Pete Rock. I first heard the name not too long ago, when I found out he’d remixed PE’s Shut ‘Em Down and produced Common – The ***** In You. Pete is a very prolific producer, with a very ’70’s style that is truly soulful and can be nostalgic. He has a talent for picking out fitting MC’s to be on his songs, and since he doesn’t rap often & has a collab on every track that’s a good thing.

1) Truth Is ft. Black Ice

Over a great slow beat with echoey riffs and lazy strums, Black Ice talks his verse, which is pretty nice even with no flow. Kinda makes you feel like Malcom X is talking to you in rhyme, over a beat. (Great)

2) We Good ft. Kardinal Offishal 

The beat here is a funky guitar chord, I’m not sure how to describe it but it’s very 70’s. Canadian Kardinal has a good first verse, but his second is much better. (Great)

3) Just Do It ft. Pharoahe Monch 

Love this beat, a halting funkified…beat. Again it’s hard do describe, but it has bells and an echoey xylophone(?) chorus. Pharoahe’s verses are, as usual, illness. (Excellent)

4) Give it To Ya ft. Little Brother 

The beat is nice, laid-back and soulful as usual but unique in itself. This chorus has someone singing, and Little Brother’s verses are basically fire. (Excellent)

5) It’s the Postaboy ft. Postaboy

This beat is more energetic, chaotic. Postaboy dominates the track, and he’s aight, but his voice gets pretty annoying. (Decent)

6) It’s a Love Thing ft. CL Smooth, Denosh 

Pete and CL reunite on this track. It’s a 70’s-style love cut, the beat has horns and that echoey xylophone sound in the background, with a really bumpin base. Smooth’s lyrics are..smooth, and Denosh sings smoothly on the cut as well. The whole cut really has that perfect flavor they were looking for. (Excellent)

7) One MC One DJ ft. Skillz

The beat is again more energetic, this one has samples of James Brown screamin in the background. Skillz’ verses are pretty nice. (Great)

8) Beef ft. Krumbsnatcha

Very laid-back beat, a complex snare with harplike strums and bells in the background, but Krumbsnatcha’s verses are nothin special, except for the last one. At least he rides the beat well…the chorus can get annoying, though. (Good)

9) No Tears ft. Leela James 

This cut is about hard times. The beat is nice, base bumpin, more harplike strums that fit Leela James’ soulful, Macy Gray-soundish crooning. Gives a great, laid-back feeling. (Great)

10) Headrush ft. RZA, GZA

YES! A song with Wu-Tang Clan’s head honchos. The beat sounds almost like RZA and Rock collabed on it, like Pete tried to produce a song for a Wu group album. RZA leads off with a pretty nice verse, but GZA’s is better, str8 illy. (Great)

11) Fly Till I Die ft. Talib Kweli, C L Smooth 

The beat is smooth, that Kweli-fitting type of ethereal shit that backs his voice great, however it’s a bit stiff after a while. Talib’s verses are some realness, managing in his way to bring conscious rap into the mix of sickness and smoothness. C L Smooth is smooth on the hook, but unfortunately that’s all he does. (Great)

12) Warzone ft. Dead Prez 

Dead Prez on a party cut? At first this was a wtf track, but listen and you see what’s being said. Over a great vintage dance beat, Dead Prez rebukes the industry’s major artists going soft on club songs; the style of the song just doesn’t appeal to me, DP is still a bit too commercial for my tastes here and every line ends with “in da club”… (Good)

13) Da Villa ft. Slum Village

The beat is nice, a fade-in horn over soft piano chords and a laid back snare. Slum Village largely comes nice, especially the second & 4th verses. The hook is nothing special, but it really doesn’t matter. (Great)

14) Niggaz Know ft. J-Dilla 

This beat seems almost like a PR interpretation of a Dr Dre track, maybe Watcher (pt 1)..actually it’s very similar. It’s not bad, it’s not great. Dilla’s verse isn’t that nice, but his flow is really good. Pete actually raps on this one, maybe his verse was ghosted by J, maybe not. It’s in that moderate area. (Decent)

15) Appreciate ft. C L Smooth

C L returns on this last cut, rapping verses this time. His shit is smooth as usual, sounds a bit like LL on the cut. His flow is good and smooth, lyrics are aight. The beat is a nostalgic type of strummin guitar, I think it’s sampled. (Good)

My Rating: 4.2/5

All in all, Soul Survivor II is a solid followup and largely a really *****in good album. It has few failing points, and even fewer are Pete’s fault. But PR managed to bring out most of hip-hop’s most popular ‘underground’ MC’s from all over the country and out of the country, plus reunite with Smooth a few times, and he pretty much makes it work, showin versatility by crafting beats to match each MC’s/singer’s style.

My Recommendation: If you’re tired of the same old shit, and jus want somethin new, pick this one up; it’s def worth the $$.

In 1997 Mase burst on the rap world with super producer Puff Daddy in the year of Bad Boy Records. After appearances on Notorious BIG’s “Life After Death” album, the buzz on Mase was huge. After retiring from rap a few years later to start a congregation in Atlanta, the buzz returned when it was announced Mase would be returning to rap.

1. Welcome Back 

Sampling the theme song to the old TV show “Welcome Back Kotter”, Mase sets the tone to the entire album. The theme song to his return couldn’t be any more fitting. Mase is back, and according to this instant hit song, hasn’t missed a beat. Expect this single to get mad play in the clubs and on TV stations worldwide.

2. Keep Dreamin 

At first the beat is kind of annoying, but the rising tempo after a few listens fits Mase’s flow on this song. Unfortunetely there is no saving the horrible Kanye West “Workout Plan” style chorus. A better chorus and this track might have been a banger but it ruins the tempo and doesn’t fit at all with Mase’s style on the track.

3. We Don’t Have To 

A more laid back beat, a serenade to the ladies. Mase is back to his old *****y style of macking the ladies. The R&B chorus fits the song, personally not my style of track, but for the intended audience, it will probably be a hit.

4. I Luv Twyla 

A second love song back to back on the album, already the style of the rest of the album is set. This is what Mase is good at, and always has been good at. He reminices his old relationship with a former girl, and the chorus again perfectly fits the track. Good track.

5. My Harlem Lullaby 

A faster tempo but while its hard to pinpoint the problem with the production, there is definitely something missing. Repetitive beat, and the chorus is a little off but decent. A thank you song to his home for sticking beside him through everything. Average at best.

