When Mobb Deep burst on the scene in 1995 with “The Infamous” they released some of the grimiest music ever in hip hop history. Since then in the 11 years, a lot has changed. Since then the grimy edge has been washed away with their record sales too with their last record not even reaching gold. Before they would only trust a selected view to help create their dark grimy vision and as time increased so did their circle of the chosen few. Even though everyone could see this with every release, but this hit the fans the hardest when they sign to 50 “Mr. Mainstream” Cent’s label G-unit records.

The album gets off with a head start with “Smoke it”. I feel the horns reflect as a sign of success over their last release. It’s quickly finished and we hear their newest single “Put em in their place”, the first single still holds some of their griminess with their computer based beat with the simple horns pattern and synth to create an atmosphere, but the biggest problem is, who is this aimed at? It’s too grimy to be in the head of the mainstream fans and it’s too pop to be for the underground. This equals the Mobb Deep to isolate both their audiences.

As you could imagine, the other G-unit members are plastered all over the track listing. This is to pull in a bigger audience, a different audience. While this does bring in more it also isolates some of their hardcore older fans. The first song with a G-unit member is “Stole Money” where Lloyd Banks joins the Mobb Deep lads over again a very simple beat from a few organ hits but seems to work.
After this, a flood of featuring slots is let in, with the other G-Unit members featuring on an embarrassing amount of 9 out of the 16 tracks. “Creep” where 50 Cent joins them, which BTW has already taken the title of the most annoying beat of the year in my view. The Beat is so simple yet so annoying, all the producer has done is gone up and down in a scale of keys to create it. Though “Give it to me” featuring the great Young buck is a much of an improvement with it’s Arab feel which would seem to be a great song for the club. The main problem is buck wasting his normally brilliant skill on this. The next guest I wish I could say that for the next guest but when it totally the opposite. Tony Yayo is the name he goes by and his whole career is a trainwreck. It’s a shame as this song had potential, with it’s trademark Mobb Deep grimy sound sampled cleverly from the Knight Rider theme song. One song which holds both good lyrics and beat is “Pearly Gates” ft 50 Cent, this a personal highlight for me has it is actually song with substance. The beat is a bouncy, yet quite soulful one with them talking about God and their lives. Plus this is all completed by a catchy hook from no other then 50 Cent. 50 who always delivers addictive hooks supplies them with one more. He joins them on “The Infamous” supplying them a very weak hook for them over a old school type of beat with it’s cowbell sounds and a very addictive bassline. He also joins them on the soulful “It’s Alright” perfectly finished with Mary J Blige.

50 also appears on the bonus tracks which can be found on other releases, the already mainstream hit “Outta Control (Remix)” which can also be found on The Massacre DVD reissue and “Have a party” feat another master of hooks, Nate Dogg which can be found of the Get rich or die trying OST.

Apart from the songs already mentioned and the other songs which there isn’t a G-Unit member in sight there’s only a measly 5 other tracks. Saying that with the G-Unit name over this release you can expect a few club tracks and there’s one more. The track has a bouncy beat with a popular mainstream sounding synth while they talk about girls and their advantages to their “Backstage Pass” which is handily the name of the track. This also has a quick appearance of 50. The popular sounding synth I described before also is used on “Capital P, Capital H” which makes this album sound quite repetitive. 2 of the 3 which I haven’t mentioned are also highlights to this album. “Daydreamin’” has a dark eerie feeling which is created by the rising strings and its Indian chimes. This track isn’t just good because of the beat but lyrics are quite good too with them describing everything they wanted but couldn’t get which a lot of us has felt like before. All this plus with a good hook. What more could you ask for? “In Love with The Moula” also has both good beat and good lyrics. While it is a used concept of them comparing money to a women but they do it cleverly while being backed by light pianos and strings.

In all this gets a 2 out of 5 maybe a 2.5

Everyone has seen the downfall toThe Infamous but now this must really be the death of them. The boatload of featuring slots from the G-Unit members is an obvious decision made by 50 and their marketing team. The sound and topics of this is their most risky shots for mainstream and by this like I’ve said before in this review it’s isolating their old fanbase and I don’t see it drawing the G-Unit fanbase that much either. Lyricism has always been weaker then most for them but has really gone downhill even for them. The beats have too with them having to ask more people to bail them out.

Recommendation: Don’t buy this. If you’re a fan of Mobb Deep and/or G-Unit give it a download and base your opinion on that instead of going straight out and buying this. In my opinion buy something worth while like Ghostface “Fishscale”, Vakill “Worst Fears Confirmed”, Dilated Peoples “20/20” or Gnarls Barkley “St. Elsewhere”. These have been 2006 best releases from the USA especially as not many good ones have been churned out.

1. Intro
Intro.

2. Turn It Up
Decent clapping type beat with electric guitar sound effects added in. J-Ro starts it off and seems to be on cruise control here as he sleep walks through his verse. The chorus consists of people saying “Turn It Up” in a montone voice. This track isn’t that good. Tash with a good verse, he tries to salvage this track but it doesn’t work. Bad way to start off the album. Average(For Tash’s verse)

3. The Flute Song(LaLaLa)
Decent flute beat albeit uninspired(Produced by E-Swift). Tash starts things off with a good verse. Tash is one of the most overlooked rappers out. The guy(Tash) really needs to release another solo album. The chorus is decent but the girl singing ruins it. J-Ro with a decent verse, it seems like he doesn’t care, but I can’t really blame him. E-Swift with the last verse, it was average. Tash ruled it here, the rest were just there. Average

4. Popular Demand
I dig the beat here. It’s like a weird mixture of West & East with the horns and such. Everyone does a pretty good job here and the chorus is pretty simple but it works. Good

