Hate him or love him, Ja Rule’s contributions to the hip-pop game are undeniable. From 1999 to 2003, Ja Rule literally went from a “DMX knockoff” to the king of R&B collaborations. His track record speaks for itself; and up until the overwhelming media backlash in 2003, Rule topped the charts. While his first offering ‘Venni Vetti Vicci’ was aimed at the hardcore audience DMX so quickly took advantage of, Rule returned in 2000 with the more radio friendly “Rule 3:36”. “Pain Is Love” is his third album, and was released in late 2001.

1.) Pain Is Love (Skit)

Ja Rule sets off his third offering talking over a menacing instrumental while police sirens can be heard in the background, but can later be heard singing in the background. Not the best way to open up the album.

2.) Dial M For Murder

Over slow and thuggish production, Ja spits what one would call his life story. While the lyrics are subpar and the hook features more whining from Rule, Ja’s delivery and the production make for a listenable track.

3.) Livin It Up feat. Case

Chances are if you were a hip hop fan in 2001; you’ve probably heard this song at least 50 times. This pop fueled collaboration with Case features a classic Stevie Wonder rendition. Rule croons the hook (with the now-too-typical tale of sex, drugs, and rock n roll), and offers a suprisingly good single that had everyone vibing. Good song.

4.) The Inc. feat. Cadillac Tah, Black Child, Ashanti

Over another pounding instrumental, Ja and the Murderers (Black Child, Cadillac Tah) show a glimpse of Rule’s street side. Great, great beat; and even Ashanti finds her way on to the end of the song, giving it some extra flavor. Great song.

5.) Always On Time feat. Ashanti

This song is the perfect example of the gift (and curse) that Ja had; and that’s making sing song collabo’s for the radio. While it got him to the top; this song is nothing more then a “I love my lady” type of songs. Decent song at best; but definatley not a banger.

6.) Down Ass ***** feat. Charli Baltimore

“Every thug needs a ladyyyyy!!” just about sums this track up. After the mediocre performance Rule served up with “Always On Time”, Ja returns with this God awful mess of a song. Featuring Charli Baltimore, this features Rule singing to his women, once again. Although heralded as his calling card, he’s clearly capable of much more. Skip it.

7.) Never Again

Just when a listener of this album thought it couldn’t get any worse, it does just that. This is yet another song with Rule performing/whining the hook with an off key pitch. Rule’s apologized to enough women, and simply didn’t need to do it again on this track. Skip it.

8.) Worldwide Gangstas feat. The Murderers

This should be more of what’s expected from a good Ja Rule album. Over thorough New York production, the entire Murder Inc. roster spits flames over this street banger; with Ja rapping the final (and best verse) on the song. Great track.

9.) Leo (Skit)

After the last song, I think it’s safe to say everyone expected more. Now, while most skits are overlooked on albums, there are a few that actually contribute to the album. This is definatley not one of them. Rule’s “Miss Cleo” imitation is neither necessary, nor funny. Skip it.

10.) I’m Real (Murda Mix) feat. Jennifer Lopez

Quite possibly Rule’s biggest hit to date, this track (featuring Jennifer Lopez) samples Rick James’ classic “Mary Jane”, and actually very cleverly makes for a great hip-pop track. If you can get passed the fact that Ja’s main priority is clearly geared towards a female teenage audience, this song might actually work for you. Decent song for what it is; and that’s a sing-a-long for little girls everywhere.

11.) Smokin & Ridin feat. 0-1, Jodie Mack

Over very soothing West Coast production, Rule gives his listeners quite possibly the best track on the album. This song, while simple, works perfectly; and is clearly the way Rule should perform his hooks. Great track in every aspect, with Jodie and 0-1 playing a great supporting act.

12.) X feat. Missy Elliot, Tweet

Ja Rule loves extacy. If you’re not familiar with this accusation, just listen to any song that he has ever had on the radio, and you’ll see what I mean. While his last dedication to E (“Extacy” from “Rule 3:36”) featured great production featuring Jayo Felony, this followup is a major letdown. It’s almost like Ja doesn’t know how to properly work this slowed down instrumental. Tweet is the only upside to this track, and that’s definatley not saying much.

13.) Big Remo (Skit)

Bernie Mac shows up to talk for half a minute. Not worth the extra song slot at all. Skip it.

