C-Murder – C-P-3.com

Posted on April 1, 2013 by WWC

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Overall Rating: 2/5

Mac – Shell Shocked

Posted on April 1, 2013 by WWC

If you were a fan of hip hop during the 90’s chances are you we’re bumping almost anything Master P put his platinum touch on. While a lot of fans condemned them for biting and over saturation, no one can deny that No Limit Records put forth one of the greatest runs in hip hop history. In the midst of their 22 albums released in 1998, most were unfortunatley overlooked. One of these included the solo debut of the talented MC – Mac, formerly of the Psychoward click. This was released in June 1998.

1.) Boss Chick feat. Mia X: Released as the first single (complete with video), this is more out of Mac’s comfort zone. The beat is typical Beats By The Pound, and features Mac rapping about his “boss *****”, which in this case is “Unlady Like” diva – Mia X. Decent song at best, and only features one verse from each rapper.

2.) Be All You Can Be feat. Fiend, Silkk The Shocker: The first great song on the album features fellow No Limit soldiers – Fiend and Silkk The Shocker. Fiend starts the track off with an amazing hook, and commendable verse. Mac jumps on the second verse, describing his struggles and curiosity as to why the streets are the way the way they are. Silkk drags the track down slightly, with his offbeat flow. Great song, however.

3.) Soldier Party feat. Master P: Both artists underachieve extremely on this track. The beat is nothing exceptional, but the hook is abysmal, and Master P’s constant “Unnngghhh’s” grow old after the first minute of the song. Mac comes through with a decent first verse, but it unfortunatley doesn’t make the song any better.

4.) Murda, Murda, Kill, Kill feat. Mystikal: Although this song only clocks in at 2:25, this is a “soldier” song all the way through. Mac sets off the army influenced instrumental, with memorable lyrics “If I die in battle, tell my folks I was no joke when I blasted/Wrap me up in camoulflage and put that tank on my casket.” Then Mystikal comes through and completely WRECKS the beat. His quick punchlines and impecable flow easily make for one of the best records on the entire album. Definatley recommended.

5.) Tank Dogs feat. C-Murder, Fiend: Anybody that remembers No Limit remembers their constant advertising for upcoming albums. One of those albums at the time was the group debut of the “Tank Doggs”, which featured C-Murder a.k.a. “50 Dollaz”, Fiend a.k.a. “Sleepy Eyed Jones”, and Mac a.k.a. “The Camoulflaged Assassin.” This song features a pounding drum and bass loop. Great song featuring three of No Limit’s finest MC’s.

6.) Slow Ya Roll: Mac’s first solo song is a hip hop classic. Over a very solumn instrumental, Mac details the come up of a young nigga trying to make noise in the game of life. His storytelling ability really shines as this 4 minute track showcases why Mac deserves to be mentioned with the greats. Classic track in every aspect.

7.) We Don’t Love ‘Em: A very plain beat is provided by Beats By The Pound, as Mac tries (and fails) to explain why none of his soldiers “love them hoes.” At just over 3 minutes long, the hook sounds unusually awkward, and Mac is cut off during his third verse. Average song at best.

8.) Wooo feat. Kane & Abel, Mr. Serv-On, Big Ed, Snoop Dogg, Mia X: A pounding beat is served up for Mac and the No Limit family to get busy to. Starting off with a hard hitting verse (“No Limit black sheep, played the backseat for months/Stayed away from the tangueray, *****es, and blunts”), Mac’s flawless verse is followed by Kane & Abel, who do decent at best. Mr. Serv-On’s fast paced flow suits the beat well, while Snoop is still obviously trying to get comfortable over southern production. Great song none the less, and definatley recommended to the average No Limit fan.

9.) Can I Ball feat. Soulja Slim: A true gem on this classic album, this track features deceased New Orleans legend – Soulja Slim, just after the release of his national debut and incarceration. Mac and Slim trade verses on coming up in the game, and balling while sporting diamonds. Slim’s verse is flawless, as is Mac’s making for an all around classic song.