5. The Get Down
This beat sounds like something that was on Busta Rhymes “It Ain’t Safe No More”, that’s not a good thing. This track is horrible as J-Ro starts it off with a cliche’d verse about women & the like. This beat is just horrible and the chorus with some girl saying “You gotta get up to get down” in a montone voice doesn’t help matters. Tash tries but this beat is just death in music form. Crap, be gone from my ears! Train Wreck

6. Get Into It
I like the beat, it’s hard hitting and is so much better than the track before this. Everyone comes tight here and show a different side of Tha Liks, a more serious style but still maintaining that charm. Good track. Good

7. Faded
Skit.

8. Chaos
Danger Mouse produces the beat and it’s so uninspired that it’s not even funny. This is probably the worst Danger Mouse beat I have ever heard. Tha Liks make up for it by doing a really good job and showing some amazing chemistry. This is a case of average beat and great rhyming. Good

9. Hangover(Stylizik Jones & Bishop Lamont)
Good party beat here. Stylizik starts it off and he sounds like the lost member of the Young Gunz. J-Ro with the next verse and it’s not that good. The chorus is just awful, it sounds like someone doing a horrible Kurupt impersonation. Tash rules it here as he outshines everyone. Bishop Lamont with the last verse and it’s good. Good(But leaning towards Average)

10. Party Ya A** Off
Bad 80’s sounding beat. Tash tries but man this is just uninspired stuff from just about everyone. Uninspired lyrics, uninspired chorus, uninspired beats. Just terrible. Wack

11. Handle It
Southern style beat, it’s just really sloppy and horrible. This is another case of Tash trying to carry the load and again it just doesn’t work because even Tash realizes this track sucks so he comes with an average verse. Wack

12. On The Floor
Really annoying “Get your ass on the floor!” voice samples, after that a cliche’d clapping beat kicks in and your average party track is born. Tash rules it here though as he flows really well over this. E-Swift has a decent verse. Average stuff all around though. Average

13. Poverty’s Paradise
Pooh(?) sings a good portion of this track. I like the beat, very soul sounding. Pooh is a decent singer, but I really don’t want to hear him sing for a good minute. E-Swift is the only Lik rapping and he does a pretty good job. Good track. Good

14. Drink Wit Us´
I like the beat, it has a Southern sound to it. It’s like a LiL Jon throwaway beat(That’s not really a bad thing by the way). J-Ro starts things off with a good verse. I like the chorus as J-Ro says all these artists names and says “They drink wit us”. E-Swift with a pretty good verse. They really should’ve done more tracks like this one. Tash has the last verse and of course he rips the track to pieces. Yea, this track was pretty good. Good

15. Do It
Really good beat by Rural. Very hard hitting stuff and has a hint of Westcoast to it. J-Ro with the first verse and he does a good job. Tash up next and he does a great job. E-Swift with the last verse and he does a pretty good job. Yea, this was pretty good as well. Good

16. Over Here
Westcoast bouncy beat, it’s pretty good. Tash with the first verse and he does a really good job. I like the chorus, it’s pretty simple but it works. King T up next and he does a great job. King T is one of the most overlooked rappers in the game, he can make any track sound good and has a ton of charisma. J-Ro with the next verse and he does a pretty good job, but following King T is a tough task. Really good way to end this album. Good

I’ll give this a Good(Leaning towards average) rating. Well, this is their farewell album and it had it’s share of awful tracks and good tracks. This was totally different than their other albums and at times it felt like the chemistry just wasn’t there. Give it a good listen first before you buy it.

1. Public Service Announcement(Intro)
Intro.

2. Long Time Coming
Pretty good old school beat, but the voice effects don’t really sound good when Artifakt is rapping. Artifakt is pretty good, I could see him becoming a huge star someday, he has the tools to become a star. Good intro, but man the voice effects. Good enough. Good

3. The Life
Nice soulful beat here. Artifakt raps about cementing his status as a rap legend. Pretty good track here with a simple yet good chorus. Good

4. Represent(Feat Stryke)
Really good piano beat here, with some lady singing(Which is pretty good and fits the beat). Stryke is pretty dope, he sounds like Prospect from the Terror Squad(That’s a good thing). Stryke flows really well over this beat. Artifakt is up next with a really dope verse, yea he also flows well over this beat. We’re 4 tracks in and we’ve already hit a DOPE! rating. DOPE!

5. Showin Love
Relaxing beat, nice choice to rhyme over. Artifakt does a really good job here as he raps about fake people in rap and how the music deserves much better. I dig this. Good

6. Lets Rise
Nice Premo type beat here. One thing I can say about the All Business crew is that they always pick good beats to rap over. I’m glad they don’t pick corny beats to rap over like LiL Kim’s “How Many Licks” or Master P’s “Oooohweee”. They pick straight up Hip Hop beats and it’s a breath of fresh air to here. Artifakt rules it here of course, rapping about temptation ruining the youth and how we must fight back. Artifakt should do a track with Non Phixion. Good

7. Close Your Eyes
Nice soulful beat here. Artifakt makes this beat his own here as he flows over it like a pro. The chorus is really good as it’s just the beat changing up a little bit. I dig this. Good

8. Prolifical Endeavor(Feat Sense Wondah)
Sense & Artifakt have really good chemistry. They should put out a duo album, I would most definitely like to hear that. Artifakt starts things out with a dope verse about speaking the truth. DJ Spyncere does the chorus by introducing the rappers. Sense is next with a pretty good verse. Yea, this was the goods. Good

9. Special Recruit
Dark army type beat here. Pretty good choice here as it fits the song title and Artifakt’s flow. I dig that rappers are now trying to actually make good music instead of just collecting a paycheck. I mean, I can understand the motive for making money, but that doesn’t mean I have to enjoy listening to such watered down redundant garbage. Great track. Good