14.) Lost Little Girl

Looking at the title, you’d expect a Tupac inspired track, in the veins of “Baby Don’t Cry” or “Brenda’s Got A Baby”. This song, however, features Rule’s failed attempt at singing another below average chorus over a club beat; making the subject matter almost forgettable. Terrible attempt at a song with substance. Skip it it all costs.

15.) So Much Pain feat. 2Pac

This track recieved a lot of criticism. While in recent years it’s obvious Ja Rule was heavily influenced by Tupac Shakur, this was his earliest attempt at a collaboration with the deceased hip hop legend. Featuring the same beat as the original “Pain”, Ja ‘pays tribute’ to ‘Pac by twisting his first verse and re-rapping it himself. However, the remastered beat, and the addition of 2Pac at the end of the track, make for a suprisingly good track that has easily stood the test of time.

16.) Pain Is Love

Looking at the lyrics on paper, this song seems to be a deep song that Ja has put together. But as Rule has proved throughout the CD, his ability to deliver these songs are almost laughable. Over another bubblegum production, Ja’s singing and constant whining make for an underachieving track. Bad way to close out the album.

Bottom line, this album is a roller coaster ride through and through. The balance of songs is almost non existant, with the majority of the tracks catering to a very different audience Rule gained with “Venni Vetti Vicci”. And while this album did manage to go triple platinum (thanks to the countless number of pop singles), perhaps it was oversaturation like this that led to the bashing of Rule by the media not even a year later.

Overall Rating: 2.5/5

After his breakthrough hit “Holla Holla” the previous year, Ja Rule returned the following year with his critically acclaimed sophomore effort “Rule 3:36.” Stepping out of DMX’s shadow, Ja set his own mark with a number of radio friendly hits, while still incorporating the gangsta image that made him famous in the first place.

1.) Intro

Nothing more then that – an intro. This features Ja singing about wanting to kill himself, to relieve his pain. Not believable in the least, considering he’s making millions of dollars.

2.) Watching Me

This is the proper way to start the album. Over a pounding guitar fueled instrumental, Ja’s aggressive lyrics and demeanor make for a good track. And although the hook is mediocre at best, Ja’s delivery saves this one. Good song.

3.) Between Me & You feat. Christina Milian

Featuring a then unknown Christina Milian, this is Ja’s first real attempt at catering to the ladies, on the album. The song managed to cross over, and help the album sell millions, but the song itself lacks. Milian’s simple and repetitive chorus, and Ja’s constant yelling make for a lackluster track.

4.) Put It On Me feat. Vita

This song (the 2nd hit from the album) was a much better choice for a single. Ja’s now famous “What would I be without you?!”, and harmonizing hook works perfectly, with Vita offering up a very worthy guest spot. This is a song for the ladies through and through, and nobody does it better then Ja.

5.) 6 Feet Underground

Clearly one of the best tracks on the album, Ja returns to the street, after the last two songs, over this pounding instrumental. Detailing how his enemies want to see him ‘6 feet underground’, this track features a clever sample, and a flawless hook. Great track in every aspect.

6.) Love Me, Hate Me

More of a mellow track, this features Ja performing his own chorus, with subject matter very similar to that of the late Tupac Shakur. Production is very simple and Ja’s lyrical skill suffers a bit here, but his hook writing ability shines once again making for a slightly above average track.

7.) Die feat. Tah Murdah, Black Child, Dave Bing

Murder Inc.’s lesser known member show up for this remake of last year’s underground hit – “It’s Murda.” While Tah and Black Child’s verses are nothing special, Ja’s hook (“Everybody gonna die, but nobody want dead…It’s your lifeeeee!!!!!”) and verse alone make for a worthy track. Great, great track in every aspect, with Ja standing out more and more as a solo artist.

8.) ***** You feat. 0-1, Vita

After the last track’s near perfection, this song is a complete dissapointment. Very bland perfection, and Ja’s unessescary singing, followed by Vita’s lackluster hook, make for an underachieving track. Skip it.

9.) I’ll ***** U Girl (Skit)

This “skit” features Bernie Mac, and Ja Rule singing over what sounds like one of Uncle Luke’s booty-and-bass beats. Complete waste of time. Skip it at all costs.

10.) Grey Box (Skit)

A skit followed by a skit. That’s a first. Skip once again.

