Bibby’s intro includes some sh-t talking from Cash Money Records founder Birdman aka Baby and, of course, Mr. DJ Drama himself. Bibby doesn’t even rap in the intro, but I was jolted by a surge of excitement as I braced myself for the listening experience that was to come. And it’s a shame Bibby let that intro’s beat go to waste without dropping a bar. It felt only right for Bibby to reintroduce himself to the game by popping in and going off as he usually does. But perhaps Bibby played a trick on the listeners with this tactic. Because at this point, I envision hearing listeners screaming, “We want Bibby! We want Bibby!” But don’t worry, Bibby soon hits the stage to give them a performance they’ll never forget. And how could they, listeners are still hooked on the “Free Crack” Bibby gave them the first time around. Fans are now going through withdrawal and Bibby came back to give them another hit. Or how about 18 total hits to be exact.
The main attraction soon enters the stage and Bibby asks “Can I Have Your Attention?” Bibby gets to work in his Bangladesh and Brannu production and talks the perils of fame. A theme one may notice throughout this project is Bibby’s examination of the unwanted attention fame has brought him. Bibby talks how his newfound celebrity has made him more cognitive of his surroundings.
Bibby raps, “I’m on a money making mission, snakes in the grass got a young n-gga tripping/Usually I don’t give a f-ck, but I been feeling like who the f-ck can I trust/When a n-gga broke, he do whatever for the buck/and I’m getting money, so I keep my nine tucked/I got n-ggas plotting on me/Keep that glock up on me.”
Bibby can attribute his success to two crucial songs in his career- “Kill Sh-t” and “For The Low.” I’m a firm believer in the philosophical statement: “If it ain’t broke, don’t fix it.” But this doesn’t apply in this case. Bibby gave fans a sequel to the latter track and succeeded in delivering another round of dopeness. He also tapped Wiz Khalifa and Juicy J for this release.
“I still got what you need n-gga!” Bibby confidently raps.
Bibby reunites with day one brothers Lil Herb and producer DJ L in “Game Over.” DJ L, for those who don’t know, was the production talent behind “Kill Sh-t.” Bibby and Herb know they are the dynamic duo in the rap game. It’s not many artists who can touch them when they’re together. Bibby and Herb trade trademark tough bars in this joint.
It is common for many inner city males to hold a bleak outlook on life. In Chicago, dire circumstances afflict residents with many ending up either “Dead Or In Prison.” Bibby recognized this could’ve been his fate prior to his fame. Bibby talks taking advantage of his blessings so that won’t happen. But Bibby also talks being caught in a catch 22 because his fame has brought on more problems.
“I swear to G-d, I like it better when I was broke/I’m paranoid I gotta keep my eyes on all these folks,” he raps.
Nonetheless, Bibby knows it could’ve been worse had it not been for his newfound opportunities.
He raps, “My big brother probably be somewhere up in the feds/My little brother probably be somewhere in jail or dead/Thank G-d a n-gga used his head.”
Juicy J again makes guest appearance on this tape in Bibby’s song “Montana.” Juicy handles the track’s hook and spits a verse. The two artists compare themselves to popular fictional drug lord Tony Montana from the cult classic crime/drama film “Scarface.”
Bibby raps, “We got the choppers like Scarface/Got 50 shots up in my K/N-gga try to run up in my place/The chopper singing like Sade.”
Another common saying is “people only call you when they want something.” Bibby knows this all too well. A lot of hands reach out to Bibby wanting something. Bibby tries his best to stray clear of their grubby fingers in “Can I Get.”
Bibby collaborated with T.I for the hot club record and radio hit “Boy,” a P-Lo production. Bibby and T.I. are feeling like them guys in this single.
Bibby hits the hook, rapping, “I pull up parking lot stunting, boy/Thousand dollar jeans full of hundreds, boy/N-gga we ain’t worried about nothing, boy/Everybody with me getting money, boy.”
Cash rules everything around Bibby. Bibby’s hustle is on another level at this point in his career. Bibby won’t dabble in any venture unless green is involved. He lives for the money.
“If you ain’t getting money what you here for?” he asks.
Bibby is on a mission to acquire wealth to make a way for his family.
“Grinding so hard, I don’t do it for myself/Long as the fam straight, who gives a f-ck about my health,” he raps.
DJ Pain hooked up the production on Bibby’s single “We Are Strong” featuring Kevin Gates. The track contains a sample from Pat Benatar’s “Love Is A Battlefield.” The two XXL Freshman 2014 artists trade bars in this record.
According to Bibby, he spits the realest sh-t he ever wrote in song “Tomorrow.” The theme of fame again appears in this track. Bibby says the women who didn’t look his way are now rushing towards him and former friends are now foes. Even more noteworthy about this track is Bibby calling out unnamed rappers in the industry.
“My favorite rappers turn into my favorite actors/For real man it’s like when you find out Santa Claus ain’t real/This sh-t is f-cked up man/It’s like these n-ggas is really actors/They really actors, B.”
Bibby could’ve been done at this point in his tape. But he gave fans more free work. Bibby’s tape had three bonus tracks in this tape, including, his “Water” remix joint featuring Jada Kiss and Anthony Hamilton.
Bibby is still trying to remain levelheaded in the midst of fame, rapping, “Remember I was tryna stay afloat/Now, I’m out here making dough/Let’s make toast, I’m the youngest n-gga with the greatest flow.”
It’s hard to say whether “Free Crack 2” was Bibby’s sophomore mixtape or debut album. If there were any doubts in Bibby’s talent before this project, then you, sir, are a hater. If anyone still doubts Bibby’s talents after this project than again I must say you are a hater. I would even make the argument that Bibby’s “Free Crack 2” was better than the first. This tape had better structure, production and what appeared to be a revamped song formula for Bibby. There was also a nice touch with the “Paid In Full” skits. The scary part about Bibby’s talents is what can we expect from Bibby on a real album. If Bibby is able to produce high quality music for free, what could he produce with greater support and resources for a debut LP. The thought is scary and intriguing at the same time. Not only does it shows his genius song writing ability, but it also shows a Chicago MC of Bibby’s caliber can go toe to toe with the industry. This is especially remarkable given the fact Chicago catches flack for not producing enough so-called lyricists. Bibby’s partner in crime Lil Herb also shares this special attribute. Bibby and Herb are special pieces to Chicago’s music scene puzzle that can help lift the city out of violence and despair and into a new era of prosperity. But that’s only if Bibby can keep his head above water. In the midst of Bibby’s 18-track tape, I learned he is grappling with his newfound fame. It was less than a year ago when Bibby was a little known underground artist. Now he is on the brink of stardom. But I’m sure this is nothing Bibby can’t handle. The boy is on fire and there is no extinguishing his flame any time soon.
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