10. Moment Of Silence(Interlude)
Interlude.

11. We Got This(Feat Stryke, Markuz, & Sense Wondah)
They use the “Outta Control Remix” here. Nice choice because I’ve always dug this beat. Everyone comes tight but Stryke impresses me the most. Then again, I was a huge Prospect fan and thought he shined on Terror Squad’s first album. Great track that should be heard. Good

12. Who Am I(Feat Stryke)
Nice soulful beat mixed with a little funk. Artifakt starts it off with a really dope verse giving hints as to who he’s rapping about. Stryke does the same, he comes tight also. Artifakt closes the track with a pretty good verse. I dug the slow beat meets fast flowing aspect. Good track. Good

13. Back For More
Nice bouncy type beat here. Artifakt flows really well over it and the chorus is pretty good albeit simple(Hey, choruses don’t have to be complicated. If it was up to me then I’d make every chorus simple because it works every time while the complicated stuff goes over heads). Pretty good track. Good

14. For Da Fam
Artifakt raps over the “6th Sense(By Common)” beat here. Great choice as DJ Premier is greatness. He(Artifakt) does a pretty good job here as he raps about various subjects line for line. I dig this. Good

15. So Fine(Feat Sense Wondah)
Great choice for a beat here. Has a jazz element to it and has bounce so it evens out. Artifakt starts things off with a good verse. Sense Wondah up next with a pretty good verse, I don’t know, his voice sounds a little awkward over this beat but it’s still dope. Good track. Good

16. My Lullaby
Really dope piano beat here with some funky bass added to it. Artifakt raps about growing up and how times have changed. We’ve all had childhood memories so I think everyone can relate to this. Really good track that needs to be heard. Good

17. Fall In Line
Soulful beat at the beginning with singing then once the rapping starts the beat gets all choppy(Which isn’t a bad thing for this type of track). These type of beats are hard to vibe to(Nevermind rhyming to), Artifakt does a great job flowing over this. Pretty dope stuff and really interesting to hear. Good

18. Righteous Plan(Feat Sense Wondah)
DJ Spyncere starts things off with an introduction then Artifakt and Sense trade verses over a 70’s sounding soulful beat. I dig this because it’s different. Sense has this really weird deep voiced flow and he starts growling towards the 1:30 minute mark, it actually works. More trading verses. Good track. Good

19. Prophets Intuition
You know, soulful beats never get old, they always sound dope. Artifakt raps about a bunch of complicated scriptures and the like, he also relates it to modern life. I’m digging the subject matter here and wish more rappers would go down this road. Great track. DOPE!

20. Break It Down
Artifakt uses the “Brown Sugar” beat by Mos Def. Great choice. Really short track here, but it’s good for what it was. Artifakt was able to say a whole lot in about a minute. Good track. Good

21. Do For Self(Outro)
Outro.

All in all I’m giving this a Good rating. All Business Records remain one of the most consistent record labels around as they release another great mixtape. Go to AllBusinessRecords.com and cop this NOW! Artifakt is a rapper you need to pay attention to.

After the intro the first song is a tune and a half which is named “Shakey Dog” UK Producer Lewis Parker creates a beat from voice sampling and dominant horns as Ghost paints a picture of a robbery. A very good way to begin the album and continues with “Kilo” where the production is very minimal to be generous with just funky guitars, again vocal sampling and outburst of horns. Though as the album progresses a lot of the beats are like this. Maybe Ghost wanted it to have a vibe of the boom bap sound. “R.A.G.U”’s Delfonic sampling from legend Pete Rock sort of reminds me of classic Wu. J dilla creates both brilliant simple beats with the bass heavy “Whip me with a strap” where Ghostface describes his mum raising him. Even the posse cut “Dogs of war” made by Pete rock works. Most of them work but two dont as they come off boring. Both of them happen to be by MF Doom.“Clipse of Doom” even though I like the freaky sounding of it (sort of supervillain sounding) but he should have flipped the beat a bit more, and“Jellyfish” the organ, even though these sound different from what’s on the market in this day and age, you can’t help but to hit the skip button.

Saying all of that not all the beats are simplistic as some of them are some of the most complicated beats I ever heard for a hip hop album. MF Doom creates the album banger with “9 Milli Bro’s”featuring the whole Wu Tang Clan! When I first heard this beat on the Nastradoomus album I loved it and even more now the greatest group lay their vocals on it. Another favourite of mine also by MF Doom is “Underwater”. MF Doom creates a beat which first gives you the atmosphere of someone searching underwater while Ghost creative as possible talks about an underwater adventure. Just Blaze’s“The Champ”also shows more complicated producing. With pianos, horns and more Ghost brags he is the champ with his lyrics and for once it is a worthy title match.

This album is great and different from most mainstream hip-hop with singles like “Be Easy” and “Back like that”.Ghost is still lyrically gifted with flows and personality. For this reason this album gets a 4/5

Recommendation: Buy this album

Juvenile crossed paths with Cash Money in the mid/late 90’s and later formed the group UTP Playas (UTP is for Uptown Project) and UTP Records after leaving Cash Money. Reality Check is recorded on that label, under Asylum. I have to admit I’m not a big Juvenile fan. I liked Soulja Rags and 400 Degreez but was very disappointed with 600 Degreez. A funny side note on Juvenile is that he found Young Buck and made him a member of UTP Playas. Buck later connected with 50 Cent while being with Juvenile in L.A.

1. Intro

2. Get ya hustle on

The album starts of with an encouragement for people to get your hustle on. Juvenile says he lost his house and everything with it in Hurricane Katrina and that he has to hustle more than ever. The beat on the song has a smooth but heavy bass with a dirty south flavour to it.

3. Around the way

Around the way is about Juvenile – where he’s at and where he’s from. In my opinion, Juve has a special way to rap and it’s coming out real good on this track. One again he’s flowing over a tight beat and the album sounds real tight 2 tracks deep.