6. Wasting My Time 

Another song dedicated to ladies, but this time it’s a more cynical look at love life. The beat is a little bit of 8Bit Nintendo mixed with a R&B flavor. Surprisingly works, and Mase upholds his end of the bargain and doesn’t miss a step on it.

7. Gotta Survive 

A definite highlight to the album, a reflection of his life, over a slower and deep beat. His few years as a pastor really shows in this track, it makes you think, which is kind of a first from Mase since “24 Hrs. To Live”. Easily one of the best tracks on the album. Smoke to this track for sure.

8. The Love You Need 

Starts with a rap cliché skit of a phone call to his girl, starts off with the R&B hook which is nothing outstanding. But Mase really steps up his story telling ability on this track. At this point in the album though, the love songs are a little tiring.

9. I Still Love You ft. Nelly 

Hooking up with the man who got Mase to return to the rap game, Mase and Nelly do their best to defeat the atrocious chorus. If that doesn’t make you skip ahead, the flow over the beat will. Worst track on this album.

10. Do You Remember 

After the last song, it might just seem like this track is good, there is something catchy to it. Whether its just following the previous act that makes this stand out or not, it doesn’t really have anything else over the other songs. Average.

11. Into What You Say 

The production on this track is something Darren Vegas would have done in his horrible Death Row experience. Again, that style fails again, and doesn’t work on this track either. Another annoying chorus, what happened to Puff’s strictness on good choruses?

12. I Owe 

Again Mase tries to do a sing along chorus which again fails. The production isn’t very great either. He doesn’t do so bad on flowing over what he’s been given but it seems like a good time to end the album. And they did.

With the excitement of Mase being back, the question remained what Mase would be back? Harlem World or Double Up? Only twice on this album did Mase give us what he is capable of with “Welcome Back” and “Gotta Survive”. The rest of the album is repetitive, and while Mase did his job, the production and choruses are very lacking. Gives the feeling that with the excitement of Mase’s return Bad Boy was just jumping at the bit to get this album out without really paying attention to the detail they’ve been known for with production and hit choruses. Hard to pinpoint who to blame on this, but the album was rushed and it shows. Two instant hits previously mentioned, but the rest of the album will be forgotten by the end of the year.

Rating – 2/5

Mobb Deep first blew in the early-mid 90’s. Hip Hop fans loved their chemistry, Havoc’s dark, grimey production fit perfectly with Prodigy’s strictly gutter style. Since then, their music slowly evolves every time they put out an album, from their original dark shit to more piano-laced, to this.

Amerika’z Nightmare 

The title track starts off the album here. The beat is constructed from guitar riffs and a snare that seems too high. The shit that annoys me, though is the constant windy sound in the background. Prodigy’s verses here aren’t his usual illy, and Havoc’s is tpically nothin special. Neither is the hook. (Poor)

Win or Lose 

This is the first real deviation from the classic Mobb sound. Over a Jigga-ish, lavish-livin type (think of Annie) beat with horns and shit, and a sample of a woman crooning on the hook late 80’s/early 90’s “romance song” style, seems like a toast to the high life but it’s really about hustlin, doesn’t really fit. The verses are aight, again P’s better den Hav’s. (Decent)

Flood the Block 

The beat here is really hard to describe, but it gets type annoying after a while and it’s distracting. There’s some type of buzzing sound in the background that really does it. Havoc actually leads off here. Prodigy’s verse is much better. (Decent)

Dump ft. Nate Dogg 

A more urgent “action” beat with a crazy fast violin with a complex snare. Prodigy leads off, finally coming with his sick style, followed by Havoc trying his best…but what was Nate thinking with this hook? The hook god is good until the end of every hook, that monotonous “dump dump dump” throws the whole shit off. (Good)

Got it Twisted 

You can’t tell me you ain’t heard this recently. The Mobb’s first club banger (I think ever), and it’s not a bad first try. The beat is more like the older style den the previous tracks, it’s pretty good. My only problem is the subpar verses. (Decent)

When You Hear The 

AIGHT finally back towards typical M-O-B-B. Prolly cuz Alchemist produced this joint. The beat is annoying as hell, some type of discordant piano with a cheap horror movie horn thing. Sounds more suited to OutKast. P’s verses are nice, tho. (Decent)

Real Niggaz ft. I-20

Really 70’s style beat, Havoc comes on and raps a long, decent first verse. Prodigy comes on after and doesn’t do much better. HATE the hook, deep-voiced motha*****in I-20 (DTP) rumbling almost incoherently. (Poor)

Shorty Wop 

Hav n P are startin to scare me. This track is odd to say the least, it’s almost like G-Funk NY style. Listen to hear what I mean. Not that it’s a bad beat, it’s good. But the hook, is just *****in strange, and P’s verse isn’t in his style at all. Track really throws you off if you’re not expecting it. (Good [but *****in odd])

On the Run 

I really ain’t feelin this beat, at all. Shit is sloppy, chaotic and just doesn’t fit. On a high note Prodigy’s verse is some illy multies shit, but really that’s the only redeeming quality about the track. (Poor)

Throw Yo Hands 

Here’s the Kanye produced joint ehbody been talkin about. It’s a pretty good beat, creative in a good way, wit guitars and a bumpin drum track. As you listen to it it grows on you. Prodigy’s verse is some good shit, too. Even Hav has a good appearance. (Great)

One of Ours pt 2 ft. Jadakiss 

This is a beat I can feel. The snare is fast as HELL, can’t figure why, but otherwise it’s a pretty good beat. Jada spits his fire, does his thing for basically the whole song with Hav on the chorus. (Great)

Get Me ft. Littles, Noyd 

Seems to sample Raekwon’s classic song Criminology, slightly sped up with a weak, shuffley snare but backed up by a thumpin base..not really feelin it. The verses are good here, notably Littles’. (Good)

Real Gangstaz ft. Lil John 

Irrefutable proof that Lil John does not belong tryinna make dark beats and Mobb doesn’t belong on a crunk song. The beat is kinda disorienting, while you’re tryinna listen to Prodigy’s good verse, this construct of whistles and one deep, repeated piano chord is distracting you. It gets old and annoying pretty quickly. Best part about the song, besides P’s verse is the hook, REALLY not feeling Lil John come on and give instructions for the clubbers. (Poor)

Never Change 

A more interesting, better sound for the Infamous M; almost like they’re rhymin on a Pete Rock beat. It’s not a bad beat and it seems to fit the track pretty well. The hook is unimaginative, but Prodigy comes nice. (Good)

We Up

The beat here is heavily piano-laced with not much of a snare, but still a good beat. Prodigy laces it with a nice first verse, his next one is aight; Havoc comes next, his verse is of course nothin special. (Good)

