“Stick ‘Em Up” is amazing, true minimalist funk with a tapping cowbell percussion track and some black college marching band horns and not much else, with Pablo talking about how his gun “is the only homeboy I call”. I’m really impressed with Petey Pablo’s production skills on this record. And he doesn’t stop there he reps for “Chinese, Japanese, Portuguese,” he reps for “the white ones and the black ones”… he’s the rap savior we’ve all been waiting for! There are just seven times as many hooks as anywhere else in the world-and when the metal guitar-synths blast in out of nowhere for the last verse, backing up his claims with the holy fire of rock: “I rep for the prisons / I rep for the block / All my nine-to-fivers out there workin’ a job. It’s country as HELL, with banjo plucks interspersed among the synths that sound like accordions and a beat-box section that kind of sounds like a dude playing the spoons except with his mouth, and Petey talking about how you shouldn’t mess with him even though he’s been taking time off to enjoy his wealth, and a whole gang of voices yelling “NORTH CAROLINA” on the chorus. Not only is Petey dropping his state of origin every chance he gets, it also forms the foundation of my favorite track on this record, the self-produced “Let’s Roc”. So score one for the dude from North Carolina. Somehow “Freek-A-Leek” manages to be funky and fun without devolving into hardcore sexism. But he’s not interested in any but a willing partner, and he actually asks her in the course of the song what she wants: “It’s time to give her hers” is not a sentiment we’ve really heard a lot of in crunk.
Sure, he’s looking for someone to be freaky with, even on a booty call his stated favorite proportions are 24″-34″-46″, which I’ve spent hours thinking about and have concluded that I’m not sure it’s really possible. Penelope Magnet’s cooing “How you like it daddy?” is classic Lil Jon’s seven-note synth is classicker (and his yelling is approaching iconic status) Petey’s last interjection is my favorite line in any song in any genre this year: “Now I gotta give a shout-out to Seagram’s Gin, ’cause I drink it, and ’cause they’re payin’ me for it!”īut what really makes “Freek-A-Leek” special, what elevates it over all the other crunk sexxxrhymes of the last couple of years, is the relative gentleness of his approach.
His kick-ass single “Freek-A-Leek” is top-tenning it big-time, courtesy of its Lil Jon beat and its general dirty-minded-ness and its classic chorus featuring a list of ladies that Petey is down with: “Shamika, Keisha, Tara, Shonda, Sabrina,” etc., the litany will be repeated at many summer parties. So it was just natural that Petey Pablo would be one of our first guests, and lucky for us, he answered after emails and direct messages.Petey Pablo is riding the crunk wave right now. Of course folks like Michael Jordan and Ric Flair gave our state some sort of an identity, but within the regional pride of the Hip Hop world, North Carolina had very little representation up until that point.
PETEY PABLO PRO
The stories of people who 'made it' in the world of sports, entertainment, pro wrestling and so on. Starting this 'Culture State' Podcast with Dennis Cox, we knew there were amazing stories from our state that needed to be highlighted and put to the forefront. That was the effect Petey Pablo had on my life at least, even if he didn't realize. Without fail, any time I spoke with a kid my age and told them I was from North Carolina, the typical follow up was, 'Do you really twist your shirt around your head like a helicopter?' And it didn't just happen that summer, it happened most times over the next few years whenever I traveled.īefore this song came out, if people asked where I was from, the response to my answer was, 'Where?' That summer I took a trip with my family to Los Angeles during summer vacation. Petey Pablo made sure it was North Carolina's turn.
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