In fall 2012, Freeway chooses to release this promotional mixtape ahead of his next album "Diamond in the Ruff". This effort is hosted by Don Cannon in collaboration with streetwear clothing line Rocksmith Tokyo and fashion retailer and culture outlet KarmaLoop. Production is provided by Cardiak, Jake One, B. Jones, 183rd, AK47, JRB, Mike Jerz, Toure, Sap, CertiFYD, Jeffro, Mr. Green and Thelonious Martin. Guests are Jakk Frost, Malik B of The Roots, Diamond, Tana da Beast, Free, Sean McGee, Mama Jones, M Class and Young Chris of State Property.
Like most of the work of the State Property rapper, this tape also begins with a well-deposited cut: "F.O.S" (acronym of the mixtape title), which boasts a good soulful, tight, tense, light, very dark, very well made jazzy boom bap, excellent aggressive delivery of Free, with alternative jazzy bridge in the presence of the hook. "Hotline" (tight, dark, bouncy and disturbing beat supported by silenthillian piano keys on which Free proves to be hungry in one of the finest tracks of the tape) and "Dinars" (Middle Eastern, essential, accessible jazzy production, discreet delivery) are discreet choices, "Bearded Wonder" is the first bad spot: bouncy, annoying, cheap, simplistic, horrible boom bap, average performance by the rapper. After this slide, the tape cannot get back to its feet: it's on its knees and continues to get slap everywhere, without understanding exactly where these offenses come from, at what moment, by whom and especially for what reason.
"Beards R Us" features a barely heavy, tight, simplistic, cheap beat, decent jazzy vibes, with mediocre guests, except Malik B. "Go Get It" has a decent delivery by the rapper from Philly, but the rhythm is skeletal, bouncy, cheap and simplistic. "Smells Like" is a generic cut: heavy, simplistic, tight, essential, cheap jazzy boom bap, decent rapping with functional hook. It follows a poker of bad songs opened by "Master of Ceremony": skeletal beat, essential, tight, simplistic, disturbing, Freeway isn't even inspired here over this poor beat. The female MC Diamond flows quickly and easily, but says nothing that brings value to the song and above all doesn't raise it ("Ice Cream"). "Let You Know" has a fine rap and it promised to be a decent track, however, there's a strangled beat, too tight, too bad.
"Ghetto Love" starts with a tribute to 2Pac over a jazzy rhythm, simplistic, tight, essential production, light and discreet delivery of Freeway, pop female hook in this love song. "We Up" has a beat essential, simple and light, Freeway seems inspired here, but his voice is too strong for the rhythm, not to mention that there's a swollen and heavy bridge on the trivial, useless hook that ruins the cut. Young Chris helps Free to drag himself towards the end: simplistic, light, essential, cheap, jazzy boom bap, weak delivery of Young Chris, Free has another energy in "Real Shit", street choice. "Nah Uh" is a jazzy soulful rhythm, simple, light, really good, essential, tight, disturbing, useless and banal chorus, poor delivery, while M Class isn't better. The last two tracks are bad: "Workout" (disturbing, cheap, poor, simplistic beat, pretty stupid tune for the club with banal and horrible hook, and weak lyrics) and "Hold You Down" (ridiculous chorus fixed with the autotune of Sean McGee over a synthesized rhythm, disturbing, cheap and simplistic, among the worst tracks of the tape despite the rough rapping of Freeway).
This effort isn't as solid as it promises to be in its opening minutes, with some tight introductory tracks, then descending to mediocrity with several watered-down and club tunes in an almost experimental tape, excessively irregular and frayed.
Rating: 5.2/10.
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