It’s not just ignorant, it’s aggressively so, in a way that often seems to disrespect nearly all conventional hip-hop production techniques. It also contains a feature from either Joe Moses or YG Hootie (I’m guessing Hootie) that consists of nothing more than the various sets he reps on the West coast. “TTG” contains a debut “feature” from artist Baby Bomb which consists solely of his pronouncement “I’m Baby Bomb!” at least 10 times and impersonations of OJ da Juiceman and Flocka’s adlibs. This kind of thing happens over and over, though the first three songs make the best examples. Originally intended as a mixtape, songs like openers “Bustin’ at ‘Em” and “Hard in da Paint” with their extended codas of pure unfiltered adlibs make it somewhat obvious not much effort was made to album-ize this set other than remove the DJ drops and boost everything to CDQ. This ugliness deserves more appropriate handling. After all, the Flocka experience is so visceral and humanistic that to try and distill its purpose feels too scientific, too heartless. As much as I would like to give Flockaveli the usual and dig its guts out, put the pieces back together and explain what makes Waka Flocka Flame so endearing as an artist, I’m not sure I can find the words to do so.
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