I was however, pretty well versed in what Muggs had been up to as I was fresh off of hearing the recent Cypress Hill album Elephants On Acid, as well as his KAOS project with Roc Marciano. Some of the biggest bangers of Vinnie Paz solo albums have also been done over Muggs beats so I knew the potential when it came to Medallo. The record is born out of an odyssey that Crime and Muggs took to the city of Medellin, Columbia and features bilingual lyrics across each song.
The intro to the record has its own spot on the tracklisting. I quite like the sampling here as Muggs mixes brass sections with some cool drum roll chops. The vocals are all in Spanish so I'm only really appreciating the melody. It's short but helps with establishing the setting. It's necessary before you get into the songs I'd say.
Medallo is really a sound to behold off the first song. "En Vivo Desde Manrique" is this stadium sized free verse track with more than a few quotable and quick flows. This sample is so grand with these amazing stretched out horns that only break for a crescendo of strings. There's little drum work on this track beside these rumbling bass hits that enter during the brass parts. Crimes lyrics paint a story of triumph and confidence as he warns promoters of his pricing, brushes off his competitors and throws in some really flashy bilingual moments. Also that line where he rhymes Quetzalcoatl is fuckin nuts.
Muggs drums are in full form on the next track "Tiburones". This beat really takes it's time to build as the synths gradually fade up to our drum drop. This track probably has one of the two hardest snares on the album. Crimeapple continues recounting his rise to prominence with lines like "Nobody tryna sign me fine, I sign myself/The grind remind me of going to knock down your town with nicks and dimes." Crime right away or demonstrating his dexterity when it's time to switch from syllable scheme to the next. This hook is just as hard and commanding as everything else on the song as well.
"Camisas" has one of the more laid back scores on the record. Muggs arranges a wonderful medley of piano chops atop chunky drums. Crime spits about shopping, fancy restaurants and rolling good weed. It's a solid reflection of how his lifestyle has changed. I wish I was fluent in Spanish as this track has easily the most bilingual moments on the record. This a great song to gets some chores done to or roll that first blunt of the day to.
There's a kind of sensual cut with "Prescriptions". Crime isn't necessarily womanizing on this track its more him having relationships on his own terms. He can't slow his grind for any girlfriend which I dig. The sample that sing "Take away your love" really fits and its blended with a wicked baseline and a guitar riff where the snare should be. It's not a banger but its funky and Crimes confidence makes the concept work.
Continuing on the victorious tone of "Camisas" is the sixth track, "Villa Hermosa". There's a little less ego on this track as Crime takes stock of his blessings as well as inspires listeners through lyrics like "What if God made me in his image there couldn't be a limit/Go for yours, never waste a second being timid." The instrumental gets to breathe a lot between the verse and chorus too which is good. This is one of the most layered beats on the record with strings and woodwind instruments joined together with splashes of keys and guitars. A beautiful piece of music.
"Crazy Eddie's" is a favourite of mine too. Muggs adds so much suspense to this song from the buzzing strings whirring in the background and these pounding drums. Some of my favourite bars on the album are on this song like "No Robert Kelly shit, my Kelly Rowland keep the jelly thick/Steady bouncing on my meatballs 'til I got a spaghetti dick". We have a little bit of Spanish lyrics but most of his bars still end on English words. Also I like the line of "If rap don't work, I'm in that spot and you can call that a writers block." This song is dope dealing mixed with decadence. Stupid hard.
My absolute favourite song on here is still the first single "Just Because". Muggs weave this rich tapestry of string and brass sections over another set of muted drums. Crimeapples vocabulary and command of flow comes out on his second verse in lines like "Pots and pans, I'm switchin around brain in the pyrex when the pie is correct/To a rapper ego I'm a threat, you'll probably die from neglect oh bet you upset." The beat works as a slow canvas for Crimeapple to play with all kinds of rhythms but the real selling feature is just the beauty of this sample.