11.) Extacy feat. Tah Murdah, Black Child, Jayo Felony

Ja’s first (of many) dedications to his favorite drug – E. West Coast artist Jayo Felony makes a surprising cameo, over this bouncing production. Ja’s hook is once again on point, getting the album back on track after the last few songs. ‘The Murderers’ are the only dissapointment, as they once again try to sound too hard over this instrumental. However, this one of the album’s better tracks.

12.) It’s Your Life feat. Shade Sheist

While this Carribean flavored production is on point, and Shade Sheist’s verse flows perfectly; Ja unfortunatley doesn’t come through the way he could have. The hook is just under Ja’s potential, making for an average track at best.

13.) I Cry feat. Lil Mo

Another one of the album’s singles aimed at the ladies, this features Lil Mo. And while most will hate extremely hard, I’m going to go out on a limb, and say this is one of the album’s best tracks. Production is on point, as Ja flows perfectly, while Lil Mo soothes the chorus. Great track, that has stood the test of time.

14.) One Of Us

Although the concept of this song is original, the constant “One of us” in the background becomes a little repetitive. Questioning if God we’re ‘one of us’, Ja flows over this pounding production, with precision. Good track, and will surprise most listeners, who haven’t previously heard this song.

15.) Chris Black (Skit)

Another skit (this time clocking in at an unbelievable 3 minutes) features an incarcerated homie freestyling from the pen. Skip it.

16.) The Rule Won’t Die

At just over 2 minutes (shorter then the skit that preceded it), Ja explains why ‘the rule won’t die’. Production is on point, but Ja takes too long to start the track off, and therefore doesn’t have enough time to properly finish it. A somewhat dissapointing way to the end the album.

In conclusion, Ja’s sophomore album succeeds where his first one didn’t, in the fact that it attained commercial success. However, unlike his “Venni Vetti Vicci”, Ja sheds the thug image most of the time to appeal to his female audience. While it worked on this album, his future albums (“Pain Is Love”, “Last Temptation”) proved it was just a little overdone. So take “Rule 3:36” for what it is, and that is an entertaining album with a few great songs.

Overall Rating: 3.5/5

Tha Realest has a very strong work ethic. Hundreds of songs exist from his Deathrow period, and he has since backed that claim up, releasing countless more songs throughout the last 4 years. So when it was announced he had agreed to due an entire collaboration with Mob Life Records new signee – 730, for free, many weren’t suprised. Although recorded in 2005, the lack of pre-orders haulted it’s release, leaving many fans anxious and frustrated. Tha Realest, fed up with the situation, decided to show the fans some love and release the album via his website, in July, 2007.

1.) Intro

This is a 20 second skit to start the album off. It features a plane flying across the US, signifying the ‘East 2 West’ collaboration.

2.) Me & 730

Perfect way to really get the album going. Over a very bouncing instrumental, Tha Realest and 730 show great chemistry, trading verses throughout the track. Although the hook is a little corny, the chemistry between the two artists make for a great opening track.

3.) Who *****in’ Wit Us feat. Solja Boy

This beat is hard to describe. A mix between techno, pop, and southern influence apparent. Solja Boy and 730 work the beat well, but Tha Realest’s delivery doesn’t give the beat it’s just due. Decent at best.

4.) My Life Ain’t Easy feat. New Child, Captain Hook

An 80’s synthesizer is used, making for a very mellow beat. All four artists do exceptionally well, while expressing the struggles of their everyday life, over great production.

5.) ***** You

This song was the first song presented to the public back in 2005, when the album was originally recorded. Clocking in at just over 2 minutes; the beat is mediocre, and neither artist spits anything special. Skip it.

6.) I’m A Mutha*****in’ Gangsta feat. Swoop G, G Money, Known

Great, great song from start to finish. Over a mellow West Coast instrumental, Tha Realest’s reunion with former Deathrow labelmate Swoop G is a memorable one. Both artists stand out, and deliver good verses. Definatley recommended.

7.) Party On The Mob feat. G Money, Lil Bo

This song is West Coast certified all the way through. Over what sounds like something Dre is capable of producing, 730, Tha Realest, G Money, and Lil Bo croon the beat perfectly. Very, very West Coast, and one of the best tracks on the album.

8.) Beautiful Day (730 Solo)

730 introduces his single “Beautiful Day”, which boasts a thought provoking piano loop, but fails to garner any real attention. The lyrics are something more aimed towards the club, which ends up dragging the song down.

