Jim Jones – On My Way to Church

Posted on February 27, 2013 by WWC

Jim Jones, of Roc signee Cam’ron’s crew DipSet, was one of the first Cam brought to the forefront to show off his group. Known for being on every Cam’ron album and more recently, starting beef with ex-Cam affiliate Ma$e, Jones is Cam’ron’s right-hand man in the ways of so many rappers today–Jada and Styles, 50 and Banks, Em and Proof, etc. His first solo album, released on Koch records, was “his goal–everything else is just a blessing.”

1) Intro

The album starts off with a little babtist-style sermon and gospel music, played on an organ. Horrible way to start off this album considering none of it has anything to do with church.

2) Capo Status 1st Take

Over a chime-filled, guitar-driven beat, Jones spits a short but nice verse to really intro the album. Ironically it’s probably his best verse on the whole thing. (Good)

3) Only One Way Up ft. Cam’ron, Juelz Santana

The beat here is unimaginative, sounds a lot like the previous one, only faster-paced and more layered. His verse is aight, no surprises, nothing mind-blowing for the most part. Juelz comes on second, flowing fast, which is better, but then slows down. Cam’ron’s verse, sounds a lot like Jones’ verse, but at least it makes sense. One word to describe the track, boring. (Decent)

4) This Is Jim Jones ft. Cam’ron

This track is cursed with a horrible-sounding sample crooning in the back. It grates on the nerves. Jim and Cam rhyme in nearly the same style, and since there’s no wordplay or any lines that jump out at you, it’s hard to focus on their words. (Poor)

5) Let’s Ride ft. JR Writer

Feelin this beat, dangerous-sounding light piano backed by a pretty heavy drum track. An organ or something comes in and backs it up later on in the cut. It’s obviously a Big tribute, since for one, Jones says “RIP Biggie Smalls” at the cut’s start, and for two, he jacks Biggie’s delivery off “Notorious Thugs” and even twists some lyrics from the song in his second verse. Woulda been more impressive if he’d come up with his own flow, but the verse is pretty good (considering he ‘borrowed’ most of the lyrics a la Eminem & Hail Mary ’03); Writer comes on for the third verse, needless to say his flow is less impressive. My problem with Writer is he sounds like a carbon copy of Cam’ron, and this is no exception. (Decent)

6) Certified Gangsta ft. Cam’ron, Bezel

You may have heard this track, and by “may have” I mean “this is the DipSet track you’re probably sick of.” The beat is pretty nice, sounds like more of the same, though the horns that come in during the cut sound out of place. Jones and Bezel rely heavily on the three-syllable scheme while still not really saying anything fantastic, and Cam goes back to his fragmented multi style saying shit like woopty-woo, and “baby I move the drugs right on the computer love, it sounds like computer love.” (Poor)

7) Jamaican Joint ft. Cam’ron, Juelz Santana

Cam’ron jumps right into his childish, nonsensical rap routine. At least the beat is a different flavor, though it’s pretty bad quality. The track is the predictable tribute to weed. Jim’s verse is nicer than on his previous songs. (Poor)

8) End of the Road ft. TI, Bun B

Feelin this piano beat, sounds Kanye-produced by the sound of the squeaky singer in the background, however (s)he’s *****ing annoying as the producer keeps cutting the beginning of the line over and over. TI comes on and rhymes a laid-back, pretty nice verse. Jones is next, more animated this time, his verse is a bit nicer. Somehow the usually-sicc Bun B isn’t very impressive on this joint, due to his basic scheme. (Decent)

9) Shotgun Fire

Finally, a solo cut. Unfortunately, Kanye decided to simply rework his Twista hit Celebrity Overnight; the beat is nowhere near as impressive, and neither are Jones’ lyrics/flow. Dissappointing. Plus the hook is *****in horrible. (Horrible)

10) Capo Status 2nd Take

Jones goes back to the cut from the first beat. The lyrics aren’t quite as impressive, but they’re mostly better than the other cuts so far. (Decent)

11) Lovely Daze (Memory Lane)