Got it Twisted Remix ft. Twista 

Don’t like this one as much as the original. Same beat, same hook, but this time Prodigy’s verse is subpar and Twista’s not on his usual level, one of the slowest verses I’ve ever heard him spit and he’s not even that nice on this cut. (Poor)

Bustin ya Hammer 

I really feel this beat. It’s flutey, has a kind of Native American tribal/chanting flavor. For once I like the hook, verses aren’t good, aren’t bad. (Good)

We Don’t Love Em 

Some type of smooth, jazzy lounge beat. Real smooth, feelin it. One of the ‘woman *****in’ songs that has to be on every hip hop album after 97. P’s flow is sicc, lyrical tip is cool too. Not feelin the hook/bridge at the end, another monotonous hook that makes me ready to smash Hav in the face. Not really the perfect way to end the album. (Decent)

My Rating: 2.5/5

This album really disappointed me. I know Mobb is jus tryinna try a new style, but it’s really not workin for em, but a few really hardcore supporters of the Infamous like these joints. You could say something was wrong with almost every track, or you could say every track sucked but had redeeming qualities.

My Recommendation: D/L this and form your own opinions on it, if you like it cop it, if you only feel a couple joints keep those.

Young Buck. G-Unit’s first Southern member and probably the least “lyrical,” Buck is–like most Southern artists–all about the flow, jewels, hoes, and as indicated by his album’s title, ca$h. Since the G-Unit group album, hip hop heads have increasingly embraced him, and the G-Unit soldier hopes the fame will help sell his album (if not that, then the G-Unit imprint on his CD case will, at least).

1) I’m a Soldier ft. 50 Cent

Bangin, horn-laced southern production has 50 on one of his trademark catchy (but if you listen to it, kinda wack) hooks. Buck doesn’t dissappoint, spittin hard and pretty good verses. (Good)

2) Do It Like Me

This beat sounds like a rugged and almost West Coast beat, laced wit organs like Gangsta Nation. His hook is catchy, his verses are pretty good but not fire. (Good)

3) Let Me In 

The first single, I’m sure y’all’s already heard it. A chaotic pots-and-pans, guitar chord beat. Buck spits some wack lines and a few good ones; his hook is catchy as usual, but the beat clearly steals the show. (Decent)

4) Look At Me Now ft. Denaun Porter 

A homely organ & violin/fiddle laced beat (think Nappy Roots) is pretty good, with Denaun singing a soulful hook sounding like Jazze Pha. Buck spits about coming up, but his verses aren’t that great (“rappers wanna be suge?”). As on the last track, the beat isn’t enough to make the track quality. (Poor)

5) Welcome to the South ft. Lil Flip, David Banner 

A grimey, cheesey violin and hard-kicks beat I’m not really feelin. Back with his southern peers, Buck goes back to spitting wack shit. Banner comes on and spits some more bad shit while tryinna be a Canibus soundalike wannabe. Flip has the best verse on the track, his ain’t bad but it’s not that great (typical Flip). (Horrible)

6) Prices On My Head ft. Lloyd Banks, D-Tay 

Beat is much better, a string beat with hard kicks. Buck’s first verse is pretty good, and his D-Tay-assisted hook is nice. Lloyd Banks spits the best verse on the track, but it lacks substance, and for him it’s nothing spectacular. Buck’s second verse isn’t bad either. (Decent)

7) Bonafide Huslter ft. 50 Cent, Tony Yayo 

The beat is smooth, sounds like a beat off GRODT, and 50’s hook is smooth. 50 rhymes with his usual so/so-ness, some concepts are cool but his lines suck. Buck’s verse is the same, he uses that same tired rhyme-by-numbers style where only the last word rhymes. Yayo’s not bad, his concepts are sick but he doesn’t seem to flip em right. (Decent)

8) Shorty Wanna Ride 

Beat sounds like a slightly warped version of a Nelly summer joint, definitely meant to be a summer popper. Buck’s verses are…eh, the topics suck, the only thing that’s meant to catch attention is the beat and hook. At least it succeeds where it tries to, I can see it becoming a big club banger. (Good)

9) Bang Bang 

I LOVE this beat. Beat and hook are sampled off an old song, Bang Bang (My Baby Shot Me) by Nancy Sinatra, which you might’ve heard in Kill Bill. Buck flows off this shit perfectly, his verses are aight but he pours his heart out. (Great)

10) Thou Shall

A soulful beat sees Buck spit heartfelt but not that proficient verses, with a good, emotional hook. (Decent)

11) Black Gloves

An epic-sounding action game beat with whiny guitar chords is great. Buck flows off this also great, doing what he does best. The only letdown is his typically nothing-special verses. (Decent)

12) Stomp ft. TI, Ludacris

A dirty south beat that just makes you wanna fight someone. Good shit. Buck spits some boring shit about the same ol same ol (dro, 24’s, hoes, ass, cash, ice, fights). The song is funny as ***** for one reason: TI and Luda take shots at each other, ON THE TRACK. TI’s verse is ok but he lets off the line “Me gettin beat down/that’s Ludacris;” Luda spits the best verse on the track, makes it worth listenin to just for his part, with the most aggression I’ve ever seen from him; his subs toward TI are more obvious (cuz you worth a couple hunned grand and I’m worth millions; stay off the “T-I”-P of my dick). (Great)

13) Taking Hits ft. D-Tay 

An action movie-ish beat, Buck and D rhyme unmemorable lines, but they are on the same page lyrically, so it’s a good collab joint, and near the end D-Tay’s flow steps up crazily when he starts to go fast (but he only does it for a few lines). (Decent)

14) Walk With Me ft. Stat Quo 

The beat is banging, with a shuffling snare and a lady wailing opera-style in the background. Buck is typical, I almost begin to just tone his words out at this point. Stat’s verse is much better, gettin onto the multies in the beginning, but near the end he starts to go monotone as well. And he has one of the most annoying Southern voices I’ve ever heard. (Decent)

My Rating: 2/5

Buck is clever. He has good ideas, things to say, but he can never seem to get it across in a sicc verse. His style is straightforward, basic and kinda sloppy; only the last word or two of every line will rhyme, and he fits a rhyme in wherever he can. All this combines to make Buck very inconsistent. The album has him showing his “skills,” such as they are; you end up just listening to the beat, and that can get boring as hell.

My Recommendation: D/l it and sort through the tracks, keep your fav’s. Or have a friend burn you a mix with only the ones you like.