9.) I Don’t Know

This song is a very conceptual song. Both Tha Realest and 730 work this solumn instrumental, with a clever bass guitar string in the background, perfectly. This is more of an album track, and proof 730 can hold his own.

10.) Me & My Mu*****a’z feat. G Twin

Also released back in 2005, this track features Tha Realest and G Twin trading verses over a beat with a soothing piano. Great track, and remains fresh even 2 years after it’s initial release.

11.) Show Me Luv

This track is very country; and unfortunatley not in a good way. 730 is from New Jersey and while Tha Realest is from Oakcliff, Texas, he sounds somewhat out of place over this beat. If you can get passed the fact the production is underachieving, the delivery from each artist is above average.

12.) Easy To Be A Soldier Pt. II feat. Swoop G

When making a sequal to a classic, make sure you go about it properly. It’s hit or miss (see Snoop Dogg and “Still A G Thang”). “Easy To Be A Soldier” was released back in 1999 and was a harsh diss track directed towards Snoop Dogg and No Limit. This version features the same beat, and is directed towards nobody in particular. Nothing worth attention, and not even Tha Realest can redeem this track. A dissapointment.

13.) U Represent, I Represent feat. Captain Hook 

A very different type of sound is used here, and works great. 730 hops on the track, and absolutely destroys it, and the hook is excellent. Tha Realest’s verse is also on point (although his outro is classic) making for another great track.

14.) This Is My Life feat. Nzingha Shakur

This is more out of what was expected with 730’s solo. This track, from beginning to end, is very, very good. Nzingha Shakur soothes the hook perfectly, and 730 shows emotion on this track well.

15.) I Luv Bein A Nigga (Tha Realest Solo)

On one of the only mellow tracks on the album, Tha Realest pays his homage to Tupac once again (“And all day homie, we love to bang ‘Pac, cause deep inside our hearts, homie, ‘Pac won’t stop”). Great track.

16.) From East 2 West

Over a simple, uptempo track, Tha Realest and 730 finally touch on the cross country collaboration they’ve put together. Both east and west coast love is being shown here, as Tha Realest and 730 trade verses on each side’s prominent features. Great way to end the album.

So, thanks to Tha Realest, this album finally managed to see the light of day, and doesn’t dissapoint. 730’s east coast grittiness blended well with Tha Realest’s southern (but west coast inspired) delivery. While some songs are obvious fillers, and studio scraps, there are some classics (“Party On The Mob”, “My Life Ain’t Easy”) and for free, who can really complain?

Overall Rating: 3.5/5

Forthepeople Ent. has done it again. With the previous release of Kurupt’s “Against Tha Grain: EP”, the Deathrow catelogue sees another release in the last inmate to record a full album for the label – Petey Pablo. To be honest, however, Petey Pablo isn’t your typical Deathrow artist. He’s not from the West Coast, and actually seemed out of place when first signing to Tha Row in 2005. This is his highly anticipated (but never released) Deathrow debut – “Same Eyez On Me.”

1.) We’re Blown: Great way to set off the album. Proving that he’s capable of riding West Coast beats, Petey gracefully performs the hook (“Puff, puffin that Cali dro, sippin on Patrone/I got my mind made up, and gotdammit we’re blown”), proving that phenomonal lyricism is not needed to make a great track.

2.) Same Eyez On Me: WOW just about sums this track up. The production on this song is flawless. While most listeners we’re probably expecting some sort of remix to 2Pac’s “All Eyez On Me”, this track takes a complete turn to the opposite, as Petey details coming up over this pounding West Coast instrumental. From the hook to the verses, this track is nothing less then classic; and easily the best song on the album.

3.) Everywhere I Go: Petey’s dirty south roots are fully exposed on this track, as he gives the hook that North Carolina drawl. However, the lyrics and delivery Petey offers are just below average, making for a just below average track. Decent at best.

4.) I’m Makin Movez: While most listeners would be turned away after listening to the first 20 seconds of this song, Petey Pablo fully redeems this terrible hook, with superb verses, over this bouncing instrumental. The only downfall to this track, is there is no real substance, and the hook and beat aren’t anything excellent. Average track to say the least.