4. Sets go up feat. Wacko

Juvenile continue with a more up-tempo track without the beat lowering the standard of the cut. The Magnolia rapper is dissing people that didn’t believe in him and worked against him over the years and up till this day. Wacko comes in on the last verse with a different type of flow than Juvenile and diversifies the track in a good way.

5. Rodeo

Rodeo is the first single of the album, and it’s a good pick. This slow jam is a tribute to all the hot girls out there and considering the type of songs that get a lot of airplay it seems like a good song to put on the radio and TV. The way Juvenile looks in the video actually reminds me of Ja Rule. Still, he manages to not completely sell out and lose respect. Nice cut.

6. What’s happenin’

Juvenile mix story-telling rap with ole fashion southern bragging on this one. I guess he’s telling us What’s happenin’. The beats so far has been real tight but this one is weak to me. It might be that I’m not into the old South sound. All in all it’s an ok song but more or less a filler to me.

7. Loose booty feat Eightball & Skip

You can probably guess what Loose booty is about. She’s got a Loose booty. Eightball and Skipp can back it upp, too. I think we all know what Eightball can do by now, but Skipp is a pretty new rapper to people not into the UTP Playas. I’ve heard Skip before and he’s impressed me. I’m looking forward to a solo effort from him. This track? It’s allright.

8. Way I be leanin’ feat. Mike Jones, Paul Wall, Skip & Wacko

Swishahouse came in on this one to keep it crunk. The beat sounds like something Lil Jon would put together and the two outside guests Mike Jones and Paul Wall help taking it to the next level. I’m guessing this is the second single – enough said.

9. Break a brick down

Break a brick down has a bass similar to Get ya hustle on but with a lil more speed to it. That’s a good thing. Overall the beats have kept a high quality throughout the album this far and that’s an important ingredient for a hit record. Juve’s saying he’s “Going platinum from talking about my lifetime” and if he’s referring to this album he just might be right. He’s also saying “Everybody wants to be the king of something, I guess I’ll just be the king of hustling”. That pretty much sum up the subject of this song.

10. Who’s ya daddy

Next song in line is a kind of up-tempo bouncy song. In Who’s ya daddy, Juvenile speak to the girls again saying he’s gonna ***** them etc. The hook’s pretty catchy and the beat is tight so all in all it’s a real tight track.

11. I know you know feat. Trey Songz

Trey Songz has gotten a lot of attention lately and I was really feeling that first single of his where he talked about how he used to be poor and fight hard to get a chance. Every time a big RnB singer comes on a track you know it’s gonna be a real smooth cut. I know you know is no exception. I hate when singers just look for those opportunities to take high tones, as if the listeners are supposed to be impressed or something. Trey Songz doesn’t do this and I appreciate that. His effort is solid. I wouldn’t think Juveniles voice would be good for a slow jam like this, but his flow actually fits real well with the guitars and all other instruments on this cut.

12. Keep Talkin’ feat. Skipp & Red Eyezz

Keep talking on the side of your mouth and get smacked. That’s the message with this track. It’s an other Lil Jon type of track with the whistles and all that stuff. I’m sure a lot of people are feeling this track but I’m not one of them.

13. Rock like that feat Bun B

I’m a big Bun B fan. Every time he’s on a track it’s a banger (with a few exceptions). The beat on Rock like that is hard hitting and the instruments complete the full picture. Bun B come in with a real tight verse taking the track to the next level. Arguably the best track on the album.

14. Why not feat. Skip

Looks like Skip is the next UTP Playa to drop a solo album. He’s on a lot of tracks here and it’s a classic move to put your unknown rapper on your album to hype him. Snoop and Hittman are probably the best examples. This track is real tight but considering the other songs on this album it’s average. It fills its purpose though – I’m gonna check Skips album out when it drops.

15. Animal

Animal is an other one of those Lil Jon sounding tracks. The production actually use a monkey-sound in the background to illustrate how Juvi’s an animal. The track’s allright, but could’ve been cut.

16. Addicted feat. Brian McKnight

Addicted is pretty much a Brian McKnight solo track. Juvenile’s doing some talking between McKnight’s singing but the RnB singer pretty much makes the song. It’s a real mellow jam and might be nice to play with a girl at your place. Still, I don’t really see why this is on Juveniles album…

17. Holla back

Holla back is one of those southern songs that is trying to hype you up and get you crunk. Even thought I kind of like the song, it doesn’t really fill its purpose. It’s not all that tight. The beat’s pretty tight but not tight enough to make you wanna get up and get crunk. Like I said, it’s still an allright song.

18. Pop U feat. Fat Joe & Ludacris

Any time you have Fat Joe and Ludacris guesting you on a track, you know it’s gonna be tight. Juvenile does his thing on his verse just like he’s been doing for all of this album, and when Ludacris comes on on the second verse I can’t help but feeling like he can do better than this. I mean Ludacris is Ludacris, don’t get me wrong, but we all know what he can do. He’s not really doing it on this one. Fat Joe comes in on the third verse doing his thing. Probably the best verse on the song flow wise. All in all a real tight track.

19. Say it to me now feat. Kango

Last song on the album is kind of different than the other ones production wise. Say it to me now doesn’t have a typical dirty south beat. Juvenile’s talking about how people talk behind his back and should say it to his face instead. Kango really completes the picture. It’s a real soft track and I’m definitely feeling it. It’s a good thing Juvi share his experiences with us listeners and fans.