At the moment of this review, Shyne Po is Hip-Hop’s most wanted. Originally a Bad Boy-signee, Shyne’s first CD suffered in sales because Po was labeled a Biggie sound-alike. But after being incarcerated just as his career was taking off, Shyne blows up his rep by revealing a deal with Def Jam, a possible appeal and an album of songs recorded right before his sentencing. All this combined, plus his increasingly noticed back-and-forth with 50 Cent, has made all his fans jump out the woodwork.

1) Buried Alive Intro 

Shyne over the phone, telling fans to have faith in him.

2) Quasi OG 

A dope-as-hell beat with guitar strings and strums has Po rhyme about how the industry says he’s too thug or dark, and his childhood. The track has the feel that he’s pouring his heart out, and his verses are pretty damn good. (Great)

3) More or Less

Another guitar-filled beat, with a woman wailing opera-style in the background. Shyne spits crazy, grimey verses (love the line ‘I sound like who? Yall sound like trash/’). The only letdown really is Foxy’s too-thick, disgustingly deep voice on the hook. (Good)

4) Behind the Walls (Eastcoast Gangsta Mix) ft. Kurupt, Nate Dogg

A remix of Kurupt and Nate’s joint. Kurupt, as usual spits damn good verses and Nate’s hook is his usual smoothness. Shyne comes in and lays good rhymes, as well. (Great)

5) Shyne 

Lovin this joint, a string beat laid by Swizz Beatz. Shyne tells the haters to go ***** themselves, borrowing various lines and twisting them, and just generally coming hard as hell. Love the assisted hook, Shyne rhyming and a woman singing “Shyyyyyne…” (Great)

6) For the Record 

A clearer, better-qual version of Shyne’s diss to 50 Cent from jail, explaining how 50 sucks and tried to get Shyne to join G-Unit. (Good)

7) Martyr 

A very deep record, Shyne spits sick, sick verses to an echoey, heartfelt beat, questioning life. Kinda a really good version of Jada’s “why.” Probably my favorite cut on the album. (Excellent)

8) Jimmy Choo ft. Ashanti 

A club banger produced by Irv Gotti, who probably wishes he’d discovered and signed Shyne instead of Ja Rule. This is a look at what Murder Inc could be if Rule was replaced with Po, and it sounds damn good. Shyne spits illness with Ashanti singing a great hook over one of Gotti’s best beats. (Excellent)

9) Godfather 

A track with a darker, simpler string beat, where Shyne raps some good shit about people trying to get his spot. (Great)

10) The Gang ft. Foxy Brown 

Over a beat that sounds only slightly different (less layered) than that of Raekwon’s Verbal Intercourse w/ Nas and Ghostface, Shyne rhymes pretty good verses about gangsta and hustlin. Foxy comes on with a pretty good verse at the end, too, but really the only thing special about this track is the beat–and that’s bitten. (Good)

11) Edge 

Po over a great, darkish Just Blaze-style beat, spitting about being pushed to the edge. Parts of it sound like a diss to 50 (keep it real dogg, you dyin to be me), but he doesn’t say the name. (Great)

12) Here With Me 

A bouncier, more West Coast-sounding almost G-Funk beat gives Shyne rhyme some good verses about lost homies and those who’ve stuck by him. (Great)

13) Diamonds and Mac-10’s 

Runner up for my fav cut. Just Blaze laces a horn and piano-intensive beat that sounds like something at the end of a really long action movie where the hero wins; great choice for the last track. Shyne spits deep, personal, sicc lines over it as well. (Excellent)

My Rating: 4.5/5

One of the greatest albums of the year, from someone behind bars. The album has few failing points, and those aren’t very disappointing, and it showcases Po’s ability without too many guest appearances but keeping it fresh. Credit for this goes to the producers as much as Shyne himself, as some of the beats were redone after he was jailed, and the producers did a damn good job of building beats around his vocals.

My Recommendation: Buy it. At this moment, Shyne seems to be perfect at what everyone is trying to do–the modern thug type, sounds good on club records, radio joints, anything. Finally…a much sicker, more authentic, non-***** version of 50 Cent.

01.) “Ain’t No Click” (feat. Tony Yayo) (4.5 out of 5) Produced by Havoc

Lloyd Banks kicks-off his highly anticipated debut effort with a lyrical assault over a very impressive production courtesy of Mobb Deep’s Havoc. Havoc has really been on a hot streak as-of late. Tony Yayo rides shotgun and offers-up a very impressive 16… It’s great to have Yayo home.

02.) “Playboy” (4 out of 5) Produced by Ron Browz

Ron Browz is another producer who’s been offering-up quite a-bit of heat as-of late. Banks does a very nice job riding Browz’ difficult production. “Playboy” serves as proof that Banks is quite possibly today’s top punch-line MC.

03.) “Warrior” (5 out of 5) Produced by Thayod Ausar

“Warrior” is quite possibly Banks’ best lyrical performance to-date. “So, if that’s ya man warn him/’Cause theres enough bullets in here to hit every NBA patch on ’em” is arguably “The Hunger For More’s” best punch-line. The catchy hook along with the impressive production of Thayod Ausar have made this track a staple in my playlist for the past few months.

04.) “On Fire” (5 out of 5) Produced by K1 Mil

The epic production of new-comer K1 Mil (a.k.a. Kwame) is what’s most impressive about Lloyd Banks’ lead single. Banks does the production justice by dropping two outstanding verses and by providing a catchy chorus along with mentor 50 Cent. I just can’t get enough of this track.

05.) “I Get High” (feat. 50 Cent and Snoop Dogg) (3.5 out of 5) Produced by Hi-Tek

Lloyd Banks does a decent job with this track. It almost goes without saying that he’s capable of MUCH better than these two verses… Especially his second verse. Snoopy drops what may-very-well-be his weakest verse to-date. If you ask me… Snoop has smoked himself wack. What saves this tracks fate is the catchy hook and the typical (but dope) production of Hi-Tek.

06.) “I’m So Fly” (4.8 out of 5) Produced by Timbaland

The irisistable hook and the outstanding production of Timbaland make this an almost too-easy choice for the second single. “You think that bandana makes you look gangsta but all I see is a hankerchief!” and “I’m in the hood with more straps than a Jan-Sport!” are just two examples of how brutally Banks treats Timbaland’s keyboard-driven production.

07.) “Work Magic” (feat. Young Buck) (3.8 out of 5) Produced by Scram Jones

Lloyd Banks and Young Buck (more-so Young Buck) do a very nice job with the bass-heavy production of new-comer Scram Jones. The only problem I have with this track is the repetitiveness of the production… It becomes half-way annoying after a while. I also think that the hook could have been better.

