Release Date: Apr 20, 2010
Record label: Koch
The AC/DC of trashy stoner rap, Devin the Dude had released a fat set of like-minded and like-sounding albums by the time he got to this 2010 release, but just like those metal gods, Devin’s redundancy is the reason fans keep coming back. They won’t be disappointed by Suite #420, which features the usual set of chilled-out weed anthems, sex jokes, and old-school R&B beats, along with those great oddball numbers the Dude uses to break each album up. Here it’s the new wave-flavored, heartbreak song “Where Ya At?” along with the crooked and appropriately titled “Funky Little Freestyle,” where Devin offers “I baffle the minds of workers at the Laundromat/They think my clothes have been worn by a walking ganja plant”.
To say that Devin the Dude only talks about weed would be a bit of a misstatement. He does rhyme and sing about other topics. On his latest, Suite 420, those include sex, relationships, gossip and business, but it always comes back to his favourite plant. [rssbreak] Like the smoke emanating from his doobie ashtray, the weed talk permeates every subject.
In a recent interview with New York magazine, Devin the Dude comes perilously close to admitting that he made Suite 420 mostly as an excuse to release an album on April 20. That's a deeply ridiculous example of stoner logic at work, but it's also pretty emblematic of where this particular rap legend is living these days. Suite 420 is Devin's seventh solo album, and rappers barely ever reach that level of career longevity without, at some point, moving beyond their comfort zone and trying to reach a bigger audience.
MERLE HAGGARD “I Am What I Am” (Vanguard) WILLIE NELSON “Country Music” (Rounder) Merle Haggard and Willie Nelson were already past their hellion years when they united for the 1983 album “Pancho & Lefty.” Relaxed and knowing, it was the product of a couple of onetime outlaw rule breakers who had learned that playing nice was potentially a more lucrative choice and almost certainly a less stressful one. In retrospect the album was a harbinger of compromises yet to come: in the decades since, both singers — once capable of being caustic and moody — became polite shells of their old selves. Often the music they made, particularly Mr.