"'Konexion' is about me bein' connected, lyrically, to my craft," Freddie Foxxx explains on the opening 'Interview' skit. Not exactly the mother of high concept albums, then, 'Konexion' should at least help anyone who hears it join a series of dots that lead inexorably to the conclusion that Foxxx is a far better, more entertaining and talented emcee than his almost subterranean profile implies.
A former member of Queen Latifah's Flavor Unit management stable and the veteran of scene-stealing guest spots on the sort of records revered by fans of undiluted, street level rap classics, Freddie ought to be about to become a household name. He knows where he fits in: on 'PAINE', one of a brace produced by Gang Starr's DJ Premier, he says he's "like Rakim with muscles", also noting that "I'm Billy Danz, Lil' Fame/Jesse James/Manson and Dharmer". And, if ever an emcee could plausibly claim to be the sum of two psychopaths, a wild west outlaw and M.O.P., then it's our Freddie.
Yet here he is with his second independently released album in as many years, still struggling to get across with his garrulous delivery, hilariously combative lyricism and curse-heavy quips. It's one thing expecting records like this to attract a minimal audience when the charts are dominated by processed pap and anaemic dance music, but when 50 Cent is the biggest selling rapper of all time you've got to feel for Freddie. No disrespect to the excellent Barely Breaking Even imprint, who have consistently supported hip hop heavy hitters inexplicably abandoned by the mainstream, but in this day and age Foxxx should be on a huge label, with big budget videos, appearing in hilarious cameos on Mariah Carey records and gurning beside Jigga et al at the MTV Awards.
OK, so he's hardly an icon for positivity and good vibes: his declaration that "I don't like homos" is likely to alienate the sort of indie-minded newcomer a release of this profile needs to court, and there is little thematically apart from a seemingly steroid-enhanced level of lyrical bravado. Yet the latter complaint applies just as strongly to M.O.P., the former seems tame compared to some of Eminem's lyrics, while sonically and lyrically this record is streets ahead of the similarly unremitting 50 Cent album.
Here's hoping the paying public will start to make the right connections before too long: Foxxx is too good a rapper to remain in the margins.