With Reality Check, Juvenile shows the world that he’s back (if he was ever gone). The album was a lot better than I had expected and all in all I’m definitely going to rate it somewhere above average. Juveniles flow doesn’t fit for all productions, but here he really found a good mix of slow and up-tempo beats where he could shine. Production wise this album was very well made and the mix of a tight rapper on tight beats is always a good thing. Big name guests were combined with less known artists from Juveniles own UTP Playas crew and label. I’d say the rapper managed to find a good mix without overdoing it. Some albums looks like compilations but Juvenile managed to escape that type of criticism. If you’re a Juvenile fan that might have been thinking that Juve fell off lately, get this album and then speak on it. People that didn’t really bump Juvenile before can also check it out and make him a new fan. I rate this album 4 out of 5. Real solid effort.

1. Lost Lair Of B’zle

Intro.

2. Monster

Wow, this is pretty good. Don Juan produces a pretty good horn sounding beat. Tech takes this semi standard beat and rips it to shreds. Tech is probably the most talented rapper out, but never gets his props. Mostly due to idiots who can’t comprehend a rapper rapping about various subjects and not the standard punchline rap that gets touted as great. Before this track even played, you had Tech describing this track and what it was going to be on. This track was going to be on the Oz soundtrack, but it never got put on there. I find it funny how they don’t put this track on the soundtrack but put Fiend & Magic’s awful track on there. Monster is really good. Good

3. S.H.E.(Seductive Human Erotica)

Not one of Tech’s best tracks. In fact, this is actually pretty average. Tech does a good job rapping and all, but man the beat is just annoying and all over the place. Tech raps about blowing money on strippers and the like. Man, that beat is just an atrocity. Average(For Tech’s work)

4. Save Yourself(Feat Big Krizz Kaliko)

This is Krizz singing and it’s actually pretty good. it’s about a minute and basically a skit. I’m not rating this.

5. Now It’s On(Feat Lejo)

This is one of Tech’s best tracks. Great beat, great flows, great lyrics, and it’s paced perfectly. Lejo & Tech trade some short verses. Lejo is a rapper I need to listen to more, I’m always impressed when I listen to him rap. The chorus is really good and very simple. See, music doesn’t have to be complicated. If you haven’t heard this, then you need to. DOPE!

6. Be Jealous

Another one of Tech’s best tracks. Great piano type beat mixed in with other styles. Tech really shines on this track and proves that he was(And still is actually) the most overlooked rapper out. Great chorus here, very simple and again very effective. It gets the point across. You don’t need to be “high” to understand the concept. It hits you right from the beginning. Again, if you haven’t heard this, then you need to. DOPE!

7. Red Necro

An old track as Tech says in the beginning. Really good track that is about racism. Tech does a great job storytelling here, one of Tech’s strong suits is his storytelling. Very descriptive and very emotional. Good track. Good

8. The Grench(Feat Boy Big & Big Krizz Kaliko)

This was on the Absolute Power DVD. I’m glad they put this on the cd as it’s really good. Nice synth kicks in during the beginning, but then it turns into a drum heavy beat. Good singing from both Krizz & Boy Big. Krizz is one of the most overlooked hook men out there. He hasn’t become tiresome like Nate Dogg has. Good track. Good

9. I’m A Playa(Remix)(Feat Big Krizz Kaliko)

I actually like this better than the original. The beat is a more relaxed drum & bass heavy style with a nice synth kicking in during the chorus. Good stuff. Good

10. Trapped In A Psycho’s Body

This is the original version with the Donna Summer’s lyrics still in(They were backwards on the AP version). I really like this track a lot. Very original and shows Tech’s creative side. Great track. DOPE!

11. Freaky

I like this track. A really good track about all the ladies out there. Tech talks about going to a drive in show and all that stuff. Funny track with a catchy beat(By Don Juan). Good catchy track with humorous lyrics. Good

12. My Own Hell

Really good track that has Tech rap about all the politics he had to deal with and what he went though in the music business and what happened in his personal life. Really good personal track. Tech again shows his storytelling skills and paints a dark picture about his journey. Good track. Good

13. Victory

Very horn heavy beat. Really an upbeat bouncy type track. I’m glad this was also put on this album as it stood out among the other tracks on the Absolute Power DVD. Krizz Kaliko sings a great hook. Tech raps about touring and hitting people with powerful music. This is a track to play while you’re cruising around in your ride. Good

14. Mitchell Bade

(Feat Bakarii)-This is what started it all. This is the track that made me a Tech fan, so naturally I’m going to give this the highest rating possible. A classic track here with a great piano heavy beat by Don Juan. You need to hear this track. DOPE!

15. Strange

Laid back track to just chill to. QD3 produced the beat and Tech just rips it here. He flows really well over this beat and actually enhances the beat by using several different voice tones. The chorus has some girl singing on it and she does a good job. Great track. DOPE!

16. Snake Ya(Feat Big Krizz Kaliko)

This was on the Beef Soundtrack and instead of cutting and pasting my review of the track, I’ll just re-review this. I really like the beat here, nice Arabian style to it. It’s a mix of a club song and a diss track. Good mixture here. Tech starts things off with a great verse. Krizz with the second verse and he shows that he can rap. Tech with the last verse and he just rips the track here with venemous lyrics. This track is a grower as it gets better with every listen. Good

17. Shocked(Feat Kutt Calhoun)

Another horn heavy track. I really like these kind of tracks because they fit Tech’s style perfectly. Tech rips the first verse to pieces. Tech uses multiple voice styles here. The chorus is really simple but it works. Kutt with the second verse and man he does a great job. Kutt is another overlooked rapper who needs to be heard. His B.L.E.V.E. album is really good and should be heard. Tech with the last verse and it’s really good. Great track. Good

18. Outro

Outro.

All in all this track gets a Good rating. This was a great compilation of old tracks and unheard tracks. You really need to pick this up and listen to Tech grow as a rapper.