5.) I’ll Beat Yo Azz feat. Kurupt: After the last two dissapointments, Petey returns with fellow inmate Kurupt to present the world with true Deathrow flavor. Both rappers bring energy to the track, and while the hook is once again underachieving, this song is entertaining to any fan (past or present) of Tha Row.

6.) It Ain’t Fair: Petey Pablo is no stranger to music with substance. From the passionate tracks on his previous albums, he has proved that heartfelt, emotional songs don’t always have to revolve around lyricism, and a hot 16. This is a perfect example. A great slowed down tempo is provided, as Petey states his problem with society today. Good track.

7.) So Crazy feat. 2Pac: Any artist ever signed to Deathrow after Tupac’s passing, is almost guarenteed some sort of remix with him. It’s almost as if it’s stated in Deathrow’s contract. Petey Pablo is no different. However, while some collaborations have worked, this unfortunatley doesn’t. 2Pac’s classic So So Def diss record, has been tampered with and edited unbelievably. While production is on point, this track is somewhat of a dissapointment, considering it was a battle record before a club friendly track.

8.) Push It Away: This song unfortunatley is the first bad song on the album. Everything from the beat to Petey’s singing the hook (not that great), make for a boring and lackluster effort. Skip it.

9.) Too Much feat. Kurupt, Eastwood: While keeping in mind that the production on this track is very simple (with nothing extraordinary about it), Kurupt, Eastwood, and even Petey Pablo display their skill on the mic, making for another good track, and showcasing the talent Deathrow had up until 2005.

10.) Somebody About To Get It: Finally, Petey’s gangsta side is presented on the album. And while, once again, the lyrics aren’t anything exceptional, the beat, simplicity, and overall truth in Petey’s raps make for a good track. The chorus is one of the only drawbacks, as Pablo’s hook writing skills need to be polished before stepping in to the booth.

11.) Set The Record Straight: Along with “Same Eyez On Me”, this song is truly one of the album’s gems. Petey promises to “set the records straight” and does just that, detailing his come up and eventual signing to the now nototrious Deathrow Records. From the lyrics to the suprisingly great hook, this is Petey Pablo at his best.

12.) Simple & Plain: Simple and plain just about describes this song to a tee. The production sounds eerily familiar, and verses lack anything not said in another song. Decent at best, and one of the albums filler tracks.

13.) Holla At Ya Folkz: Midway through the album, it is terribly obvious that Petey’s hooks are a major, major fault. This is another below average song that sounds too rushed, and is really about nothing at all. Skip it.

14.) Let’s Do It: Full Metal Jacket’s “me so horny” sample is used here, as this track is an attempt by Petey at appealing to the ladies. The beat, however, lacks any punch, and isn’t soft enough to appeal to the ladies, making for another below average track. Typical boasts about the player lifestyle offer nothing new to the table.

15.) What Cha Gonna Do?: This is more of Petey’s style. A perfect club anthem, this track features an Arabian inspired flute, with Petey perfectly crooning the looping and pounding beat, with a perfect touch of southern flavor. Great production usually always makes for a great track; and even Petey’s hook manages to get the job done on this song.

16.) That’s Why: After listening to the first 30 seconds of this song, one would think that the track has the potential to be a classic. A pounding instrumental is used, but Petey’s hook is lackluster, and the verses aren’t hitting hard at all. Production is well above average, but unfortunatley Petey doesn’t do the beat justice. Average.

17.) In Your Casket: By now it’s clear that the majority of this album is catered to the players, ballers, and gangsters. However, this song will be a complete suprise to most listeners, as Petey goes into horror-core hip hop, and works this dark production well. An uptempo bassline is used, as Petey provides the perfect energy and delivery, making for one of the best tracks on the album.

18.) In A Minute: It was too good to be true. 17 songs into the album, and while it appears that one Deathrow artist has finally stepped into his own, and not expressed Suge’s personal problems on wax, don’t hold you’re breath. Petey Pablo (of all rappers) decides to diss Dr. Dre, Eminem, Snoop Dogg, Nate Dogg, 50 Cent, Young Buck, and The Game all on one track. Not only that, it’s not even done well. If you’re going to diss an entire label, pull your guns out and come correct. This song features production ripped straight from the Lil Jon formula, and is the worst way to the end the album.