10.) Money Gets feat. Master P: A dissapointing track, in comparison to the two songs before it. This is nothing more then the same old “keep yo eyes on yo enemiessssss” track, with Master P’s monotonous flow becoming a little too repetitive. Not even Mac can save this song, with his above average verse over the subpar beat.

11.) The Game: A lyrical exercise of some sorts, Mac rocks this KLC produced track with memorable lines (“I’ll transform into Liu Kang and finish ya”), as he roams through the beat with three classic verses. Great song, up and down, although it’s only 3 minutes long.

12.) Callin Me: Unlike “Boss Chick”, this song showcases Mac’s ability to spit game the proper way. Over a soothing instrumental courtesy of Mo B. Dick, Mac explains how the ***** keeps callin him, although he needs to be spending his time in the studio or on the set. One of the better tracks on the album, and out of No Limit’s usual “gangsta” depiction.

13.) Memories feat. C-Murder: This song features two of No Limit’s better artists going back and forth over a pounding piano about their memories growing up in the game. C-Murder’s prescense on the beat alone makes his verse noteworthy, but Mac steals the show by far with a classic verse. Great song, proving that Mac and C-Murder were a deadly combination on the mic.

14.) Meet Me At The Hotel feat. Mr. Serv-On, Magic, Mia X: A more uptempo version of “Callin Me” this song features Mac running game once again. This time Mr. Serv-On, Magic, and Mia X appear for forgettable guest spots. Although this song is good, it’d be better suited for Mac; and Mac alone.

15.) Shell Shocked feat. Fiend: At first listen, the beat will bore you. It’s another unrecognizable BBTP instrumental. However, the Tank Dogg combination on the track is undeniable. At just under 3 minutes, Mac and Fiend deliver very hard verses, making the title track slightly better then most would’ve thought. Good song.

16.) Paranoid feat. Silkk The Shocker: There are two reasons that this song is one of the best on the album. First off, it’s another one of Mac’s storytelling songs, and a very good one at that (Mac, while engaging in gunfire, accidentally shoots his brother). Secondly, while this song says it features Silkk The Shocker, he is only on the hook, giving Mac the time he needs to shine, and get his point across. The chorus lacks unbelievably, but this track is recommended for Mac’s verses and delivery alone.

17.) Nobody Make A Sound feat. 2-4-1, Magic, Fiend: Quite possibly the worst track on a near flawless album. While 5 MC’s are listed to appear on the track, the song is only 2:33 long. 2-4-1 (who thankfully never released an album) are awful, and Mac dissapoints with this subpar verse. Fiend and Magic don’t do much better, making for a terrible song.

18.) Beef: This is another one of Mac’s solo storytelling songs. While he’s depicted young thugs coming up in the game, and the war in the streets, this one is strictly about beef. Here, Mac describes a day at the mall when somebody steps to him. An outstanding hook, backed with an entertaing and upbeat instrumental, make for a track easily up there with the best.

19.) Camoulflage Love feat. Storm: Featuring Mac’s “Psychoward” comrade – Storm, this is a fairly short song, about each other’s urge to *****. “I enter your body just like a shotti/I keep your heart pumpin and thumpin, that Lodi Dodi” just about sums it up. Decent track at best, but won’t stand out, and only features one verse from Mac.

20.) Empire: Another solo song from Mac, features what sounds like 32 bars from No Limit’s premiere lyricist. More of a battle track in some sorts, Mac sends a warning shot to anybody *****ing with the Tank. “So the next nigga talkin ’bout we country and weak…/I hope his mama catch cancer and die in her sleep” ends the track about as aggressivley as possible. Great, great song.

21.) My Brother: The deepest track on the album by far, features Mac ending the album in the best way possible. Telling another story. This one is about his brother. Mac cleverly details that although they’ve had their differences, they’re still thug brothers and praises him while he’s alive, rather then wait ’til he’s dead and gone. All this is done over a smooth, captivating beat. Great song, and my personal favorite on the album.

