Livin/Martyr", in which Navy comes through with a simply tremendous verse, it's Ka once again with the standout verse of the two, in which he indicts White AmeriKKKa and how their oppression helped make him see the world as he ended up seeing it, including the police.  With "Martyr", he spits jewels on how he's done it all, so we won't have to.  He finishes with "Having Nothing", in which he details how it was being in the streets that were poverty-stricken and what he had to do to maintain.  Ka paints himself as martyr in A Martyr's Reward, but not to brag about it.  He drops knowledge and shares his own grim survivalist testimonies of making it out the slums, even if battle scars rear their ugly heads all the time within him.  



3. The Night's Gambit

Production: artist

Guests: Roc Marciano


Following up his very dope Grief Pedigree album, Ka dropped The Night's Gambit, which was easily darker than his previous efforts.  This one is a bit colder in feel.  The type of feeling you get when it's a winter's night and there's a fog out that's only a mile or so in visibility.  It's a gripping album that starts the momentum of his docile, dense tone with solemn subject matter and lyricism.  With this album, he operates in the mindset of a chess master. An observant hood reporter that just so happens to be injecting wisdom and profound insight in terms of the streets, spirituality, and wisdom.  Right from the jump, the cut "You Know It's About" is the best type of opener for this album, as we get Ka setting the narrative of what is sure to be a gritty, unfiltered look into the streets from where he came, only in an elder statesman form.  The production is less about drum patterns and more about minimalizing strings, guitars, and chords to give it an atmospheric feel and then some. In fact, all of his albums are atmospheric and brooding in texture, thus giving them nocturnal feels and hazy imagery.  This album sparked the start of his ongoing trend.  Thematically, as was aforementioned, this reads of a grandmaster; One who has perfected the game of chess and applies the essential strategies necessary to survive and thrive out here in these streets.  Dissecting elements such as religion, betrayal, poverty, and resilience.  Take "Barring The Likeness" for example.  Ka spells out how he tried to be kind individual growing up, but the streets and his surroundings made it that much harder to be as such.  Over a morose beat, Ka delves into how this way helped him maintain.  On the cut, "Knighthood", Ka comes off as a veteran goon that kicks his version of gems of how to not only make it in the ghetto, but also as someone who still gets his hands wet in the game and proud of it.  Much like Nas in "NY State Of Mind", Ka is like a hood reporter that got caught up in the same streets that he's seen take under so many and does an exemplary job taking you in his world. Meanwhile, on "30 Pieces Of Silver", he delivers caution to those hustling and keeps their friends around.  He brings up Judas in this cut, which as we all know, he turned against Christ just like one of your friends could do the same for the right situation or price.  His ability to bring any narrative into an effective story even when talking about his hip-hop skills is just art.  When you consider cuts like "Peach Akhi", the assertive "I'm Ready", and the Biblically inclined "Jungle" are tracks that are illustrative and yet intriguing to where you're hung off every sentence that comes from him like a highly gifted orator.  Of course, he has to have the mandatory cut with Metal Clergy partner, Roc Marci, "Soap Box", which is a rugged track worthy of the caliber Metal Clergy can deliver.  The overall feel of The Night's Gambit is one where Ka is a master strategy emcee.  This is a somewhat haunting album that is more focused on being a survivor and the sacrifices one has to make in order to do so.  Ka delivered a fantastic album that set the tone for the next several albums of him to come.



2. Descendants Of Cain

Production: artist, Preservation, AniMoss, Roc Marciano

Guests: Roc Marciano


One of the most ingenious ways of Ka's imagery and concepts is how he brings various types of literature and parallel them to his own life.  With 2020's Descendants Of Cain, he harkens back to the old tale of Cain and Abel in the book of Genesis in the Good book.  The story revolves around jealousy.  Cain killed his brother Abel out of a jealous power struggle. Ka uses bits of this story to convey his studies of sociopolitical concerns and how they affect the ghettos and the streets.  This is among his darkest albums from a stylistic point of view, but out of the dark comes an album that is as fascinating as it is alarming.  The opener, "Every Now & Then", is an excellent introduction to show the internal struggles he faces daily, or at least within the context of the album.  The poetic nature of his rapping is so next level just in terms of eloquent imagery alone, especially within this album.  He uses a Biblical verse for the hook of "Unto the Dust" to tremendously illustrate his view on violence and aggression in the streets throughout the cut.  The bullet-ridden blocks that smell of gunpowder are disturbingly detailed in raw fashion to make his point clear.  The personal nature of cuts like "The Eye of a Needle", "Patron Saints", and the superbly written "Land of Nod" are exemplary cuts that show Ka's nature of being unapologetic with his descriptions of hard living, while making it as poetic as anything Langston Hughes would do.  He hits a particularly outstanding paramount with "Solitude of Enoch", as he wonderfully compares himself to the son of Cain when he was sentenced to living in the land of Nod.  Over a melancholy guitar and minimal to no drums, Ka depicts how he rose from this land where Cain killed Abel. His depiction of how he nearly killed his cousin because of him getting threatened and other grim experiences growing up are very commonplace around this and most albums from him and this cut was as tough to absorb as it was to root for him.  What Descendants of Cain does is presents Ka as one of the most inventive emcees ever and does so in such an amazing way with his comparisons that involve literature and other concepts that are vital and important.  This is brooding, uncomfortable at times, and incredibly breathtaking in texture.





