This is the sixth full-length record from Brooklyn-based emcee Eddie Kaine. At the start of the decade, his Big Ghost Ltd.-produced debut album A Tree Grows in Brooklyn attracted attention, and subsequent albums Wonderful World of Kaino and Chosen were both moderate hits. response until Finn’s production of Quincy Street Blues marked a return to form. For Eddie. But last fall, after emerging from BP Infinite’s House of Kaine, Kaine and Big Ghost reconnected and headed to Crooklin via “The Final Exit.”
“The Wrong Time” opens up shop by bringing a flare of jazz on the instrument so that Eddie himself can admit that he felt like he was fired up for the wrong time, for those like Gil Scott Herron and Flowers were sent from someone like Bobby Womack who paved the way, and “Reflection” on some of his piano chords was more spiritual than some might imagine. “Gylan Kaine” veers into soulful territory, talking about the only goal of doing what they say he can lead into “Chain Walkers” featuring Planet Asia, getting the duo into their battle rap package backed by horns.
From there, “Could Never” clashes with these sombre keys with kick and snare, boasting itself as untouchable before “Crooktown,” in which Rim perfectly weaves in and out of a rugged boom beat that sounds better than most The songs have to be good. If I had to be honest with myself here, cut their collaborative EP Meta. “To the Pedal” talked sonically about his foot on the gas pedal in a warmer way, but then “Lanier vs. King” starring Jae Skeese brought back references to Marcus Lanier and Lee King soul turning.
“Misery” keeps chipmunk vocal samples talking about what it’s like to have all Versace and Coogie on, while “Cutthroat Drills” mixes piano with kick and snare for a lyrical return to the hardcore edge. Penultimate track “Roundtable Meeting,” featuring Emilio Craig, Odawg, Passport Rav, Rim, Smaccz, and Spoda, is a cool 4-minute group cut that showcases Eddie’s artistic versatility before “All the Below,” Its music is inspired by original rock. In the final moments of the record, he sings his heart out.
A lot of the same essence of “A Tree Grows in Brooklyn” has filtered into “Last Exit in Crooklin,” but it’s still a completely different story with a new perspective and some artistic maturity mixed in. The production on Big Ghost is jazzier than last time, but as Eddie touches on the themes, his real talent is making you feel like that’s a friend who’s been talking to you from the beginning, but the elements of boom bap, chipmunk soul, and drumless are still there exist. .
Rating: 9/10
