$oul $old $eparately – Freddie Gibbs' Most Cinematic Work Yet

When Freddie Gibbs first rapped, “Drugs for the free, soul sold separately” on "Education" from 2019’s Bandana, few could have predicted that this bar would become the title and conceptual anchor of a future project. But in 2021, Gibbs confirmed that his next album would be named $$$ — stylized $oul $old $eparately. After multiple delays, the project finally saw release in September 2022.

The rollout began with singles like "Too Much" featuring Moneybagg Yo and the moody, introspective "Dark Hearted," produced by the ever-eclectic James Blake. Anticipation was high — this marked Gibbs' first solo album since Alfredo with The Alchemist dropped in 2020. The final result? A 15-track opus stacked with A-list collaborators and one of the most cohesive listens in hip-hop that year.

The guest list reads like a celebration of hip-hop legacy and versatility: Offset, Moneybagg Yo, Rick Ross, Anderson .Paak, Raekwon, DJ Paul, Pusha T, Scarface, Musiq Soulchild, and Kelly Price all lend their voices, adding layers of depth and dimension to Gibbs’ signature style.

The album opens with “Couldn’t Be Done” featuring Kelly Price — a triumphant, soulful intro that sets the tone both thematically and sonically. The production, handled by Super Miles and Swoope, acts as a grand overture to the journey ahead.

Throughout $oul $old $eparately, Gibbs worked with over 20 producers, each helping to shape the album’s sonic identity while maintaining a unified vision. The Alchemist returns for “Blackest in the Room,” where Gibbs effortlessly switches up his cadence to match the beat’s evolving texture. It’s a perfect follow-up to the opener, both narratively and musically.

This isn’t just a collection of songs — it’s a cinematic experience. With smooth transitions, clever skits, and interwoven themes, the album flows like a tightly-edited film. “Pain & Strife” with Offset is a prime example of unexpected chemistry: Gibbs leans into his trap roots while Offset brings his high-energy delivery. The beat adapts with them, shifting tempos mid-track. When the next track “Zipper Bagz” starts, the transition is so seamless it's nearly unnoticeable — a clear signal this album isn’t made for shuffle.

Lyrically, Gibbs is sharp, bold, and often reflective. On “Lobster Omelette” with Rick Ross — their reunion after “Scottie Beam” — Gibbs declares, “You could take away this rap shit today… I’ma still get rich, bitch.” The track, produced by Jake One, is a lavish flex, and Ross delivers one of his best guest verses in recent memory.

Songs like “Space Rabbit” and “Rabbit Vision” give the album an almost sci-fi noir feel. These tracks push the boundaries of storytelling, hinting that this project could easily be adapted into a short film — no surprise given Gibbs’ emerging success as an actor.

What truly elevates $oul $old $eparately is Gibbs’ ability to revisit familiar subjects — pain, loyalty, paranoia, ambition — while making them feel brand new. His versatility shines through: each flow feels tailored to the beat, each verse rooted in experience. “Feel No Pain” featuring Anderson .Paak and Raekwon is a masterclass in tone and pacing, with each artist elevating the track without overshadowing the other.

Pusha T reappears on “Gold Rings,” reigniting their potent chemistry. The song is a standout, showcasing both artists at their lyrical peak. Gibbs and Push trade bars like heavyweight fighters — poised, precise, and relentless.

Then comes “CIA,” which feels like a career-defining moment. It carries the emotional weight of a closing chapter, yet it’s not quite the end — Scarface joins him for one final knockout on “Decoded,” a reminder of Gibbs’ respect for the craft and its elders.

In the end, $oul $old $eparately isn’t just another great rap album — it’s a fully realized artistic statement. With intricate storytelling, elevated production, and razor-sharp lyricism, Freddie Gibbs delivers one of the most complete projects of his career. It stands confidently alongside the best albums of the year, rivaling the likes of Kendrick Lamar, JID, and Denzel Curry in both vision and execution.