If you’re from the UK then more or likely heard the cheeky lad called Sway. Sway lately has been making big moves for a UK hip hop artist and getting respect from critics and fans alike. His way for words and the way he can be advance as many backpack emcees and still appeal to the masses is one thing to respect.

Sway has released a lot of this material (About half of it matter of fact) on his two highly acclaimed mixtapes so that’s why a lot of people may be slightly disappointed with this attempt of marketing at its best. “Little Derek” his latest single, has a nice melodic beat but is wasted on the way sway delivers with his very repetitive delivery style by making the last bit of each line very animated. “Flo’ Fashion” is the next single which has been hanging about for the last 2 years. The beat created by himself is very different and obvious that it was one of his. The song’s lyrics are funny and clever about Sway following fashion and how it gets him into trouble with him having his stuff reposed. In a subliminal way it’s a lesson to kids which a lot do these day. “Up your speed” was his next hit with a beat good enough for any Southend-on-sea boy racer to ride along with as he rides down the sea front picking up schoolgirls. Sway incidentally shot his video down here and why I notice this a lot Again he drops a few quotables which is expected from him.“Download” is my favourite song from his early archive of earlier songs. The content is fresh and original and again like a lesson to the kids. Sway puts himself his shoes after he just released a banger (many say like this) and his going mad due to the amount of people knowing his song and not one sell. What’s the root to all this evil? Downloading! Glad someone addressed this and only Sway could make this as highly entertaining like him with dropping quotables. It’s a funny and realistic song.

There has been some more songs previously released on the mixtapes but not as singles. “On my own” is another favourite of mine. Covered by a slow simple piano by DJ Shux, Sway looks deeply at his struggle in life by his own.“Slow Down” was on one of the mixtapes and also a snippet of it appears it in the middle of up your speed (that was my favourite part due to my favourite group Iron Bridge appearing the video). The beat again is simple but great and the lyrics about fighting clubs again are funny and brilliant with the few quotables with are mandatory with sway.“Month of the summer” also appears on the mixtapes. Its beat again Is very warm and nice making it perfect for the love song. Lyrically this is one of the strongest songs with a lot of wordplay. Sway pulls it off without being too corny.

The other half has new songs and out of the other 7 only 3 really shines out to me to be honest. They are my favourite tracks. The intro “This is my demo” is great looks and looks at his life before while playing with his words like a beautiful words while also playing with his flow and delivery over the brilliant bassline. In all one of the best intros I have heard in a while. “Hype boys” looks at the fake gangster images in a humorous way with even more quotables the usual for Sway. The beat can be heard on why and sounds quite grime like (that and his delivery has a lot similar to a grime artists) and a lot of the lyrics are compiled from a lot of other songs. “Pretty Ugly husband” is easily the albums highlight! Sway looks at domestic abuse and how the husband acts. The beat changes depending on what the mans mood is like. Even though it’s a serious look at it I did chuckle when I heard the loo line to be honest and the way he perfectly matched the husband’s behaviour so its self is like a black comedy.

Apart from the triumphs of them, two other songs not bad but I don’t see my self always going back. “Products”even though it has a nice bass I can’t get into it. The topic isn’t about anything in particular but looks at quite interesting stuff though the hook is off putting. “Sick World” sounds too much like what he tried with Products but with funnier and clever outcome. Again the beat is lively, energetic and warm but the hook in the singing really off putting. Sway looks at how the world perceives England and how the world sees the rest of the world with racial stereotypes.

The only obvious fillers are “Loose Woose” and “Back for you”. Loose woose sounds like he just wanted to get as many features as many possible to show who’s he still friends with. The topic is the love story one with a beat which I don’t approve with at all. Back for you is another love song which could have been done without. The beat sound like it made for an rnb artist. The lyrics are by far his worst ones on the album.

In all the album gets a 3 out of 5 . I suppose it will have to grow on me a bit disappointed due it being full of skits and old songs.

The beats are 90% but they type of beats don’t really vary enough with a lot of them sounding the same. The lyrics are clever, witty, funny and appealing to most. He hasn’t really used his lyricial skill to the max but I have heard him on songs like “One Day” and here and there on songs which is good enough for me. His delivery pisses me off due to how much he animates it and has a fluent flow. The topics do vary though once and a while they are similar.

Recommendation: Definitely worth the look in. Though if you’re a big fan of his may feel a little bit disappointed.

You have to get used to Soulja Slim’s style. This is his 4th album, and even by the time it was released people weren’t used to his style. Some say it’s too rushed, too complicated, etc. It took me a while for his music to grow on me, and for me to appreciate the rawness that comes with his music. And if you do listen to Soulja Slim already, you know what I’m talking about. Slim was never going to break any huge barriers in rap, or reach a level that 2Pac; or say Nas were on. He was strictly New Orleans. One of the realest and most respected south artists ever, and anybody from the south region will tell you the same. This is his last cd before being shot in front of his mother’s house in 2003. On to the review:

1.) Intro: 

This intro/song gets you set for the album. Over a Dani Kartell produced track, Slim spits tales that everyone’s heard before, but in a way only he can describe it. Overall, perfect way to open the album.

2.) Hustler: 

Another tight song, not too much different from the last one, this time talking about how Slim’s a hustler and how he’ll never fall off when it comes to the game.

3.) Cheeze Eataz:

Def. one of my favorite joints on the album, the beat has to grow on you. At first, it sounds like something nobody could ever write a verse to or over. The song is basically about snitches and them snitchin on anybody to the FEDz, police, etc. Slim spits three hard verses, talkin bout how he’d never snitch, and how he plans to set a rat trap for all the rats. Overall, a bomb ass track and is great to play in yo system.

4.) Yeahh: 

Yet another Daniel produced beat (he’s all over the album, which is good)Slim continues his theme of the previous 3 songs detailing his history with enemies, *****es, and money hungry snitches. He takes subliminal shots at various people; including Master P and the No Limit camp.