A clumsy beat, a light synth track with an utterly out-of-place tuba-sounding instrument in the background. Jim reminisces on street experiences, has some good lines but bars and flow are mostly unimpressive. (Decent)

12) Spanish Fly ft. Chico DeBarge

I’m actually really feelin the beat, something creative for once. It’s a Spanish-styled flute-and-kicks deal, with Chico singin smoothly on the hook. Jones’ flow also breaks out of the monotony here so that he can flow over the more imaginative beat. His lyrics are above average, not his best but definitely not his worst. (Good)

13) Livin Life as a Rider ft. Denise Weeks

Jones’ verses are pretty nice here, the beat is pretty good too, not that it’s very creative, just appealing. Denise Weeks is good on the hook as well. (Good)

14) Twin Towers ft. Bizzy Bone

Yes! With Bizzy comes a nice floaty, piano-styled beat trademark to most Bone Thugs cuts that really lifts this track. Bizzy’s verse is good, usual Bizzy, his flow starts really good but later slows down. Jones’ verse is better overall on this cut as well. His lyrics are more catching, as they actually have a topic. (Good)

15) When Thugs Die

Starts off jacking the first couple lines to Pac’s When We Ride On our Enemies, this is the ever-so-predictable riding song. The beat is pretty good, some xylophone shit with a church bell, but it really just sounds like he was going for a Pac style with the beat as well, and once again I hate the hook. (Decent)

16) This is Gangsta ft. Juelz Santana, Bezel

Feelin the beat, hard to describe but it kinda reminds you of the NFL anthem. Santana’s verses are pretty good (probably since his flow’s more lively). Jones’s flow and lyrics are also better here, though some of his lines seem a little ridiculous (‘Them niggas ask questions and we do not answer,’ oh no! They’re dangerous!) while predictably claiming to be gangsta the whole cut (like it’s something new). Bezel’s verse is pretty nice but again the topic just goes in circles, it gets pretty frustrating. (Good)

17) Crunk Muzik ft. Cam’ron, Juelz Santana

The predictable crunk banger that you knew had to be on the album. The beat, while good, sounds only slightly dissimilar to “Lean Back.” It’s starting to get really, really frustrating how these guys say the same shit every song. Cam’ron’s back to his childish fragmented bullshit. Juelz is decent. (Decent)

18) Bend n Stretch

Well! Another club banger, 2 in a row. This beat isn’t as good, and besides absence of Cam and Juelz that’s really about the only difference. Takes a shot or two at Ma$e on this joint. (Poor)

19) Talking To the World

Sounds the same as most of the previous tracks. The beat is a little lighter, with more complex kicks, and Jones is more animated, somehow alternately showing off his gangsta and wondering why people are trapped in their own hustle. His verses are pretty nice, though. (Decent)

20) Capo Status Final Take

Back again to that one beat. Jones spends most of it talking, but spits a verse in between, which is decent. (Decent)

21) Outro

Back to the church setting for the outro.

My rating: 2.5/5

Listening to this album, it was extremely clichÃ©, predictable and commercial. Jones has skills, if only he’d use wordplay or something sometimes. He’s more boring than Banks is. It seems on most of his collab joints, he follows the mood of the other rapper–Cam’ron’s scheme, for example, or Juelz’ energy, and he’s usually carried by the beat. The album really only has two or three good cuts on it, the rest are boring filler. It was really hard to sit all the way through and try to focus. Plus I can’t imagine why the title is On My Way to Church, since it has nothing to do with church, wisdom or spirituality, just commerciality.

My Recommendation: Download/burn your favorite cuts.

Kurupt – Kuruption

Posted on February 27, 2013 by WWC

Kurupt – Kuruption – 1998 Antra Records

After the rise and fall of Death Row Records, Dogg Pound and platinum selling artist Kurupt split from the label and dropped his first solo album after working with the likes of Daz, Tupac, Snoop Dogg, Dr. Dre, and being a part of one of the greatest dynasties in rap history. How his solo album would fare was up in the air.

West Coast Disc

1. This One’s For U – Production: Studio Tone

A laid back track with a good bounce to it, the production is dope for what it tries to achieve. Kurupt lays back with some pimp shit, dropping some tight lyrical flow with good word play. Good start to the West coast disc.