22.) Shell Shocked (Outro): An acapella chant from Mac in true soldier fashion. Nothing more, nothing less.

After listening to the majority of the tracks, one comes to understand that the game has really lost one of it’s finest lyricists and story tellers. Painting vivid visions of the game, the struggle, and the luxuries, Mac was easily the best artist (in the truest sense of the word) No Limit has ever seen. My advice: Go out and buy this album, pick up “World War III” (which is surprisingly better and more introspective then this album), and pray for Mac.

Overall Rating: 5/5

C-Murder – Life Or Death

Posted on April 1, 2013 by WWC

By late 1997, in a post-Tupac rap climate where fans were fiending for anything Makaveli related, No Limit Records had stepped in to fill that void. From “the don” image Master P perfected, to many of No Limit’s artists sounding like ‘Pac, No Limit put the south on the map with it’s funky basslines combined with hard hitting cliche gangsta rap. C-Murder was no exception. The younger brother of Master P, released his debut album “Life Or Death” in March 1998, at the peak of No Limit’s popularity.

1.) Intro: A short instrumental is being played for a little less then a minute total. Skip it.

2.) A 2nd Chance feat. Master P, Silkk The Shocker: Over a very simple Beats By The Pound production, the 3 brothers trade verses on getting a second chance at life. This was the first, and only single, released for the album. Although the song’s content is decent, both P and C have a notable ‘Pac similarity in their styles.

3.) Akickdoe! feat. Pimp C, Bun B, Master P: Perfect southern song. Almost 10 years after it’s release, any fan of dirty south music, will still have this song in rotation. Master P’s adlibs drag the track down slightly, but Pimp C provides a memorable hook, and everyone comes correct. Great song.

4.) Constantly ‘N Danger feat. Mia X: Decent song, over another simple BBTP production. Mia X’s feature isn’t very memorable, but C provides two noteworthy verses, although the track is short. Decent at best.

5.) Don’t Play No Games feat. Mystikal, Silkk The Shocker: Great song from beginning to end. C-Murder kicks it off with a hard hitting verse, and Mystikal follows it up with his unpredictable New Orleans flavor. Silkk closes it out with the energy he provided throughout most of 1998, that has since dissapeared. Overall, a classic track.

6.) Show Me Luv feat. Mac, Mr. Serv-On: C chooses to go a different route with this track, as he details (with the help of New Orleans legend – Mac, and former NL Soldier – Mr. Serv-On) his experiences at shows, concerts, and across the country. A very smooth bassline is provided courtesy of BBTP, making for a very relaxing, good track.

7.) Picture Me feat. Magic: Anybody that has heard Magic lately, or even in the past 5 years will be surprised at what he used to sound like. Appearing as the first artist signed to C’s “TRU Records” imprint, Magic trades verses with his CEO over a very steady instrumental. The only downfall is the fact he tries too hard to sound like 2Pac, and lacks any originality. C-Murder comes decent. Average track.

8.) On The Run feat. Soulja Slim, Da Hound: Very upbeat, energetic track about runnin from the police. Soulja Slim’s verse is solid, as is C’s verse and chorus. Da Hound, however, is a complete waste on the mic. Great track, just skip the end of the song.

9.) Get N Paid feat. Silkk The Shocker: 9 songs into the album and C-Murder still hasn’t had a solo track. This song, is no different, and features Silkk and C exchanging a verse each, over a funky bassline. Very short song however, which ends up dragging it down.

10.) Only The Strong Survive feat. Master P: NL’s head Colonel in charge appears on this very short song. C-Murder starts off the track with a very energetic verse about getting paid and surviving in this game, and Master P follows it up with a monotonous verse very reminiscent of Tupac in his prime. Good song none the less, as production is top notch.

11.) TRUest Shit I Ever Said: After 10 songs, C-Murder finally is allowed time to shine on his own. And although the song is only 2 1/2 minutes at best, C takes a break from uptempo gangsta to mellow. Great, great, laidback track.