5.) Heata On Me feat. B.G., Lil Real One: 

Most people’s favorite song on the entire album, shows the chemistry between former No Limit Soldier – Soulja Slim and former Cash Money Millionaire – B.G.. The two planned to release a duo album together after this was released, and it’s not hard to see why. The flows, the guitar laced beat, everything works together to make a near perfect track. Recommended…and has good repeat value.

6.) Speak Yo Mind:

About a 7-8 second skit leading up to the next song. Not really worth listening to; skip it.

7.) I’ll Pay For It: 

Also released on Slim’s 3rd album ‘Years Later’, this song had New Orleans buzzin for a while. Slim flows perfect over the beat, and the song is about payin for a ***** if ya really want it and need it that bad. Overall, tight song.

8.) U Hear Dat: 

My favorite song on the album, easily, is a KLC (formerly of Beats By The Pound) produced joint, that Slim flows smooth over. The bass is a 12 gauge 1, and Slim is talking about everything from spittin 50 bars, to taking shots at Master P with lines like “I ain’t no friend of P (Master P) don’t ask me bout that boy, he aint no man you think Im lyin then ask Pastor Troy”. Great track.

9.) Souljas On My Feet:

Another KLC produced track and another song off his underground release ‘Years Later’ this song is just as good as the previous. The beat is perfect, the flows, everything is on point. Guns, Soulja Reeboks, and stompin they face in is the story on this joint.

10.) Magnolia: 

The beat took me a while to get used to, as did Slim’s flow on this track. It’s not a mess, but it definatley could’ve been better. This song was yet another off Magnolia Slim’s ‘Years Later’ cd. By now, anybody can tell that this is a revamped major record distributed version. The song is not really that great, but worth listening to only if you cant get enough of Slim.

11.) U Bootin Up feat. Juvenile: 

One of the best songs on the entire album, the song is a beef record directed at Silkk the Shocker, Krazy (504 Boyz), and No Limit. The only bad part is Juvenile’s verse (it has nothing to do with the original theme of the song), but Slim saves it at the end with lines at Silkk like “No I don’t know Karate (reference to the Hot Boys movie) lil Silkky draws, you located in Victoria’s Secret for the broads”.

12.) Lov Me Lov Me Not:

The only video shot for the album (Slim died less than two weeks after it was filmed) the song is decent. I don’t want to say it’s bad, because it’s not even close, but it did feel like it was missing something. However, the song will be remembered by some; if not many as Soulja Slim’s last song…although it appeared on the first advance of this album ‘Years Later’.

13.) Holla At Me: 

Another skit (this one being about a minute) leading up to the next song. Slim’s on the phone with his boy talkin bout gettin loaded and meetin up later.

14.) If It Ain’t Real feat. Lil Real One: 

The beat is sick, and Slim and Lil Real One rip it talkin bout that midnight potion. This song is definatley worth playing repeatedly because it has a good feel to it, and is laced with a smooth sick beat.

15.) ***** You Nigga feat. Lil Real One, Cutthroat Committy: 

This song is a posse cut with some of the Cutthroat Committy crew and it definatley doesn’t dissapoint. Lil Real One steals the whole damn song though, with his verse to open up the song. The beat, the flow, everything is on point. Overall, a solid track, but fails to really stand out.

16.) U Gon Feel Me:

This song is weak…for the most part. Aside from a few entertaining disses thrown towards No Limit Record’s Krazy…the beat is skippable and the track sounds rushed. Skip it.

17.) Hit the Highway: 

A very good song with a beat that you have to get used to ( ike a lot of other songs on this albu ), but it delivers. While some argue that this is an obvious filler track, the song to me is one of the better ones on the album. Three solid verses from Slim over a solid beat don’t dissapoint. Ever.

18.) Committy feat. Cutthroat Committy: 

The track on the album with the whole Cutthroat Committy crew on it doesn’t dissapoint to a certain extent. If you’re lookin for Slim on this track, the most your going to get is about 6 bars. His crew is all over it, as he describes them as “ammunition for yo ***** ass”. Most of them can flow, and makes you wonder why they didn’t drop an official release because they’re almost all good…with the exception of a few.

19.) Untitled Track (I’ll Pay For It – Part II) feat. Mystikal: 

Basically the same track as I’ll Pay For It, with the same beat with a cameo from Mystikal. It’s average and nothing more, I like the original better.

Overall, this cd is a down south classic. It’s sad in a way, that this was Slim’s last CD; but your also glad that he went out at the top of his game at least. From starting his career at No Limit, to going to jail, to finishing his career at No Limit, to going back to jail, to finally seeing the fame he deserves (even if it is after his death) on a track with Juvenile; Slim put out enough classic albums, his rawness and realness on the mic will always be remembered; and I recomended ALL of his other releases. R.I.P. Soulja Slim. 4/5

A TRU album without TRU members might be a big reason, people are overlooking this cd. And to some extent, they’re right. Let’s face it, Silkk is on 3 tracks, C is on 1, and P and Halleluyah basically crowded the cd. Others say it is somewhat of a new beginning for the New No Limit camp. The production level was raised ( not anything close to the BBTP days ), but good enough to gain some praise from those outside of the New No Limit fan base. However, the album does have it’s flaws, so on to the review:

1.) Where You From – TRU feat. Master P, Halleluyah, Silkk the Shocker:

The first single off the album ( and possibly the only ) doesn’t dissapoint. The production is great, and flows from everyone are on point. A good track, for what it is, and that’s an anthem that’s made to be played in clubs.