2. Make Some Noize – Production: Soopafly

Teaming up with Dogg Pound affiliate producer Soopafly, they work together to drop a sick collab. Beats that bang in your speakers and Kurupt comes hard over the beat, with a good chorus by Daz to yell to while having this bang in your car speakers. Good background adlibs by Daz. A slight remake of Public Enemy’s “Bring the Noise” for the new era. Dope track

3. Put That On Something – Production: Devante

Another track that bangs in the speakers, takes a while to get going. Sounds more like a studio freestyle than a track itself, the vocals have the sound of a freestyle and the mixing isn’t that great. The track is allright to start but its easy to skip past and not miss it. Especially with the chorus which is kind of embarrassing

4. Play My Cards – Production: Battlecat

This track sounds more west coast G Funk than the earlier “west coast album” tracks. With the trumpets and bounce to the background, Kurupt lays down some dope Dogg Food style verses. Tight track, very reminiscent of his Death Row days.

5. We Can Freak It – Production: Battlecat

Instant classic and one of Kurupt’s best tracks he ever dropped. West coast hit inside out, Kurupt drops one of his best storytelling tracks ever, over the production that just bangs. Any fan of the west could love this track for all its worth. It speaks for itself better than I can say.

6. Fresh – Production: Daz

The first Daz and Kurupt collabo on this album, and instantly takes you back to the Dogg Pound era. No verses dropped by Daz, but the production he lays out for Kurupt are nothing less than the hits they dropped a few years earlier. Tight track.

7. C Walk ft. Trey Deee – Production: Daz

Another instant Kurupt classic, and one of his highlights of his career. Daz gives a perfect beat for the verbal assault Kurupt is about to spit on the track. Laid back track but its just fire beginning to end, was later remixed with Tupac (never released) but the original with Trey is much better.

8. Ho’s A Housewife – Production: Kurupt

The original version of the Kurupt hit that would later appear on his “Streetz” album and Dr. Dre’s 5 mic album “2001”. Its hard to say which version is the best, lyrics are all the same, so it’s a matter of production which are all good in their own right. Another Kurupt highlight of his career.

9. Cant Let That Slide – Production: Twin

A tight beat, west coast feel to it all the way. Unfortunetely the squirrel voice for a chorus might ruin the track. Kurupt’s storytelling abilities hit a high point this far into the album. Minus the chorus, tight track all the way.

10. That’s Gangsta – Production: Warren G

Teaming up with legendary producer Warren G who helped innovate the west coast sound, it’s a perfect end to the west coast disc. Not so much of a club banger like you’d expect from them, but its an eerie feel to it, and Kurupt lays it down for the strange beat from Warren.

11. Survive Another Day

A slower and deep, dark beat, that Kurupt flows over perfectly. He hits another storytelling high of his career, one of the tracks you just kick back and listen to him tell the story. The chorus fits the track perfectly, dope track.

12. Ask Yourself A Question- Production: Dr. Dre

Not your typical Dre beat, so don’t get the hopes up for a instant banger. The production might even be the fall off of this track. Kurupt lays down an average set of verses. Not the greatest track on the album.

East Coast Disc

1. It’s a Set Up – Production: D Moet

First listen to the album way back, this was my favorite track on the album. The record static fits the track perfectly, the beat is just bass through the speakers and Kurupt tears the mutha*****a up. It’s a give or take song to most people, but I love this song.

2. Light Shit Up ft. Buckshot – Production: Easy Mo Bee

Kurupt teams up with legendary East coast producer, the way he teamed up with the likes of Daz or Warren G on the west coast disc. Buckshot kicks it off with a dope ass verse, and proves a good duo with Kurupt. Another ill track to start off the East Coast album.

3. Game – Production: D Moet

D Moet returns with another banging beat for Kurupt to tear up. Track is off the hook, the two of them were a good pair for each other because this far into the album, they’ve dropped two of the dopest tracks on the entire album. Great track.

