“Hustla’s Story,” a slow-burning and perceptive assessment of urban life’s many traps-addiction, prostitution, absent parents-reawakens his gift for narrative, and brings along a Section.80-sounding Kendrick for the ride. The song where he lusts after women of a certain age, “Freaky 45,” and the Kendrick-featuring “Hustla’s Story” are two examples of the types of locked-in grooves that add color to Cozz’s storytelling rather than stripping it down. These are beats that sound smarter than they really are-saxophone samples and slow-crawling bass abound, but very few of the more pensive beats stick out after a few listens, and the more lackluster ones force the charismatic, quick-witted Cozz to over-exert where Cole would’ve simply navel-gazed. The album’s producers, led by Cozz’s longtime partner Meez, bring a practiced but somewhat one-dimensional take on jazzy, head-nodding instrumentals that often do more to harness Cozz than liberate him.
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