The runner up for my favourite song has to be "Acetone Wash". Crimeapple and Conway sink their teeth into a similarly drum-less sample. Though there is noticeable rhythm in regards to the baseline the instrumentation is still full of colour. The crackle of vinyl ties electric guitars and vocal samples into one seamless score. Conway is not stranger to Muggs production and he opens the track recalling his rise from upstate New York to stardom in lines like "They tried to lock me up but, they ain't have my mind shackled/Now right in front of City Hall they gon' put my statue." This is just the classic slow scary flow that Conways known for and his verse flows so seamlessly across this production. Crimeapple brings one of his more medium paced flows but its fine because the punchlines still hit really well especially line of "I'm just my pops if he could hone his dreams". The instrumental fades back at just the right time to highlight lines from both them as well. Muggs is in his bag for sure.
The last act of the album starts to stagger a bit with this next track "22 Blue Twos" featuring Primo Profit. This beat from Muggs is pretty simple but effective as Crime and Profit both have as much space as they need to spit. The negative to me is just how different the verses are in quality. Primo has such minimal wordplay in his verse and I'm still not fond of his rap voice as I hear too much force behind most of his consonant sounds. Crimeapple kind of picks up the song in his verse but there is also better verses from him in the rest of the record as well. Its the shortest song on here and it almost stops but doesn't end. If that makes sense. There could've been more chord progression in this beat I think.
"No More 2 For 5" has one of my favourite beats on Medallo. Muggs synth work combines with little bursts of keyboard for a real science fiction sound. Aesthetically, this music sounds like a derelict space station especially with the distortion effect on Crimeapples vocals. I like the references to Soul Assassins in the line, "Sippin' champagne at the Soul Assassin cotillion building/Someone oughta be filming I gave mother fuckas a cheeseburger and stuck a pill in." This hook is serviceable but given how fast paced the syllable work is, something repetitive and simple actually works.
The most relaxing joint on the final act of Medallo is "Aguas Profundas". One of Muggs most stripped back productions on the record as this beat ticks along with gentle cymbals and synth work. Crimeapple plays with so many different aquatic punchlines as he brags about expensive seafood dinners and weaves in so many other lines to match the dull sounds of water trickling through the song. A good break because the track right after smashes right away.
Our last real banger comes "Bloodtype". Wide snares and deep resonating kicks are help up by a buzzing string sample but that only half of how this record sounds. There's constant noises of calamity from gunshots and sirens which really adds to the lumbering of this beat. Crime gives us a nod to his friendship with Vinnie Paz in some lines, "I politic with Vincenzo, I'm Pistol Pazzy favourite." which reminds me how much more Muggs beats need to have Vinnie on them and also the circle of spitters Crimeapple has been approved by ad he's still relatively new. This whole track just sounds like a riot. Best snare on the record too.
The final song on the record "Tellin Me Lies", musically is a gentle let down. Quick snaps of electric guitars punctuate a great vocal sample. Crime is sort of deescalating the advances of a woman. He's mostly after the release of sex but too busy for a girlfriend. Decent concept I just cant figure out why this is the last track. I feel like something that wraps up or alludes to the experience of recording music in Columbia could've brought this record home in a more satisfying way.
Medallo is a great piece of art for sure. Musically, Muggs joins each song expertly and knows when to break up the sequencing with more melodic songs after harder songs and vice versa. Medellin definitely was an inspiration on the sample choices and vibe of this album. Crimeapple sporadic flow and wordplay lends very well to every score on Medallo as well. I think Crimes topical focus and storytelling could've lent itself to the album a bit more as he did visit the city all throughout his childhood and has family there. I'm leaving this record still knowing very little of Crimeapples life and struggle despite the theme of the album implying so many motifs of Colombian culture.
Pros: Crime and Muggs have a great working relationship on this album. The samples are lush, diverse and masterfully woven into drums that fit. Crimeapple expands on his staccato rhyme patterns and builds a lot of fantastic choruses as well. Just when we have a contemplative moment that drags slightly, theres a banger full of snares right around the corner. The Conway and Primo Profit are excellent choices for each of their songs. Also the command of language Crime possesses in English and Spanish adds an entire layer of culture. The talent it takes for him to change language mid verse and sometimes even mid sentence, is immeasurable.
Cons: Focusing on one story isn't necessarily Crimes strongest suit. We have songs like "Villa Hermosa", "Prescription" and "Tellin Me Lies" that hone in on situations and reflections but for the most part a lot of Crime topical focus is pretty scattered in most songs. I also think the scope of the album began better than it ended. Minimal stuff though, as every song here has good qualities.
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