4. Gimmewhatchagot – Production: MED

Repetitive and jumpy beat, and Kurupt doesn’t do much to flow over it. The lyrics he drop would be better suited over another type of beat. Bad choice to combine them together, Kurupt does some tight verses, but the song as a whole doesn’t work very well.

5. If You See Me ft. Trigga – Production: Storm

Very Wutang feel to the track, given, since Storm is famous for doing production for the Clan. First definite East coast track and its odd at first to hear Kurupt on a style of track like this but he doesn’t disappoint. West coast heads will probably be annoyed with it, but it’s a dope track. Loving it.

6. The Life ft. El Drex – Production: D Moet

A third banging laid back, make you think style track by D Moet. Kurupt and El Drex trade lines back and forth very well with each other. Dope laid back shit, you can picture this track in a movie where someone is in the low point of their life. Tight shit.

7. No Feelings ft. Slop, Patacico – Production: D Moet

This track is a straight up hit. Kurupt tears up the beat, again D Moet and Kurupt hook up on this east coast disc and again, hit it on the head again. This shit is just fire, Kurupt teaming up with two unknown rappers but you’d never think about it twice, its just a straight hit. One of the best tracks on both discs.

8. Its Time ft. Deadly Venom

Kurupt hooks up with Deadly Venom, a female rapper who did work with Cappadonna and Wutang. She comes hard over the beat, which is really basic, but the track is just grimey. Gets a little tired before Kurupt finally steps in, if you don’t skip the track before he does. Probably the lowlight of the entire album.

9. I Wanna ft. Ralik Royale, Snake, Floyd, Drea – Production: Devante

Again, another track to slow down the album. Stupid, unoriginal start to the track mixed with a wack mix of rappers who you hope you never hear from again. Bad song.

10. Who Do U Be – Production: RJ Rice

A more uptempo track that really does nothing to save the album by this point. Kurupt will start to rip but out of nowhere the chorus will kick in, gets annoying when you think hes about to keep tearing the track up. Kurupt does well but as a song together, its wack.

11. Freak It ft. Noreaga

Noreaga’s style of just being repetitive on choruses comes in, if you’re a fan of that, you’ll like it. Noreaga kicks off some dope rhymes over a deep beat. The track is actually pretty good, back in Noreaga’s prime teaming up with a kingpin from the west. Kurupt tears it up. Makes you forget about the last few horrible tracks, if you waited the album out this far.

At the time the album dropped, the rap game was just winding up years of nothing but classic albums on the east and west coast. Kurupt tried to capitalize with both coasts fans, and at the time, let down his fan base in the west while not impressing the people in the east. The album was criticized early, and people quickly put the album away. Looking back at the album today, its hard to believe this could ever be considered a failure. The album has a few weak points on each disc but are very overshadowed by the true hits of the album that people slept on.

Kurupt laid down some highlights of his career with “C Walk”, “We Can Freak It”, “Hos A Housewife”, and that’s just on one disc. On the other, hooking up with D Moet, they worked to drop some straight grimey bangers that should still be in peoples speakers 6 years later. In hindsight this album lyrically is Kurupt’s best output. He kills every track, regardless of the production, which at times is lacking but for the most part is killer. Give the album another listen because its nothing but heat that got lost in an era of classic albums.

Rating – 4/5

AZ – Final Call

Posted on February 27, 2013 by WWC

Let the phrase “new AZ shit” catch a true hip-hop fan’s ears and he’s in a good mood. Arguably, the Firm’s finest, the only guest on Nas’ undisputed classic Illmatic, one of the most underrated underground NY MC’s around. The flow is smooth, the voice is chill, the lyrics & style are sick..probably the only reason this man has yet to find fame with his friend & rhyme partner, is his tendency to choose horrible beats to rhyme over, but he attempts to correct that with Final Call.

1) Intro ft. Lemon

Just an intro, with some dude named Lemon talking. Lemon lets the crowd know, vividly and persuasively, that the album is going to have a message. One of the best intros to an album I’ve ever heard.

