I rap Tony Yayo is a process so do the rocks (and those of Matera, which ultimately do not fare well, as they say). That the rapper has managed to stand out as most rappers lack of G-Unit (which is not that well never have been abundant lightning war) is certainly a remarkable achievement.
Even more remarkable is certainly the fact that his
Thoughts Of A Predicate Felon was probably the worst album released under label G-Unit: given the crap post
Beg For Mercy , is certainly an impressive record.
That way, sembrerebbe finita (“un chiodo nella bara”, direbbe Eminem) per Yayo, ma non è questo il caso, anzi. Questo è un post di apprezzamento. Se mi seguite un attimo, provo a spiegarmi.
Assodato che le qualità tecniche gli fanno difetto, infatti, il buon Marvin, che è un “goon” coi controcazzi (non ha problemi a picchiare anche i ragazzini, se questo può essere utile a 50 Cent), ha una qualità che è rara, anzi rarissima nel business di oggi. Qualità che lo rivaluta del tutto e che cancella qualunque misfatto pseudo R’n’B o rima zoppicante.
Tony Yayo è uno di quei rarissimi artisti che sanno ritagliarsi una fetta di celebrità per fare quello che vogliono. Per be more clear, beyond the compromises to do with Interscope, Yayo is aware that the "fan-base" that the G-Unit has built over the years can also be used to absorb that which is the production of more personal 'artist. Which is not necessarily the "trademark" of the G-Unit (sounds "smooth", megamastering and songs from a million dollars on which to set the generic gangsta skirmishes). I find that very refreshing
Yayo Based God is a fan of Lil B. Adapting the system "based" on its own aesthetic, Tony Yayo manages to involve the listener in a kaleidoscope of disjoint and non-sequitur rhymes surprising that add appeal on the limited content and flow of the rapper. If you add to this that Yayo's ear for the beat is definitely better than average and that of colleagues to this the "Gun Powder Guru" good mates ability to appreciate other rappers, not just what one would expect from membership of New York, but just in general, it is easy to understand how the redemption is complete.
For confirmation, just listen
Hawaaian Snow , all done in tandem with Danny Brown from Detroit, one of the most interesting rappers around at the moment. The nasal voice of Brown and its flow-based image and disgusting at the same time engaging in the construction of metaphors are the perfect complement to every little "stoned" and threatening to the review of Yayo idiosyncratic concepts of the classic G-Unit, contaminated by an imaginary crack-strip club, Marvel comic books, mafia movies with low budgets and reminiscences "trap-hop". Yayo know reinvent naturally, does what it's like caring about fashion, created a mixtape with a single manufacturer (Doe Pesci from Queens) with tight trousers as an accomplice by Danny Brown is the only guest who called Lil B, also loved and hated for his rap spontaneous and unregulated and certainly the opposite of the position, in theory.
For me, the redemption is complete. If any of you but not sure, recoveries
Hawaaian Snow and then we'll talk about. Here on the blog, possibly.