In conclusion, while Petey Pablo surprises most listeners with his unofficial Deathrow debut, it’s still clear as day that no matter how he was marketed, Petey wasn’t going to bring Tha Row back to prominence. However, Petey succeeds at what most Deathrow artists not named Dre, Snoop, or Pac, failed at; and that’s making a well rounded album. While this is probably not the last album to be released by Forthepeople Entertainment from Petey Pablo, let’s hope that if further material surfaces, it’s a little more original then what has been presented.

Overall Rating: 3/5

1. Intro/Notebook Paper
Pretty much a standard intro, but Huey tries to make it different by……rambling. Well, that isn’t different, is it? Now we get a party style beat, almost like LiL Jon, but drunk on moonshine. Huey isn’t bad here, as he flows well over the beat. This track is a little weird, in that it’s a mix of party and gangsta. I sort of liked this, and appreciate the effort displayed by Huey. Even though he didn’t have many quotable lines, he still tried his hardest to salvage this ugly beat. Average (Leaning towards good).

2. Bout Dat
Okay, this beat sounds like a bunch of farting and whistles. This style was pretty much perfected by LiL Jon, and was ruined by Scott Storch, who was pumping out these kind of beats in a shameless manner. Huey makes it simple, but simple isn’t always bad. You know, this is a good track to play in a car, I mean, who would play someone like Aesop Rock in their ride? That’s like Bill Gates throwing up gang signs. Okay, I’m getting off track. I actually liked this track, as Huey flowed well over the beat. Good.

3. Aye
Here’s the problem with this cd so far: Every beat sounds the same. This isn’t good, as it makes everything flow together in a sloppy manner. Huey pretty much raps about becoming a rapper, and he isn’t afraid to say he’s awesome. I don’t know if I agree with that, but Huey’s shameless attempt at being gangsta is amusing. Average.

4. Pop, Lock & Drop It
We went from LiL Jon to Three Six Mafia here. The constant “Pop, lock & drop it” from the female is horrible. Absolutely horrible. This is like Juicy J & DJ Paul sniffed glue, and decided to produce. This isn’t good at all. Wack.

5. Closet Full Of Clothes ( Feat Kydd Trell)
Honestly, it’s like the beat never changed. This is pretty much the same freakin’ beat that was on the last track, but with added Scott Storchness. I sort of liked Kydd here, as he understands how to make a feature memorable…sort of. I sort of wish Kydd Trell took over Huey’s spot as lead rapper. This was pretty “meh.” Average.

6. 2 Nite
The beat sounds like something you’d hear from La Bouche. Huey is pretty good at flowing to the beat. He uses a nice rapid tone, but he’s not sloppy at all. He’s more Twista and less random awful rapper on a Young Droop cd. Good enough. Good.

7. Tell Me This (G-5) (Feat Memphitz)
This is like a Young Jeezy track, and I sort of like that. Huey isn’t afraid to copy one’s style, and, in a way, that’s sort of good. I mean, most rappers try to carefully pick and choose who they copy from, but Huey is wide open with it. Good.

8. Money Ova (Featuring Diamond & Yo Gotti)
Diamond is absolutely awful, and trying to rap with 2 decent rappers is stupid. I mean, don’t expose someone who is copying La Chat. Huey’s a Missouri guy, so I dig some of his stuff, and he understands that you have to be polished. Pretty average stuff, actually. Average.

9. My Zone
Corny horns are used, well, it’s sort of like early 90’s sounding. I was expecting a “Saved By The Bell” reference, but no go. Huey tries to salvage this craptastic beat, but he fails. Oh, Huey, why must you try to be motivated? Wack.

10. When I Hustle (Feat Lloyd)
I sort of like this, as the beat is a weird mixture of DJ Quik and a Ne-Yo love ballad. Lloyd is a pretty decent hook guy, much better than a bored Nate Dogg, who is perhaps the most overrated hook guy ever. Huey is pretty decent here, and knows how to flow over a beat like this. This was good. Good.

11. Luv N Ya Life (Asia Cruise)
What exactly was this trying to prove? I mean, Asia is pretty okay on the hook, but the beat is like an old Cash Money dance track mixed with R. Kelly. Huey can’t figure out how to rap over this, so he pretty much copies his style from the previous track. This was…not very good. Wack.

12. Nobody Loves The Hood
Cue the sappy piano, and the R. Kelly wannabe hook guy. This is about the most corn syruppy thing I have heard so far on this album. You know what’s the deal, Huey raps about how hard it is in the hood. Heard it, don’t care. Wack.