08.) “If You So Gangsta” (3.5 out of 5) Produced by Chad Beat and Sha Money XL

The Boy Wonder is obviously following his mentor’s blueprint for multi-platinum success with this track. “If You So Gangsta” is obviously Lloyd Banks’ version of 50 Cent’s 2002 classic, “Wanksta”. Still, the bouncy beat and the catchy hook make this track acceptable… Eventhough it’s obvious mix-tape material.

09.) “Warrior, Part 2” (feat. 50 Cent, Eminem and Nate Dogg) (5 out of 5) Produced by Eminem

If you have-yet to read the album credits then you may think that this track is produced by the legendary Dr. Dre. Well… It’s not. Eminem has really came into his own as a credible producer. It’s really difficult to decide who to call the star of “Warrior, Part 2”. This is because all three MC’s do an outstanding job with their respective verses. I have one question for you… Is it even possible for Nate Dogg to come half-way wack on a hook? Because right-now I’m thinking that it’s damn-near impossible.

10.) “Karma” (5 out of 5) Produced by Greg Doby

Is it just me or does it smell like a smash hit-single in here? This is my personal favorite track featured on “The Hunger For More”. The chorus and the production on this track are absolutly perfect. I wouldn’t be the least-bit suprised if more people are now knocking on the door’s of R&B crooner KC and producer Greg “Ginx” Doby as a result of this track. Call me optomistic… But I’m thinking right about now that Lloyd Banks must have read my review of “Smile” because he’s really stepped-up his rhyme game on this track… Especially when compared to “Smile”.

11.) “When The Chips Are Down” (feat. The Game) (4.5 out of 5) Produced by Black Jeruz and Sha Money XL

There is no question in my mind as-to who is the star of “When The Chips Are Down”. The Game absolutly MURDERS the outstanding keyboard-driven production of Black Jeruz and Sha Money XL. In case you haven’t noticed… There is a reason why there has been such a massive buzz around this kid. The Game WILL resurrect the West Coast.

12.) “‘Til The End” (5 out of 5) Produced by Eminem

First off… This is the best production featured on “The Hunger For More”. Eminem’s career-best production is proof that he is well on his way to becoming one of the Hip-Hop game’s premier producers. Lloyd Banks does an excellent job crafting excellent verses over Eminem’s bass-heavy piano-driven production. I’m also REALLY feelin’ Nate Dogg’s background vocals on this track.

13.) “Die One Day” (3.5 out of 5) Produced by Baby Grand

It’s easy to ignore the very average production of this track when you pay attention to Lloyd Banks’ outstanding lyricism. Suprisingly… This is the only track featured on “The Hunger For More” that is worth the listen simply for it’s lyricism.

14.) “South Side Story” (4.5 out of 5) Produced by The Diaz Brothers

“South Side Story” showcases Lloyd Banks’ outstanding story-telling abilities. The first verse in-particular is alone Hip-Hop Quotable material. It may very well be the best verse of Banks’ career. The guitar-driven production of the Diaz Brothers is also great. I’m also lovin’ the hook featured on this track. This was a great way to conclude this album.

CONCLUSION

Lloyd Banks’ debut album “The Hunger For More” features classic material. But is it a classic album? The answer right now is… No. Now, down the line do I think it will creep up into the world of classic material… Possibly. The problem with the album is that it features tracks that just don’t match up to other tracks featured on the album. At times it’s rather obvious that the product was rushed. But it definitly wasn’t rushed to the extent of “Beg For Mercy”. “The Hunger For More” seems to land right-smack-in-the-middle of the status of “Get Rich Or Die Tryin'” and the status of “Beg For Mercy”. Next time around I’m expecting Banks to concentrate on his lyricism to the extent that we were promised that it would be concentrated-on this time around. With the production featured on the album Banks had more than enough inspiration to craft 14 classic tracks… Instead he crafted five classic tracks: “Warrior”, “On Fire”, “Warrior, Part 2”, “Karma” and “‘Til The End”. Now… Is “The Hunger For More” worth checking out? Without a doubt it is! I love this album. If you ask me… “The Hunger For More” is easily the hottest album of Summer 2004. I would DEFINITLY pick-it-up again if I could do it all again. I advise you to do the same as I did and purchase Lloyd Banks’ debut album.

FINAL RATING: 4 out of 5

‘Big Syke Daddy,’ the second solo album from Tha Outlaw, Tupac’s roaddog, Big Syke. At times, Syke’s flow is noticeable similar to Tupac, and he also rhymes about the same issues.

1. Hey – produced by Temi Ojetunde

A nice introduction to the album. Not too loud, not too soft. The beat is a deep grumble of bass mixed with a few brass tones and a clapper. Syke fits the beat nicely and begins to drop his rapping, sometimes slightly sung mellow flow to it.

2. R.M.F.N. – produced by Nate Foxx

Dedicated to the memory of Tupac, Raw Mother *****ing N*gga has a softly spoken verse and hard (raw) chorus as Syke talks of his memories while rolling with the other half of him, his road dog, Tupac. Basically, Syke is saying that no one knew Tupac like he did, yet at the same time, everyone gives him props anyway, both friends and enemies. It sounds slightly Down South in the beat department.

3. L.A.L.A. – produced by Nate Foxx

The second track with an abbreviated title. A nice sounding LA anthem. Jumpy and catchy, L.A.L.A. is in the department of Makaveli’s “To Live And Die In LA” in both theme and in the content for the love and sights in the hoods of Los Angeles, a lot like any other L.A. ‘love’ song.

4. Time Iz Money ft E-40 & Big Syke – produced by DJ Quik

These days, Quik has been criticised for having a hit-and-miss on the production side. “Time Iz Money” is a mellow beat but manages to pull it off in both sounding quite nice and through the appearances on it. Syke sings the hook, which is a nice touch, while his verse is about hustling to make money. E-40 drops a pimping verse and Quik delivers his standard *****y flow. This was a single released off the album.

5. Big Syke Daddy – produced by Thug Law

It’s a ***** song. It sounds a bit too slow and boring for a title track. A skipper. Listen to the remix instead.

6. Come Wit Me – produced by Nate Foxx

A real blunted out beat with a heavy bassline. A nice listen-to as well. Just about going away to hang with Syke to see what he sees. Romantic in a way. The third verse is a funny listen to! Syke gives a ‘matter of fact’ yet careless verse to it about a lesbian taken advantage of. Some funny stuff.

