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But once again, overzealous matchmaking sinks Mac & Cheese access to a couple of Young Chop beats would be an unquestionable coup for French Montana if he actually sounded at home on them.
Harry Fraud gave French his first solo hit ("Shot Caller") and is something of a kindred spirit in that he's a similarly hot name without an identifiable "trick." On Mac & Cheese 3, his uptempo, soul-infused beats prove to be complementary, utilizing recognizable samples ranging from Florence & the Machine ("Intro") to the original source material of Jay-Z's "D'evils" ("State of Mind") and Ice Cube's "Today Was a Good Day" ("Triple Double").
Though he's obviously a spiritual descendent of Max B, I tend to hear Gucci Mane in how his slack delivery can obscure his clever wordplay or Noreaga in that his generally knucklehead demeanor can make the occasional but very real instances of resonance feel like they've been created against their own will.Īnd you have to at least appreciate the wealth of production here. For all of its repulsiveness, "Pop That" felt more like the talk of a high school locker room than a conversation between high rollers in bottle service and, at its best, Mac & Cheese 3 retains that giddy vulgarity. Weirdly, through all of this, French remains kinda likeable if not remotely admirable. "Ocho Cinco" is then followed by a skit which is 30 seconds of minor variations on threats to "beat my baby moms up" for listening to a French Montana tape. It's still a joke that uses an episode of domestic violence as a means of demanding oral sex. What exactly could unify this crew? Here's the group chant of a hook: "Told that bitch give me head, Ocho Cinco!" I mean, I've heard worse and having seen just enough SportsCenter and Real Housewives of Atlanta, I get the joke. The second track on Mac & Cheese 3 features the following: perpetually ignored NYC mixtape space-filler Red Café, Everlast/Yelawolf hybrid MGK, Chief Keef producer Young Chop, and Diddy, who has apparently signed several of these guys.
"Ocho Cinco" sets the tone in terms of its features and its deadening misogyny. Or maybe French is a Slip-N-Slide rapper! Rick Ross would've shown up regardless, but Trina ends up stealing the show on "Tic Toc", partly because she contributes an awesome verse, partly because she adds contrast to a mixtape whose depressing sexual politics suggests that "Pop That"'s views on women were its biggest selling point. Another event that should not go undocumented. Or, maybe he's more of a XXL Freshman 10 type, so here's some Mac Miller, Tyga, and Wale features! Or, hey, we're getting the Bad Boy band back together! Not quite, Diddy and Ma$e show up separately and the latter appears promising to bring you "soup and orange juice if you’re really sick" on a track that borders on condoning sexual assault ("Grownups").
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Witness him trading bars with past-their-prime NYC rappers like Fat Joe, Prodigy, and Fabolous, who says "teach me how to Douglas" on "Dance Move", an event that should not go undocumented. What really stands out above all is how it assumes that French Montana is either the most malleable rapper alive or that he simply does not matter.
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There really is no precedent for this mumble-goes-mainstream sort of blockbuster, at least not until the Duplass brothers get to direct the next Die Hard movie or something. It might be the most heavily A&R'ed mixtape ever made. Or, that the answer is "everything." The roster of Mac & Cheese 3 is astounding on multiple levels, the first of which is that it would be utterly absurd even on a record that needed to justify the $9.99 expenditure.
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