1. Honor Killed the Samurai

Production: artist

Guests: N/A


One year after dropping the unbelievable collab with Preservation, Days as Dr. Yen Lo, he decided to dive deep into conceptual mode again with the astonishing, Honor Killed the Samurai, which mostly uses principles, interludes that convey samurai codes, and ethics that could easily be reinterpreted within the streets of today.  Much like Ka's highly observant nature with the likes of the aforementioned The Night's Gambit, he comes off as a storyteller that knows about the grime in the streets very well and uses his experiences to spit wisdom with such insight, you would swear he was a full sensei in another life.  He also struggles with these same codes in today's world.  Take the very highly brooding sounds of "$", which has him examining today's fascination with riches of the legal tender more so than how it can be used for good, but also realizes money can result in power, as well as necessity.  Perhaps the best way of putting how the album is an observation in dichotomy is the opening track, "Conflicted".  This is Ka realizing how he has to go against his own principles at times just to make it out here, even at the expense of his perceived conscience.  He cleverly illustrates his duality on other intriguing cuts such as the rob-to-eat ode, "Illicit Fields", "Just", and "Destined", which is possibly the only glimmer of hope here in this album as he shows his hunger to rap himself out the ghetto.  While other cuts like the morbid, ominous sounds of "Mourn at Night" depict the brutal realities of growing up in the hood and studying the ways of the streets, Ka goes about his commentary as a veteran showing his war wounds, while also acknowledging that some of the ills are a part of the game even when it stinks.  Ka is arguably at his written, illustrated best with Honor Kills the Samurai.  The internal struggles with honor and peace versus survival and necessary evils are prevalent all throughout here.  It can relate to anybody in any given situation and circumstance.  With this epic project, sometimes being the villain is essential just to make it one more day.



Folks, this is a tough one. None are necessarily great, as we've had a difficult year with the likes of Fatman Scoop, Chino XL, DJ Mister Cee, Enchanting, Rich Homie Quan, Boss, BeatKing, Foolio, and Brother Marquis of 2 Live Crew all leaving us.  With Ka, we've lost one of the game's most brilliant writers and storytellers.  While we as fans may have lost Ka, the rapper, emcee, storyteller, exquisite producer, and artist, his wife lost Kaseem, her husband. their children lost their father. His fellow firefighters in NY lost their captain (who was one of the first responders reportedly during the 9-11 attacks).  This is a huge loss all around and the tributes are pouring in from all over the place, remembering just great of a talent he was and how much of a friend and mentor he was to others.  Our hearts go out to all those deeply affected by his passing.  It's unknow if he left any music behind, but as for this tribute, we compiled some of his best songs throughout his highly acclaimed career to get a better sound of just how special he and his music was, and how influential his legacy is and will be to come.  To Kaseem Ryan, God bless you, thank you, and we will forever salute you, king. Salute, and rest in eternal power!


Here are some songs to commemorate the career of Kaseem "Ka" Ryan (1972-2024)


Mourn At Night

Day 777

$

Children

Illicit Fields

Golden Fleece

I Wish (Death Poem)

My Only Home

Cold Facts

Day 3

Knighthood

Beautiful

Atlas

30 Pieces of Silver

Day 13

Patience

Sirens

Eat

Barring The Likeness

Last Place

30 Keys

Every Now and Then

Obstacles

Patron Saints

No Downtime

Old Justice

Solitude Of Enoch

No Reservations

Subtle

Borrowed Time

Hood

We Hurting

Sad to Say

Grapes Of Wrath

We Living/Martyr feat. Navy Blue

Full Cobra

I Love (Mimi, Moms, Kev)