7. My Block ft Swerv – produced by Vachik

It’s the spot for Syke’s lablemates Swerve to shine on. Although it is a song about struggling and dealing, it sounds pretty wack and the youngstas on it sound a bit retarded, I’m sorry! If you hear the guy with the fat-man’s voice I’m sure you’ll notice, he sounds like he bit his tongue! Another one sounds like Layzie Bone. I’m sorry but although the message is trying to be delivered, I don’t like the song, and the beat sounds a bit further West than the rest of the CD…

8. At Your Convenience – produced by Johnny J

It’s another mellow beat, put down by Johnny J. A song about how the woman is annoyed that Syke is never around when she wants him. For Johnny J, the song is a bit below average and the hook sounds downright terrible.

9. Problemz – produced by Big Syke

A bassline heavy beat, done by Syke who’s renowned for making them that way. Syke is basically letting off some anger at those who got problems that involve him.

10. Why – produced by Vachik

The theme is in the title. Syke is contemplating and questioning the questions of the streets and why people got to hustle and kill just to survive. The beat and the hook itself sounds similar to a Johnny J beat, I noticed.

11. I Got Keyz – produced by Nate Foxx

Most people will remember Syke’s “I got keeeys!” from Tupac’s ‘All Eyez On Me.’ This song goes onto expand on that. The song is about slanging the keys on the block then disappearing right after. Sounds really stealthy! Syke boasts about not getting caught. The beat is a dark and a heavy piano tune adds to the hardness of the tune.

12. On My Way Out – produced by Johnny J

A downbeat song about escapism from the everyday hustling life. While mentally Syke can get away, physically he’s stuck, it sounds pretty deep. The chorus is a choral act between the vocalist and Syke, and makes it sound quite good. In a way, it makes you think.

13. Good Timez – produced by Johnny J

This is some dope Johnny J production. Got the type of vibe that Tupac’s ‘Lil Homiez’ has. Syke is talking about his younger days and the fun and innocence he had as a child. Very summery feel to it. Something to vibe to to catch some good feelings.

14. Past Future ft Swerv, Sundae, Samaria & Daveed – produced by ???

The infamous-to-this-reviewer Swerv make their second appearance on the album! Out of the three songs, I feel this is the nicer one. I can make out the song has some sort of double meaning but it’s a bit confusing to think about… the past being the future and the future being the past; it makes a cycle, in other words, its another ‘not going anywhere’ song. Clever, if not a little mundane to meditate upon.

15. Enjoyin Life – produced by Johnny J

Another really dope Johnny J production. Has a nice and jolly Westcoast feel to it. Like ‘Good Timez’ It’s funny how this song can contrast with Syke’s dope-slanging type songs coz its about the same day-to-day cycle but much more upbeat and happy! It’s a nice song though, on the same level as ‘Good Timez,’ as I said.

16. RideOnUm ft Swerv & Sundae – produced by Vachik

RideOnUm is Syke’s lable, the song is the standard introduction to both label and its line up. In order to make the big impression, the rapping and the beat is both very hard, in fact, the bass is very cutting and sounds like a motorbike engine. Not that good a song though, just the average ‘exploding on the scene’ type track.

Hidden Bonus Cuts

Leave the CD spinning on for about a minute more and you get 2 extra cuts! Both are bonus songs so they’re not involved in the overall result

Big Syke Daddy RMX

This remix sounds a lot better than the original. Instead of being the moany-type ***** song, it has a harder beat with louder drums and a better bassline. Much better

Good Timez RMX

Sounds slightly quicker and has a bit more of a jump to it including some string instruments rather than bass guitar. The original is a bit better though

Conclusion:

‘Big Syke Daddy’ is a dope CD, I don’t doubt that, but at the same time it’s nothing too special. The chances are if you’re a Tupac or an Outlawz fan, you will pick this up. You’ll definitely recognise a lot of reused lines. For those who aren’t too hot on the Outlaw tip, this is a nice CD to pick up for some mellowed out beat and Syke catches a lot of good sounding hooks and his voice is very powerful and ominous, but with the complimentary introduction of Syke’s new acts ruin the OG feel to the overall result and I reward it 3/5.

The album cover is a drawing of an EC team member throwing a punch on a red carpet entrance, the back cover shows the cat that got clocked. It’s always a good thing if the cover already implies violence, that way I know I won’t have to deal with 16 songs about how some guy can’t get his girl to perform fellatio on him. It’s doper than the Volume 2 cover but not as dope as the one for Vol. 1

booklet: 6 shermheads out of 10 

The booklet is pretty cool: there’s pictures of the artists, a couple of lyrics to verses probably written by Mighty Mi’s mentally challenged little niece going by the spelling errors. You also get all the production credits which is alright I guess, but what’s really lacking is…well the lack of the nekkid *****es, no beaver shots in this booklet.

songs: 8 Rasheed Wallaces out of 10

Tame as it ever was – Tame 1

the original Brick City kid does his aggressive rhyming routine over a solid J-Zone beat with a lot of movie and rap samples scratched in the hook. Overall a pretty decent cut, about as good as you’d expect from a Zone and Tame collaboration.

Won’t stop – Copywrite 

Punchlines, punchlines, punchlines…it’s Copy so what did you expect? RJD2 laces him with a keyboard driven backdrop with some Premier like flavor on the chorus. Simplistic but highly effective…”plus your girl looks like a great *****! but that’s only from the face down and the waist up”…vintage shit.

5 left in the clip – Weathermen 

They might just be the most dominant crew in the underground and they showcase why on this track. The beat is centered around a heavy bass drum and a nice little vocal sample. Every member comes off nicely but Breezy Brewin takes the cake with a nice multi-syllable rhyme scheme and lines like “we weather whatever men, y’all wether or not to continue living given you’ll never have sex…with women”

Rumble – High & Mighty 

A standard High & Mighty track, with some strings thrown in the mix giving the track a little operetic feel. All in all it’s a by the numbers track for Mi and Eon. Nothing special bout it

Bart Burnt vs. Sherm Penn – Smut Peddlers 

Mr. Eon once again takes on his Bart Burn persona while Cage plays the part of Sherm Penn. Like the prequal the track deals with how dro can ***** you up. Cage gets props for the “…woke up in Canada stuck eh?” line. If you’re a pothead you’ll probably relate to the track. Above average.

Special Ladies – Cage

The track kicks off with a gully Andrew Dice Clay sample before Cage commences to spitting over a bassline that’s remeniscent of the one on Agent Orange. The song deals with the shady doings of CAgE! and his sexual conquests within the handicapped demographic. The track also reps the once great CageKennylz.com site. Killer track.