12.) Makin Moves feat. Master P, Mo B. Dick: Overall, not a very good track. While Mo B. Dick croons the hook in a way only he could do, and the piano keys hit hard, this song is another short song that lacks any substance or believeable raps. Master P really needs to let C just shine on his own.

13.) Feel My Pain: The album clearly starts to pick up here, as C-Murder crafts 2 memorable verses, and an impecable hook, over a very solumn instrumental. Deep track. Definatley recommended.

14.) Soldiers feat. Silkk The Shocker, Fiend, Big Ed, Mac, Kane & Abel, Master P, Mia X, Mystikal: One of No Limit’s trademarks is their ‘soldier’ songs. This is basically taking No Limit’s finest, and throwing them all on one song to represent that “soulja shit.” This song is above the average soldier song however, as the beat pounds all the way through. Good anthem.

15.) Cluckers feat. Fiend: A remake of Ice T’s “Colors”, this song is about settin up shop and selling the goods. While the beat hasn’t really changed from the original, C-Murder lazily flows, and serves up two below average verses. Fiend does the hook, but this track is a dissapointment, as he sounds unusually out of place.

16.) Life Or Death: The title track is C-Murder’s third solo track, and does not dissapoint. Although the topics have been discussed many times before, this is a deep, introspective song, that C flows very, very well over. Great track, and definatley up there, in comparison, with any other song on the album.

17.) Where I’m From feat. Prime Suspects: If you haven’t previously heard this track, and are a fan of C-Murder, I don’t know where you’ve been. Over a clever piano loop, C-Murder describes his experiences in the Calliope, as the Prime Suspects come through to lace their first guest appearence on the album. Classic track in every aspect.

18.) G’s & Macks feat. Soulja Slim, Silkk The Shocker: Looking at the features on this song, you think it’d be better then it actually is. While C-Murder and Soulja Slim collaborations hardly ever go wrong, the beat drags down the entire track. This combined with Silkk’s offbeat repetitive flow make for a somewhat boring track.

19.) Commercial feat. QB: This “song” is only a minute long and features new No Limit soldier at the time – QB. He drops 16 average bars, but C-Murder obviously thinks he’s better then he really is, and finishes the cut by telling P to “sign that nigga and bring the weed”. Decent song none the less.

20.) Riders: Much like “G’s & Macks”, this song is lacking something. The production is not on par, and C comes across as lazy throughout this short song. Not really recommended.

21.) Watch Yo Enemies feat. Magic: TRU Records artist Magic shows up and brings his 2Pac biting to another level. While the beat is solid, and C-Murder delivers, in my opinion, a classic verse, Magic only comes across as fake, making for a decent track.

22.) Duck & Run feat. Fiend: Great, great song. Although only 2 1/2 minutes in length, KLC (of BBTP) serves C-Murder with a beat that contains gunshots for the high hat, and snares. C comes suprisingly energetic on this song, and gives the beat the energy nobody else on the tank could carry. Fiend compliments the chorus nicely, and the track ends with an explosion.

23.) Ghetto Ties feat. Soulja Slim, Da Hound: Easily the best song on the entire album, C-Murder perfectly describes his ties to the game, although he’s made it out the hood. Soulja Slim offers the best feature on the entire album with his impecable flow and memorable verse. The beat is very laidback, and paints the perfect theme for the song’s concept. The only downfall is Da Hound (Full Blooded), who once again shows that he never deserved to be taken seriously on the mic, as he clumsily mutters his whole verse.

24.) Survival Of The Fittest feat. Gotti: Not one to discriminate, as the album winds down, C-Murder lets several of the lesser known No Limit Army appear on tracks. This is no different, as Gotti from the Gambino Family exchanges verses with No Limit’s finest. The two go back and forth over a slow pounding instrumental, making for a suprisingly great track. Definatley recommended.

25.) Dreams feat. Big Ed: Although this song is only a minute long, the beat provided by KLC is much like “Where I’m From”, with the excessive piano loops. C spits a hot 16, with a memorable hook to close out the album (“I wish that life was a dream, cause sometimes I wake up and just want to scream”). Great way to end the album.