13. Glad 2 B Alive (Feat T-Pain)
Not a bad beat, sort of sounds like something you’d hear on an old Hoy Boy$ track, but mixed with some new flavor. Decent enough rapping, and I like the singing, even if it’s sort of all over the place. Good (I appreciate the effort).

14. Pop, Lock & Drop It (Feat Bow Wow & T-Pain)
I liked this much better than the original, in fact, I might say that this might be the best track on the album, as they were shameless in copying something you’d hear on a current E-40 track. Well, the chorus freakin’ sucks, so I take back the best track on the album. Good.

All in all, I’m going to give this an “Average” rating. Huey is definitely a guy who is not bad, but the beats were a dime a dozen. This was like a LiL Jon parody album. You might want to stay away from this, as you’ve probably already heard the same stuff on the radio.

This is C-Murder’s 4th solo album in a span of only 3 years. While his previous albums all have a variety of concepts and music, “C-P-3.com” was heralded as C’s first album entirely under his TRU Records imprint (which was founded in 1998). The album was released well after No Limit’s decline, and features new TRU Records artists – T-Bo, Wango, New-9, as well as C’s brothers Master P and Silkk The Shocker.

1.) Start: Any fan of C-Murder knows that all his albums usually feature an intro, produced by C’s in house production team. This ‘song’ takes a slightly different approach, with C’s homeboys claming that “C-P-3.com” is so hot, it’s illegal.

2.) What U Gonna Do feat. Silkk The Shocker, Master P, Ms. Peaches: Released as the album’s first single, this track features TRU, and is a lackluster song in all aspects. Ms. Peaches’ reggae themed hook over this bland beat, make for a dissapointing track. Silkk’s style hasn’t upgraded any, and Master P has fallen off harder then ever.

3.) Don’t Make Me feat. T-Bo: Production is a key here, as C’s “Deadly Soundz” serves C, and Mystikal-soundalike T-Bo to a pounding piano loop to work with. While C sounds exceptionally lazy, T-Bo manages to save the song with a strong verse, and a noteworthy hook. Decent song at best.

4.) I’m Not Just feat. Soulja Slim, T-Bo: Quite possibly the best song released on No Limit in years. This song features Soulja Slim (fresh out the pen), supplying C with a classic hook, and verse, over great production. C-Murder’s verse is on point, and T-Bo provides another great verse. Classic song in every aspect, and was also released as a single (complete with video).

5.) Get Bucked, Get Crunk feat. T-Bo, Silkk The Shocker, Master P: Production is once again a plus here, as T-Bo very energetically puts together a nice hook. Unfortunatley, the energy C showcased in his previous albums is nowhere to be found, and Master P and Silkk The Shocker sound completely out of place. Decent song for T-Bo’s verse alone.

6.) Let Me See: C’s first solo track on the album is a weak attempt at a song for the strip clubs. C’s flow is is very lazy again, over this over the top beat. Below average lyrics (“Bounce left, bounce right/Girl you look alright”), weak production, and an even weaker theme make for a terrible song. Skip it.

7.) Boat Ride (Commercial): A pointless skit about a mob boss taking care of a snitch by throwing him off the boat and killing him. Skip.

8.) Criminal Minded feat. Afficial: East Coast No Limit affiliates – Afficial, show up to help C-Murder remake KRS 1’s classic of the same title. The beat is extremely old school (which is good or bad, depending on the listener), and C unfortunatley doesn’t do the original any justice. Once again showing that his energy and delivery has hit an all time low, this makes for another non-entertaining song.

9.) Don’t Matter feat. Erica Fox: Over very bland production, Erica Fox provides a noteworthy hook. Describing how it don’t matter what anybody else says, C-Murder details his come up in the rap game, with decent charisma. However, the hook, the beat, combined with the concept seems a little pieced together and awkward. Average track at best.

10.) Young Ghetto Boy feat. Ms. Peaches: Another remake of a classic song (“Lil Ghetto Boy” by Dr. Dre, Snoop Dogg, and Nate Dogg), this unfortunatley lacks the charisma Dre brought, the smoothness Snoop brought, and the hook Nate Dogg delivered on the original. C’s weak delivery make for a dissapointing remake, offering nothing new to the song.