Brawl – RA the Ruggedman

Okay, the beat by J-Zone is great albeit predictable and RA comes correct but the problem is RA’s rhymed this white trash jibberish about 20 times already. If you’ve never heard of RA this is as great an introduction as you can possibly get, if you’re aware of his steelo then it’s still enjoyable for the cartoonish zone beat.

Not all there – High & Mighty

High & Mighty fair better their second time out. The track simply bumps and features some witty insights on post 9/11 behaviour alongside some entertaining braggadocia.

Nighthawks – Nighthawks 

The songs starts out with some dialogue from the movie with the same name starring Billy Dee Williams and Sylvester Stallone. Cage and Camu Tao rap about the lifestyle of NYPD’s most infamous over a track that takes you back to the seventies. Why don’t more rappers rhyme about crooked cops in first person? Good shit.

Talk like sex pt. II (original mix) – Smut Peddlers and Kool G Rap

It’s got a more polished production edge to it which makes it less dope than the remix on Porn Again. The lyrics are the same, it’s still a dope cut, not as dope as the remix (which oddly enough was released first) but it’ll do.

Dreamz – Tame 1 

Tame Weezy covers the same turf Big Daddy Kane did on Vol. II, rhyming about how life would be if everything was just perfect. The vocal sample on the hook brings it all together. Great feelgood track, “while you were influenced by the underground I was on the ground under the influence”.

Jeah – Copywrite 

Mighty Mi laces Copy with a nice beat on some melancholic type shit. Copy sticks to the script and spits some more punchlines. The hook is once again on some shades of DJ Premier vibe.

Gut you – Weathermen 

The beat is pretty pedestrian and doesn’t allow the featured weathermen to shine like they should. It’s still a dope track but nowhere near as good as 5 left in the clip. Lots of violent threats though, that’s a good thing.

Ballad of worms – Cage

I don’t say it often but…classic. This joint is a flat-out classic. The strings, the guitar flourishes, the great vocal sample and Cage’s heartfelt ballad. Supposedly this shit was about the state of hip-hop, personally I don’t hear it but regardless it’s an outstanding track.

And 1 – High & Mighty

Eon rhymes about his favorite subject, basketball fanticism. Taking it back to the golden era of the NBA to the current league. The beat has a ‘blaxploitation on speed’ feel to it. Good showing.

Last hit (original mix) – High & Mighty and Eminem 

Again, the version of the song released earlier on Home Field Advantage is better than this one. The lyrics also stay the same but taken on it’s own terms it’s still a dope track. Eminem shows why he was considered one of the underground’s finest back in the day with a great punchline orientated rhyme. A couple of internet references are just icing on the cake.

bottom line: If you haven’t copped this joint by now you probably never will but it’s a solid compilation front to back that showcased EC’s championship potential back in the days of old. It might just be the best installment of the series so far and will definitely hold you down during those hour long drives. If this is the first time you’ve heard about the album you already slept on it so wake up dunny

Tech N9ne is a recent favorite of mine. The man is strange and slightly twisted, his style is different and good, he raps fast, he’s sick in an Eminem type of way…he’s great. Tecca Nina is a favorite underground artist hailing from–gasp–Kansas City. One would think (and many have said), how can a good artist come from Kansas City? Well, listen and learn.

1) Devil Boy 

A hard snare laced with a piano, Tech spits on people calling him “the devil” with sick verses and a suitably haunting chorus; true to his style, it’s hellish and a little goofy at the same time, something like one of those Disney songs that are supposed to be ‘scary.’ Good way to open the album, sets the flavor perfect. (Great)

2) Hellevator 

A short interlude with a deep-voiced demon/satan welcoming us to hell.

3) Tormented

More demonic, Tech trades rhymes with a deep-voiced, chanting-style “demon” voice over a hard-beat track with violins. (Great)

4) Stamina

Very short; Tech spits AK bullets over a “beat” that sounds like a typewriter typing really fast. (Good)

5) Sinister Tech 

Tech spits another of his strange flows over a creeping piano beat. The beat is a bit sloppy and the high-pitched laugh in the background gets annoying, but it’s good if you like Tecca’s weirder stuff. (Poor)

6) Psycho Messages 

A skit about a psycho stalker ***** (like most of Alicia Silverstone’s movies) leaving messages on Tech’s machine. Leads into the next track.

7) Psycho *****

Over a high, actiony beat Tech rhymes good shit (some fast, some slow) about stalker *****es. (Great)

8) Real Killer 

Tech spits a story about having to kill his babies (abortion) over a creepin, piano-laced beat, with a chanting chorus. (Good)

9) Cursed 

Starts slow, Tech spits about his life on a low piano beat. After a few seconds the drum gets harder and the violin heavier and he starts rappin about sex and women. More strange, true to Tech. (Great)

10) Suicide Letters 

Tech gets a deep bass beat counterbalanced with a high string beat and rhymes some suicide letters he wrote for real, when he was deeply depressed, in rhyme form–and great lyrics at that. Deep shit. (Excellent)

11) Purgatory 

A short clip explaining purgatory.

12) It’s Alive 

YES! My favorite track on the album–favorite Tecca track period–Nina comes with real energy, alternating slow and fast flows over a great rock/rap piano beat. Spits about repping Kansas City. LOVIN this track; love the line “people makin jokes sayin we off to see the wizard/but me and dorothy and toto’s on yo ass when you visit.” (Excellent)

13) Einstein 

An old vampire movie-style organ with a cut clip of a man saying ‘Einstein’ make the beat interesting, and Tech spits well on it. (Great)

14) Breathe

Tech spits as fast as the tempo, with a great flow, on a quick, creepin-piano beat. (Excellent)

15) Who You Came to See 

Opposite of the last track, N9ne spits it slowish (about himself, of course). The beat is almost G-funk, the piano bouncier than usual, with better verses than usual. (Excellent)

16) Wake Up Call 

Tech wakes up to a phone call, supposed to get to the airport soon. A lot like the clip at the beginning of Biggie’s ‘Going Back to Cali.’

17) This Ring

A track about marriage & divorce, with a halloweenish disjointed string beat accompanied by a howling whistle. The verses are good, tho the beat seems a little overdone. Still, Nina’s great lyrics carry it. (Great)

18) God Complex 

Unfortunately, since I downloaded this album, I don’t have this track. And since I d/l’d it from a site on recommendation from someone on here, don’t yell at me! Yell at them!

19) F.T.I.