2) Omega

First real track on the album, and the beat is eh. Not a good way to start off the album; even AZ’s verse starts off slow. It picks up, though the beat (soft piano and a soft snare with some chick singing off-key) doesn’t. (Poor)

3) The Truth

The beat is decent, a kickin snare & a funk singer in the background with soft horns in the background. Instead of a chorus, the song is broken periodically by a heated OG talkin about the old days. AZ seems like he’s resting, saving his good shit for later, but he has some good shit here and there. (Good)

4) Seems That Way

A nice beat, really Cali-styled, laid-back. Great cruising song. AZ’s mellow voice and his complex, sicc lyrics really liven the cut, and the hook is good; somehow him talking over it adds something extra. (Great)

5) Talkin’ Gangsta ft. Tony Sunshine

The beat is aight, latin-styled, salsa-ish (complex drums), too simple for me. Tony Sunshine does a good job on the hook, his voice is smooth and catchy. More of a dance track, but AZ comes pretty nice. (Good)

6) Side 2 Side ft. Ron G

Damn. We were on a roll. An 80’s styled dance cut. The beat is pretty wack…AZ’s lyrics are pretty good but really don’t fit the dance vibe, it’s disorienting. Sounds like an Aziatic outtake. (Horrible)

7) You Know ft. Rell

The beat is nice, smooth, has a lounge feeling to it. Rell is smooth as hell, too. AZ comes nice on this while being commercial, a bit like Jay-Z. A lot like Jay-Z. He’s switchin up really well on this track. (Good)

8) No Strings

Aaahh…great. The beat is fire, smooth, but not laid back; AZ comes aggressive on this one, which always makes his flow sound better, and the lyrics are sicc. The chick on the hook is pretty good. (Great)

9) Gangsta MC’s ft. Lemon

Lemon talks his poetry in rhyme style here, he talks to modern “gangsta” rappers. Says some deeeeeep shit like “hip hop has always been about the rusty fork tryina eat like the silver spoon” and “how you know holla isn’t short for hallelujah?”

10) Live Wire

God Damn, I *****in love this beat, jazzy but grimey. It literally sounds like AZ making his own cut for Illmatic; that vintage, flavorful style with the Vizualiza flowing old-school but crazy. (Excellent)

11) Magic Hour ft. C L Smooth

The beat is pretty *****in nice, halting but smooth at the same time. AZ flows and comes sicc on the track as usual, shows his versatility by switchin up styles/schemes here. CL helps bring that smoothness and presence to the joint; shit is good on the beat, good on the flows, good on the lyrics, good as a collab..shit is just *****in good. (Great)

12) I Am AZ

Okay, this is an odd one. The beat is aight, it’s really simple, but AZ just *****ing RIPS IT. Has that sound of a street freestyle on the corner, where the beat is improvised. If more was added to the beat this could become another excellent cut. (Good)

13) Girls R Free

Mmm..AZ tries a new flavor here, with some reggae shit. Him singing on the hook is unacceptable, and the beat kinda sucks. The whole vibe is just weak, AZ’s verses are aight, A’s flow is choppy due to the beat. (Poor)

14) Poor, Poor People ft. Lemon

Lemon does it again, period. “Next time you see a young man wit a criminal record tryinna get a job, hook a brother up cuz that’s the truth behind why he sells crack and why your ass got robbed.”

15) Let Me Know ft. Aaliyah

Over a slow, kinda popish 80’s type jazzy beat AZ rhymes about his life. His rhymes are good, but the beat takes some getting used to. I don’t know why Aaliyah is listed on the track, I think the dude on the hook is singing something she wrote. (Decent)

16) Quiet Money Anthem ft. Nu, Young

This is a nice energetic beat, clapping making up the drum kicks and a string beat makes up the background. Catchy. The hook is pretty catchy too, an anthem as it says, suttin to be bumped in the ride. AZ comes pretty nice, Nu comes aight, Young is aight too. (Good)

My Rating: 3.5/5

AZ is making progress from his last couple of albums, though sadly he has no Nas collab on this one. He still seems to choose wack beats to try to counterpoint his lyrics for some reason, but he doesn’t do it near as often. He has some heavy joints on here, but mostly this is a progress album, not a breakthrough album. Shit that shows what he can do and gets people noticin him again, waiting for the next album (if one’s to come).

My Recommendation: Support AZ, let him know you’re out there, buy his shit. There’s enough good joints on it to make it worth the price, maybe get it on sale, but you’ll be largely satisfied, and wait for the Vizualiza to announce his next project.

Silkk the Shocker – Made Man

Posted on February 27, 2013 by WWC

Silkk the Shocker – Made Man – 1999 No Limit Records

1. The Day I Was Made – Production: O Dell

An intro of Silkk becoming a mob made man, a mix of Godfather and Scarface choosing him to join them. Starts into a quiet piano beat and Silkk spits some shit over it. A decent intro to the album with some good lines about life in general.

2. Somebody Like Me ft. Mya – Production: Whole Records

Over a guitar fueled beat, Silkk drops some shit about his past with a lady. A little laid back, serenade with Mya on the hook. Decent for a love track.

3. It Aint My Fault 2 ft. Mystikal – Production: Craig B

a brash beat with Mystikal yelling like a freak in the background. He comes out first yelling like only Mystikal does, fast paced and in your face. The chorus is just horrible, “it aint my fault, it aint my fault…” Boring song.

4. Ghetto Rain ft. Master P – Production: Craig B.

A track over a slower beat, deep and thoughtful. Perfect to the track where P and Silkk talk about their life in the struggle, losing their brother and other hardships. One of the best tracks on this album, deep shit.

5. This Is 4 My – Production: KLC

A piano fueled beat with Silkk doing some spoken word over it. Nothing more than a track of dedications of the album. Rather useless to the album.

6. Commercial One – Skit

Silkk causing shit with some guy on the street.

7. You Know What We Bout ft. Jay Z – Production: Craig B

Repetitive beat but it bangs in the speakers a bit. Basic ass lyrics by Silkk, with a weaker flow that mimicks Master P a lot. Its too bad they put Silkk on first because when Jay Z steps in, if people haven’t skipped the track, he puts on a display flowing over a wack beat, and makes it work somehow. He saves a track that was destined for garbage and makes it worth listening to. Shining moment on the track, unfortunately for Silkk, it’s Jay Z that did it.

8. I Want To Be With You – Production KLC

What’s a rap album without a phone call to/from a girl and the rapper talking about having to work in the studio. Finally Silkk shows some skill at flowing over a beat instead of trying to sound like a typical No Limit track. He hits a highlight with his skills on this track.

9. All Because of You ft. Mia X – Production: KLC

Another track following suit of Slick Rick’s “Lodi Dodi”, Snoop did it great, Silkk on the other hand… not at all, the production of this track is just retarded and not in a good way. It’s just disgusting, the entire track is a mess beginning to end. Horrible, just horrible.

10. No Limit ft. Fiend, Mystikal – Production: KLC

If you thought the last song was bad, I’ve contested ever since I heard this song for the first time, that it is by far the worst song ever made in rap’s history. This is just a torture to listen to, I highly suggest you do, so you know that no matter how drunk or high you are, you could be a rapper if this ever made a cut onto a major label’s album. I repeat – WORST SONG I’VE EVER HEARD IN MY LIFE.

11. End of the Road ft. Sons of Funk – Production: Sons of Funk

A deep song about life and how it can go bad in an instant. Over a piano loop, it’s a good output by Silkk, the chorus is perfection to fit the song. A good song if you’re missing a lost one, or to have played at a funeral. One of the highlights of this album. Great track.

12. We Won’t Stop ft. Master P, C Murder – Production: Carlos Stephens

Three brothers on one track, not often you’d see that in rap. Song about no matter how high they can make it in life, they’ll always be dragged down because of where they came from. A good beat, but they really shouldn’t have yelled over it. Flows are the big drawback to this track.

13. Mr. 99 – Production: KLC

Finally KLC puts out a beat on this album that doesn’t totally suck. It’s still pretty bad nonetheless. The clicking just rides louder than the rest of the beat, but the constant “MR” yelling in the background makes this track junk. Not that it wasn’t to begin with. Horrible.

14. It Takes More ft. Ghetto Commission – Production: Carlos Stephens

A song about being a thug and gangsta and how people act the part but it takes more than that to be one. Silkk does what he can on a clichÃ© track. Nothing special, but not as bad as most of this album.

15. If I Don’t Make $ – Production: DJ Whop

When the song first starts it seems like a slight intro before Silkk is about to bust out rapping, but no. He does this through the entire track just barely more than talking over another bad beat. A chorus jacked from DJ Quik’s “Dollaz and Sense”, and true to form, they ruin it.

16. It’s Going Around Outside ft. Rico – Production: Sons of Funk

The Sons of Funk bless this album with another good bout of production for Silkk. They do their best to save this album with tracks like this. Another deep track that Silkk is able to shine over, another track for the fallen.

17. Put It On Something ft. Mia X – Production: Craig B

A good beat for this album, more bass provoking than most of the album this far. Silkk has a decent flow over this one. While on most albums this would be a filler, on this album, its actually one of the better songs.

18. Commercial Two – Skit

Skit about some *****es walking around a mall complaining. Whatever.

19. Southside Niggas ft. Master P, C Murder – Production: Mo B. Dick

The brothers team up again on the album and over a beat sounding like it was made on a child’s xylophone, they do another sing along pile of shit. The verse by C Murder is actually pretty dope, but still the song isn’t much to it.

20. Get It Up ft. Snoop Dogg – Production: Beats by the Pound

They end the album off with the best track on the album. Snoop kills this beat, which sounds perfectly suited for the Dogg. This track is fire, possibly the best track Snoop ever made on No Limit. Banger, and west coast style shit. Tight track.

Basically if Silkk isn’t going over a beat by Sons of Funk and doing a memorial type track, or having guests like Snoop and Jay Z, Silkk is trash on this album. Maybe it isn’t him so much as the horrendous production, which proved that KLC is the worst producer of all time. This album includes two of the worst songs ever made in rap with “No Limit” and “All Because of You” back to back. The last song on the album is the only real stand out banger, thanks to Snoop. I wouldn’t be surprised if DJ Quik and Slick Rick sued No Limit after the destruction of their classics by Silkk for defamation of character. Download the songs produced by Sons of Funk, and the last track featuring Snoop. Although you should really hear track 9 and 10 if nothing else for a laugh or if you want to torture somebody by locking them in a room with them playing on repeat.

Rating – 1/5

Pete Rock – Soul Survivor II

Posted on February 27, 2013 by WWC

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 $$.

Ma$e – Welcome Back

Posted on February 27, 2013 by WWC

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 clichÃ© 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

Daz Dillinger – Retaliation Revenge & Get Back

Posted on February 27, 2013 by WWC

Artist: Daz Dillinger¨
Title: Retaliation Revenge And Get Back
Lable: Death Row
Year: 1998

1. Gang Banging Ass Criminal (feat. Tray Dee, Soopafly, Kurupt, Bad Azz and Technique)

Great way to kick off the album. What a track. Basically features the whole Dogg Pound posse. Great production here. Perfect to freestyle over. Everyone for the most part is correct with their verses but Technique easily steals the show. Probably his best verse ever.

Technique: “The same thing, different place With snakes, cowards and strong grown Robbery cases, niggas faces On paperchase It was seen, it was written It ain’t forbidden For homies to be splittin’ Disagree, no one was hitten Known with the curls The many obstacles Impressions to the feet from gettin’ served”

2. It’s Going Down (feat. Kurupt)

Nice track. The production is good but after a while it get’s too repetitive. Daz and Kurupt both spit great verses. Nice chorus as well.

3. Playa Partners (feat. B-Legit)

Definently a favorite of mine. The track features Bay Area vet B-Legit. I love the production here. Nice bouncy G Funk. Both Daz and B-Legit are nice on this track. I wish they would work together more often.

4. It Might Sound Crazy (feat. Too $hort)

Classic track. One of the singles from the album. Basically a pimp song about females. Good track overall. Too Short and Daz make a great duo.

5. Our Daily Bread (feat. Kurupt)

Tight track from Daz and Kurupt aka Tha Dogg pound. The beat here sounds oddly familiar to 50 Cent’s “In Da Club”. Both and Kurupt spit great verses on the song. Surprisingly Daz outshines Kurupt.

Daz: “Revolved around forty-four niggaz for the rep Sweat the whole block with the Mack-90, automatic semi-tech Now the whole shit is respected Slowly but surely homies catching death wishes, and laugh You’re trying to catch a check you can’t cash I do, for the rapper the name and for the hood that I claim After the kill, it’s remains the same”

6. In Califonia (feat. Val Young)

The first single from the album. Definently a classic track. Daz flows over the bouncy beat nicely with is trademark style. Daz definently does California justice with this one. Val Young adds to an already great song with a smooth chorus.

7. Initiated (feat. 2pac, Outlawz and Kurupt)

Definently a hot track. Kurupt starts off the track with some crazy battle rhymes.

Kurupt: “For real I got it bought you the blue steel cowards hit the panic button thinkin’ that it was what it wadn’t shit’s hectic the bomb Vietnam rhyme Don with the semi-auto fracture your torso to ya spine the back cracker smack you with my verbals & graphic grammar My verbal murder strech from Alaska to Alabama”

Up next is Pac and The Outlawz. Pac’s verse is pretty good but Fatal totally outshines him and The rest of The Outalwz. Daz is last and his verse is nice, basically spitting gangsta stuff.

8. Oh No (feat. Tray Dee and J-Money)

Nice track. Like a lot of songs on the album it’s mostly about gangsta stuff and shit on the streets. The first verse by Daz is lethal, and it’s directed at all his enemies. J-Money is next and he spits a nice verse. And as usual Tray Dee lays down a hard ass verse.

9. Retaliation Revenge And Get Back

One of the few solo joints on the album. Daz comes off nicely on this. He flows perfect with the beat. Pretty angry track for the most part. The production is what really keeps you listening.

10. O.G (feat. Snoop Dogg and Nate Dogg)

Classic G Funk track right here. Definently a good track to ride to. The production is perfect here. Definently reminisent of 1994. Snoop’s first verse is classic. He raps about his first time getting arrested. Nate Dogg is really smooth on this track too.

11. Baby Mama Drama (fea. Lil C Style and Big C Style)

This is a song about how Daz’s ex-girl is filing child support to get his money and support her and her current boyfriend. Both Daz and Lil C Style come off really nice on this track. It was a little odd hearing Big C Style on the chorus, but he did a great job.

12. Only For You (feat. Val Young)

Really nice track. Daz raps about falling in love with a good girl. That’s not something your gonna hear often from Daz. Daz’s storytelling is nice and he flows well with the smooth production. Val Young is simply awesome on the chorus as well. She truly has a gifted voice.

13. Riding High (feat. WC)

This track features West Side Connection member WC. Good track. I really like the production. Soopafly is great as always on the piano. Daz’s verse is so-so, but WC comes off nicely.

14. The Ultimate Come Up (feat. MC Eiht and Bad Azz)

This is a great track. It has one hard ass beat. Definently a lot of bass. Daz’s first verse is about him and everything on his block. Bad azz’s verse is nice too. I love Eiht’s verse. He flows really nice with the beat.

15. Thank God For My Life (feat. Tray Dee and Bad Azz)

More of an introspective track from Daz and Tha Gang. The track is about trying to do right in life, even though life is hard. Daz also sings the chorus. It’s actually pretty good. I wish their were a few more tracks like this on the album.

16. Outro ‘Why Do We Bang’

Just the outro. Daz shouts out Death Row.

Overall rating: 4.5/5. Could possibly be Daz’s finest album. I would definitely recommend this album to any rap fan, especially if you like the DPGs. Daz is a very talented rapper and producer. Definently an album you should have in your collection.

Mobb Deep – Amerikaz Nightmare

Posted on February 27, 2013 by WWC

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 – Straight Outta Ca$hville

Posted on February 27, 2013 by WWC

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.

Shyne – Godfather Buried Alive

Posted on February 21, 2013 by WWC

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.