2.) Photo Book – TRU feat. Master P, Silkk the Shocker, Lil Romeo:

By looking at the tracklist and seeing the name of this song and who is featured on it, it doesn’t seem ‘TRU’. And by ‘TRU’ I mean that bout it bout it musik, that most No Limit fans have liked over the years and grown accustomed to. But by now, anyone should know that those days are over; which brings me to this song. It’s not bad, not at all, but DOES seem a little out of a place from a group that brought the world the dirrty south anthem back in 95. Overall though, a good beat, and good flows from everyone.

3.) Go Off – TRU feat. Master P, Hall, Afficial: 

Some people might dissagree with me when I say this, but this song is nothing better than average. Nothing, and I mean nothing really stands out about this song. P has basically the same flow he’s had on Goodside/Badside and brings nothing new to the table with this track. Not really recomended, skip it.

4.) Stressin – TRU feat. C-Murder:

The only solo C track on the album left a lot of people dissapointed. When most people think of TRU, they think of Master P, Silkk the Shocker, and C-Murder. The Miller Boyz. So when first hearing about this album, I’m thinking ‘new C-Murder tracks.’ This is not the case; just 1 song. Never the less, it is a good song, as the sound isn’t that great, the hook could be better, but I like this song. Definatley one of the best on the album..

5.) Street Army – TRU feat. Master P, Afficial, Halleluya:

The song that really got people buzzin over the album is in my opinion overrated. The chorus is wack, the beat is average, and it doesn’t really do nothing for me.

6.) Drama – TRU feat. Master P, Halleluya: 

This is where you can see the production for the NNL has changed for the better. Drumma Boy pulled it off with this track; which is worth listening to for the beat alone. P’s lyrics however, get tiring after a couple of these songs. Instead of overpromoting himself on this album, he should’ve let his brothers shine. Halleluya (who is being talked about as being the best soldier since Mac) comes average. He’s not bad, dont get me wrong, but putting him all over the album, was definatley a mistake.

7.) Welcome to New Orleans – TRU feat. Halleluya: 

Halleluya’s solo track doesn’t dissapoint. One of the better features of him on this album, he raps over a Mozart sample that has been used enough, but manages to pull it off. His 3 verses, are very much on point and this song is definatley recommended.

8.) You Ain’t Sayin Nothin – TRU feat. Master P, Mr. Stra, Afficial: 

A subliminal diss track to Yukmouth (P is heard shoutin ‘Godzilla aint got nothin on me’ at the beginning) is definatley one of the best songs on the entire album. This song’s production is as good as it gets in any region. Definatley recomended; everybody’s raps are on point and worth listening to (even MP’s).

9.) Shake It – TRU feat. Master P, Halleluya:

The beat is aight, the track itself is really not good at all. It’s another attempted club anthem to get the hoes poppin, but this aint goin to cut it. Also, throughout the whole song it sounds like P sampled Magic’s voice; which would be weird because Magic hates P and has publicly stated that numerous times.

10.) Sea Saw For Me – TRU feat. Master P, Halleluya: 

If you thought my review for the last song was bad, this song is hella worse. I’m open minded, but looking at the name of this track I almost wished this album DIDN’T come out so as not to damage TRU’s name. Lyrics like ‘Get ya wet like Niagra falls’ and ‘I aint Nelly, but girl get your eagle on’ make this track a complete mess. Skip it.

11.) Hood and Street – TRU feat. Halleluya, Yougi, Jazz:

First off, the beat is fiya. It starts off with a piano loop and busts into what sounds like a Diplomat-type beat. Once again, Drumma Boy REALLY helped this album with his production on anotha level. The song is good, the hook is good, the whole song is basically a highlight of the album. The only thing that sets it back is that this is NOT TRU. It would work a lot better on a 504 Boyz album.

12.) Headhunter – TRU feat. Master P, Halleluya: 

Once again, you can see that Halleluya is ALL OVER this album. And while he is not bad, and pretty good most times, I dont want to hear him on 5 or 6 songs in a row. Back to the song, the beat is good, the lyrics are laughable at times with P spittin ‘She used to ***** with Cash Money, now she ridin wit me.’ The song is basically about gettin head from a hoe that’s a ‘headhunter’.

13.) Squeeze – TRU feat. Silkk the Shocker, Halleluya: 

Silkk’s third and final track on the album, and he doesn’t dissapoint. While still on his ‘Based On a True Story’ flow, him and Halleluya collaborate for a good song exchanging verses talking about gettin girls to slow motion for them like ‘Slim and Juvey’ and removing bras and undressing.

14.) Buckle Up – TRU feat. Master P, C-Los, Black: 

Not a track that really stands out to me. The hook isn’t very good, and as usual P’s lyrics aintnothin to look. Just an average track, and in my opinion was more of a filler joint.

15.) Ride – TRU feat. Master P, Halleluya: 

Definatley one of my favorite tracks on the CD, Master P actually delivers on this joint. Halleluya does his thing, and nothing unusual stands out about his flow on this song, but overall the song is mos def. tight and recommended.

16.) Point Em Out – TRU feat. Master P, Halleluya: 

Another track at the end of the album that didn’t stand out. P and Halleluya collaborated on a lot of songs, some being good, some not. This song is just weak.

17.) Here We Come – TRU feat. Master P: 

Possibly my favorite track on the album, Myke Diesel actually produced something fire. The song is on point, the whole thing is worth listening to and I definatley recomended it to anyone from the south, whether you got respect for P or not. Great way to end an album.

Overall, this cd is nothing above average. It doesn’t stand out, but is possibly New No Limit’s best release yet. Hopefully the production on this album is a sign of things to come, because without Drumma Boy this cd would’ve REALLY been lacking. There are problems though, one in which it doesn’t SEEM like a TRU album. And I’m sure you’ll hear this over and over again, but I’d expect this from a 504 Boyz album, not TRU, and that’s what ends up dragging it down.

Rating: 3/5