26.) Outro: Same instrumental used in the intro, just a little bit longer.

So, at the height of No Limit’s popularity, did C-Murder serve up a classic album? Not exactly. However, this album solidified the least known Miller brother, and put him directly into the spotlight. And although the topics and concept of the album, has been done over and over again, C-Murder puts his own New Orleans twist on it, and gives the world one of the best No Limit albums of 1998.

Overall Rating: 4/5

Kurupt – Against Tha Grain: The EP

Posted on April 1, 2013 by WWC

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

1.) Intro: Repetitive gun shots, and chaos ensues in the intro, as reporters from the actual John Gotti’s trial are being dubbed over, with Kurupt (aka Young Gotti) being heard in the background. Nice way to start off the album.

2.) Against Tha Grain feat. Eastwood, Tha Pentagon: A very simple bass line is being provided by Tha Row’s in house producers at the time. Kurupt takes advantage of the smooth production, paraphrasing Tupac’s “Ambitionz Az A Ridah”, and describing himself as a “Vietnam, Napalm, Gotti Guerilla.” Eastwood, who was also signed to Tha Row at the time, also comes very hard on this track. Great guest appearences, and a great beat, make for a great track.

3.) U Don’t Know Who U *****in’ Wit feat. Kokane: After listening to this track, it’s clear Kurupt’s vocabulary has stepped up a notch, compared to prior releases. However, the beat is lacking something, and former Dogg House affiliate Kokane’s singing brings this track down. Although Kurupt’s lyrics are on point, it’s a bit under what the potential of this track could be.

4.) No Vaseline Part 2: WOW just about sums this track up. Quite possibly the hardest diss track heard in years, Kurupt takes his then feud with Daz, Snoop, and Soopafly to a new level. Over Snoop’s original classic “G’z & Hustla’z”, Kurupt flips the hook (“This is for the g’z, and ***** all you bustas/this is for you bustas, you fake ass g’z”). Just when you thought the track couldn’t be any better, about half way through Kurupt flips Snoop’s “Murder Was The Case” and goes on yet another lyrical onslaught. (“You went from Deathrow to doin porn, to poppin Cris with shit in it, saying you the Lt. of No Limit”). An album highlight, at the least.

5.) One Thangs Fo Sho: Classic Deathrow production is laced here. As the instrumental starts to pick up, it’s clear Kurupt is using this track as yet another oppurtunity to destroy any credibility Snoop, Daz, and Soopafly have. Even taking a shot at Eminem, Kurupt’s lyrics fail to garner as much attention or charisma as the last track, but still make for an entertaining track.

6.) One Thangs Fo Sho (Reprise) feat. Danny Boy: Personally my favorite track on the album, long time Deathrow singer Danny Boy reverses the original concept of the “One Thangs Fo Sho”, and harmonizes over the instrumenal making for a very laidback track, with Kurupt featured on the intro, and adlibbing the end. Great song.

7.) Holocause 3000 feat. Eastwood, Gail Gotti: Another classic track. Featuring a well used Arabian sample, “Holocause 3000” is another diss track to the Dogghouse camp. Eastwood follows up with a good verse (also getting at Snoop), and Kurupt’s fiancee – Gail Gotti, does the same. Classic track, and probably the album’s second best behind “No Vaseline Part 2.”

8.) Just U & Me: The definition of a Westcoast beat, is what Forthepeople Entertainment chose to end the album with, and it’s easy to see why. While the album was filled with disses and hard felt feelings, Kurupt effectivley bounces over this loopy instrumental. Good track, and obviously better then what is being put out today.

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

Overall Rating: 4/5

2pac – The Sessions

Posted on April 1, 2013 by WWC

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

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

[Disc 1]

1.) The *****es Session I: Tupac can be heard hear calling out one of the homies, with his now infamous phrase “Goat mouth mutha*****a!”, while “*****es” aka “International” (from Pac’s Life) original production can be heard in the background. