Send "Killer Mike " Ringtones to your Cell 
| Hiphopdx |
 Somewhere among the demand for social equality that you see in Chuck D, the aggressive delivery that DMX had, and Jeezy’s energy, stands Mike Bigga (a/k/a Killer Mike). On PL3DGE he shows off all sides, and brings forth arguably his most complete project to date.The album begins with the incredible energy that Mike Bigga is known for on “So Glorious.” Lyrics like, “To son me, you gonna have to get a Bun B / Because the Pimp C in me won’t let you punk me” are the type of subtle but dope lyrics that not just honor Mike’s forefathers but forewarn anyone who thinks his allegiance to his grind isn’t 24/7. The very next track, “That’s Life 2” shows Killer Mike at his best as he delves into Oscar Grant’s death, Jesus Christ, and Fox News. The track's variety of subject matter comes together perfectly and Mike never loses focus. It's tracks like this that separate Mike from his peers. While artists attempt to brand themselves socially conscious, their inability to create a complete narrative on a subject matter fails them more times than not. Mike shows that he is more Chuck D than most of those who are grasping for that title....full text |
| Pitchfork |
| If all political rappers were a little more like Killer Mike, political rap might not be so irritating. While guys like Immortal Technique specialize in mouth-foaming sloganeering, Killer Mike comes across as a smart man with a short fuse. The hulking Atlanta rapper entered the game as Big Boi's bruiser friend, adding muscle to OutKast tracks like "Snappin' & Trappin'" and "The Whole World". But after a few years in major-label limbo and a messy split with Big Boi, Mike emerged as something else: a righteous underground-rap avenger, a live wire with a moral compass and a sensitive bullshit detector. On the great 2006 spleen-vent "That's Life", he treated the ineptitude surrounding Hurricane Katrina like it was a personal insult, and he responded accordingly: "[Bush's] mama said the women oughta feel at home/ Getting raped in the bathroom in the Superdome." That one song was a more effective rage-trigger than anything John Goodman roared into his webcam during season one of "Treme". But Mike's political fury never quite dominates his rapping; he's just as likely to unleash head-slap threats or promise to buy his wife fancy clothes as he is to get emotional about economic inequality. Paradoxically, that gives his political stuff more dimension; he's not a one-note persona; he's a man with a lot of opinions, and he knows how to express them with feeling and style. With every album these days, Mike sounds more and more comfortable with the idea that he's always going to be an underground figure, not a major-league rap star. On the first track of new album Pl3dge, he addresses the major labels who presumably aren't knocking down his door anyway: "If they talking major money, we can talk, and that's whattup/ If they ain't talking about that, then I remain indie as fuck." A few major stars show up on Pl3dge, but they're guys with their own problems: T.I. and Gucci Mane, unable to stay out of jail, and Young Jeezy, unable to convince his label to release his album. For the most part, Pl3dge sounds like an album built to fly under the radar, a fiery old-school Southern rap record with no expensive-sounding beats and no concessions to any radio station on Earth....full text |
| Popmatters |
| For those of you who missed the should-have-been worldwide event of Pledge Allegiance to the Grind II‘s release, allow me a moment for a brief recap. Killer Mike received one of the best debut blessings an Atlanta rapper’s ever received when OutKast threw him on their Greatest Hits throw-in “The Whole World”, one of OutKast’s biggest crossover successes. But it was sort of a strange marriage that saw Mike spending a lot more time with Big Boi’s Purple Ribbon camp than Dungeon Family proper, and eventually Mike left on unamicable terms to forge his own path as the leader of his Grind Time crew. The rough period continued as his sophomore album, Ghetto Extraordinary, languished in label hell despite being more Dungeon Family-connected than his debut, Monster, until hip-hop site HipHopDX finally dropped it for free shortly after New Years, 2008. The album carried a political bend reminiscent of the Fam, but it turned out to be a mere warm-up for the sequel to his Atlanta-dominating Pledge Allegiance to the Grind mixtape....full text |
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