Also known as ***** the industry. Tech and 5 other MCs spit over a horn-laced beat, about how the industry sucks. The verses are tight; not on Tech’s level, but are up there. (Good)

20) Going Bad 

Tech on an emotional, whistly beat about..uh..going bad, losing his soul in the madness. He’s good as usual…I like the woman on the chorus. (Great)

21) Heaven 

Tech speaks on heaven, says he’s blessed.

22) Twisted

An oddly light track, I guess Tech wanted to end the album on a hopeful note, cuz that’s what the cut sounds like. Nina spits on how strange he is, and the lady in the chorus gives him reassurances. (Good)

My Rating: 4/5

Probably Tech’s best album to date. It’s surprisingly personal, and it definitely shows his skill and his eccentricities. At some points it almost seems like he’s trying too hard to do the creepy thing, as everyone expects, when it’s really not necessary (This Ring), but other times it’s definitely authentic (Suicide Letters). However it does see him rolling rapidly toward a classic album, polishing himself off.

My Recommendation: Get this if you’re a hardcore Tech N9ne fan, or you’ve heard him before and really like his style.

1. Simple Statement

Well we waste no time as one of the West’s best rappers just rips the whole song, man T-Nutty is seriously insane with his flow, it really has to be heard to be believed. He has a unique way of switching up voices for choruses which is always dope. The beat is some nice bouncy West music and Nutty just rips it to pieces. Good

2. Flowmastermouth 

We slow it down just a little bit here, beat reminds me a little bit of Twista’s “Overrnight” but I know alot will disagree. T-Nutty with his usual dope flow and lyrics, this guy could be the number 1 rapper out today, no joke he has everything from charisma to flow to lyrics. I would love to hear a Nutty & Young Droop group album but I’m babbling here. The chorus is seriously great as T-Nutty reminds me o9f Tech on here as he goes really fast then does the deep voiced sing song voice. Good

3. Cali Boyz(Feat Big Hollis & Bad Business)

Hollis produced the beat and it really doesn’t have that Hollis edge to it, it has an Oriental flavor to it which is dope. T-Nutty sounds kind of awkward over this beat but not really out of place. I do not like the chorus here, it’s way too awkward as well. Everyone comes tight here. Average(Chorus was just horrid)

4. Ain’t That About A B!@#%

Nice Chi-Town-ish beat here as T-Nutty just goes rapid all over the place but I don’t like the constant “BIIIATCH” sayings, it does ruin the track. The chorus sounds like “Jigga What? Jigga Who?” by Jay-Z. Overall a good song. Good

5. After Tonite(Feat Bop, Mississippi, & Tanguray) 

The beat has like some cheapish Carribean sound to it and it’s annoying. This is wack, skip it. Wack

6. Mic Check(Feat Bop, Hurricane Insane, Sav Sicc, & Bleezot)

Yeesh talk about a team of rappers I have never even heard of, this has “cluster*****” written all over it, T-Nutty tries to carry it and he does a decent job but the beat is really just a boring bouncy type beat. Average

7. Nutt Factors Up

Finally no guests here, K-Lou produced the track which is dope because K-Lou is ownage! T-Nutty totally owns this song and makes it cook him breakfast! The beat is basic but it’s dope and the chorus is a little simple but dope. Good

8. High Times

I like the beat alot, it’s really goofy but very catchy but this song is way too short. You can probably predict what this song is about. Really silly song as T-Nutty raps in a different way then goes fast then slow again(!). Subject matter sucks but decent enough. Average

9. Tip Toe(Feat Marvaless) 

This beat is weird, sounds like a Castlevania type beat then a wild western beat all tied into one, really hard to explain. Marvaless with a good verse. Oh man T-Nutty totally owns her on the chorus and then outshines her again on his verse, thanks for playing Marvaless but you cannot outshine T-Nutty, you tried atleast. Good

10. Ni@@a Wit Game(Feat Rossi) 

Cliche’d song which I can’t stand. It’s funny hearing T-Nutty’s dope style over these corny type beats. Skip this. Wack

11. Black Armor(Feat Jacka Of The Mob Figaz) 

DOPE! OH YYYYEEEAAAA!!!! It’s about time I hear Jacka on something new and with T-Nutty? Oh man this is crazy. Oh yea Pizzo produced a nice mob style dark beat. T-Nutty starts it off with a good verse, this song is all about lyrics and nothing else. The chorus is really dope as jacka does it. Jacka with a very dope verse as his lazy type style sounds great over this beat. Good

12. West Walkin 

Takes forever for the beat to kick in and when it does it’s some weird beat that has basically no rhythm at all. T-Nutty tries to carry it and he does but the beat is a snoozer. Average

13. When The Chop Starts Poppin(Feat Sav Sicc) 

Beat isn’t good at all, very boring and even T-Nutty sounds bored. This track is extremely boring. Wack

14. Today’s A Gift 

Dope beat here, nice and relaxing. T-Nutty reminisces about the times in school. This beat is really good and T-Nutty sounds really dope over it. Easily the best song on the album. Good

15. Sac Kingz 

Oh man they use the Pink Panther beat? Oh man this just doesn’t sound really good but the lyrics are really dope as T-Nutty goes over every rapper in Sac. This is a serious carry job by T-Nutty here and actually this isn’t that bad of a beat once it grows on you. This is about Sac-Town, should be an anthem soon. Good

16. Controversy(Feat Fat Tone)

Fat Tone is a really awful rapper, I remember him trying to outshine Tech N9ne and failing awfully and that wasn’t even Tech’s best verse. Anyway T-Nutty has a really dope rapid verse but the beat is pretty boring, T-Nutty says “roody-poo” so the score gets boosted up even more. Fat Tone with a decent verse. T-Nutty with another crazy verse, oh man Nutty is just owning Tone on this track and Tone does another verse which sucks. Good(For T-Nutty)

17. Bonus Tracks(Nutt Factorz) 

Ok I’m lost here, so who is rapping the first verse? Some girl and she rips it actually, then some other rapper raps next and he does another good job, if this is the kind of material on the Nutt Factorz album then I’m going to buy this the first day it comes out, this is crazy! ok now it seems just as a little sampler. I’m done reviewing this “song”. Good

All in all this gets a Good rating, T-Nutty is a shining star seriously and I wouldn’t be surprised to see this guy hit it big in the mainstream, he has all the tools to make it. Cop this one if you’re a Sac-Town fan and most def cop it if you’re a T-Nutty fan but if you’re new to the Northern California scene then make sure you get his first album first or atleast hear some of his material to make sure it’s for you.