Words By MZ

Freeway Free At Last Album Cover

“I had a dream that Jay & Dame was back together/& in that second everything was back the same/In reality, your boy went back to Mecca/came back & said I would never rap again/Well that’s the way the ball bounces/a verse is an ounce, an album’s a brick/ Now it’s time for trafficin’/Ya’ll lame, I am the product/hotter than lava/they wonder how does Roc-A-Fella package caine?/First you take a brick of Jay/a brick of ‘Ye/a couple quarters of Freeway/an ounce of Beans…” – Freeway’s verse on “Can’t Tell Me Nothing” (Roc Remix)

Although not on the album, in just one verse Freeway sums up the last four years of his life since the release of his first album Philadelphia Freeway. Released in 2003, at the tail end of Roc-A-Fella’s dynasty, the album was critically acclaimed and street approved. Equipped with beats from Just Blaze and Kanye West, Freeway shined with his unrelenting, off kilter flow. Having successfully navigated the “fall” of the Roc and contemplation of giving up rap for religious beliefs, Freeway looks to continue what has proven to be a renaissance year for Roc-A-Fella Records. Following up “bricks” from ‘Ye and Jay; Freeway offers up a couple of “quarters” in the form of his second album, Free at Last.

Hailing from a city known for its contributions to soul music, it’s no surprise that Freeway favor’s the Roc’s “signature” soul driven sound as the backdrop for Free At Last. What is somewhat surprising is that it sports no contributions from Just Blaze or Kanye West. On “It’s Over,” Freeway addresses his frustration with not being able to secure beats from both of them. “Things just ain’t the same for gangsters/I’m back without a track from Kanye, it’s all good…” Thankfully, he only spits a few bars at each of them and moves on. For compensation, he turns to the likes of Bink!, Dame Grease, J.R. Rotem, Needlz, and Cool & Dre to provide the backdrops. The result is a soulful and fairly cohesive album.

Assisted by Marsha Ambrosius, Freeway starts off the album with “This Can’t Be Real.” Over a smooth piano and flute sample, Freeway gives us his account of his life from growing up in North Philly to signing with the Roc to the trials of releasing this album. Freeway’s flow is noticeably more laid back and his voice is a little deeper. Before when he spit, the best way to describe would be like having your foot pressing the gas pedal all the way to the floor, all the time. Now it’s like he’s driving on cruise control, he’s still moving at a good speed, but now he’s able to put more focus on riding the beat. Slowing down has also taken some edge off his high-pitched voice, which was one of the few complaints about him.

The first single is “Roc-a-Fella Billionaires” featuring Jay-Z. Over the Dame Grease produced track, which samples Helen Gallagher’s version of the show tune “Big Spender,” the two emcees trade big money verses. The song kind of stalled as a single, but sounds a little better within the flow of the album. Although it’s a decent song, it shows its age when Jay refers to things like “just” buying a ball team (which he did back in 2004. Don’t think for minute that money has made Freeway forget where he came from, the majority of the album reflects on his time spent in the street and tribulations in the rap game. On “When They Remember,” produced by Bink!, he makes his case for how he’d like to be remembered when he hangs up the mic. “Reppin the Streets” finds him pledging allegiance to the streets, while on the title track “Free at Last” he addresses the people he feels tried to take his spot during his time away. On “Baby Don’t Do It ” featuring Scarface, the two emcees offer advice to anyone foolish enough to think music has made them forget how things are handled on the streets.

In the end, the absence of Kanye and Just is both a gift and curse. On one hand, Freeway proves that he can make good music without their help. On the other hand, it never hurts to have beats from those two. Songs like “Lights Get Low” and “Nuttin’ On Me” could easily be replaced with songs from the aforementioned two. While solid songs, the production does not fit in with the rest of the album. The same can be said of “Take It to the Top” featuring 50 Cent on the hook. Freeway turns in a fairly decent song geared for the ladies, but the pop backdrop from J.R. Rotem has no business on this album. With significantly less features that “Philadelphia Freeway” Free proves that he has the lyrics and charisma to carry an album, despite having limited subject matter. With a mix of North Philly street life, tough talk, Muslim influences, and a chip on the shoulder of an emcee who feels slighted, Free at Last is another solid release in 2007 from a rejuvenated Roc-A-Fella label.

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