11.) Ya Dig feat. K-Lou: Easily the worst song on the album, this song features a terrible hook, over a very simplistic beat. As C raps the first verse, he mistakenly chooses to end every line and bar with “ya dig”, making for an overall corny song. The ruggedness of “Trapped In Crime” seems to have all dissapeared on this album, most evident by this track. Skip at all costs.

12.) Drive Thru 1 (Skit): Trying to be funny, this skit features C and his boys pulling up to a drive thru of “Slophouse Chicken”, wasting 2 minutes of this album’s run time. Skip it.

13.) That’s Me: While this song is possibly the first track C-Murder has spit 3 verses to, the beat is completely boring. C’s delivery is mediocre at best, as the song runs on a little too long.

14.) Do You Wanna Ride feat. Slay Sean, Black Felon, Traci: Only the second great song of the album, this features fast paced production. C’s flow is on point, as he meshes well with the beat. Slay Sean’s delivery is the best on the album, and Black Felon (aka X-Conn) also does his thing. Traci (TRU Records affiliate), also works the beat well, making for a surprisingly good track.

15.) NL Soulja feat. Wango, New-9: Although this topic has done over and over and over and over again, C still finds a way to put a twist on the fact that he is a “No Limit Soulja”. Featuring his new click – The Cutt Boyz (Wango and New-9), this is one of the more entertaining songs on the album; which still isn’t saying too much.

16.) Drive Thru 2 (Skit): A continuation of the last ‘Drive Thru’ skit, which was boring enough. Skip it.

17.) Down 4 My *****es feat. Mia X, Traci: This song is a remake of last year’s monster hit – “Down 4 My Niggas”. While it is great to hear Mia X on the mic again, Traci isn’t anything worth listening to, and C-Murder isn’t even featured on the song. Decent song for Mia X alone. Otherwise, skip it.

18.) Thug Boy: Completely out of C’s element, this song features a very somber instrumental, with C’s boring and lackluster flow dragging the song down. The hook is as corny as it gets (“Whatchu want? I want my Thug Boy”), making it very hard to even begin to take this song seriously.

19.) Projects: Choosing to close the album out the way it should’ve started, C-Murder cleverly combines gunshots into the hook, and spits 2 very hard verses describing the dangers of growing up in the projects; specifically the 3rd Ward, New Orleans. Great song.

20.) Finish: Much like the intro, this is some futuristic outro featuring weird voices. Doesn’t even flow with the rest of the album.

In conclusion, this album is by far C-Murder’s worst release to date. Whether or not the album was rushed, or C just slipped up for the first time is debatable; but unfortunatley doesn’t make any difference. Even C’s compilation “TRU Dawgs” is better then this, and this was unfortunatley C’s last album for 4 years.

Overall Rating: 2/5

Controversy just about defines this release. With the recent release of Deathrow’s unreleased songs and their vault slowly being emptied, Forthepeople Entertainment has brought forth yet another controversial album – Kurupt’s original “Against Tha Grain”, recorded in 03-04. This album is an EP, and consists mostly of disses to Snoop, and former Dogg Pound affiliates – Soopafly and Daz Dillinger; making for a very interesting project. Kurupt, himself, has also sounded off on the release of this album, trying to hault it’s production, having reconciled with Tha Dogg Pound. On to the review:

So, was this album worth the hype? I think it’s apparent the answer is yes. This was obviously a time in Kurupt’s career (during his return to Death Row), where he had a lot he felt he had to air out. Whether he was Suge’s mouthpiece or not is still in question, but the entertainment of these tracks alone make for a good purchase. Album highlights include “No Vaseline Part 2”, “One Thangs Fo Sho”, and “Holocause 3000.” Support future Forthepeople Entertainment projects to hear more of that classic Deathrow material still left in the vaults.

Overall Rating: 4/5

After the recent release of mixes and albums with Tupac featuring the entire music industry and their mama, “The Sessions” finds its way to the public. It consists of 2Pac’s actual recording sessions (filmed originally on video by associate – Gobi) onto audio recording; making for live intros and opinions on tracks being worked on at the time. Recorded during ‘Pac’s infamous “One Nation” sessions (July ’96), this is a double disc not available in stores, and retails at $130.

*Note: This is not CDQ Tupac material, it is raw studio sessions and should be viewed as just that.*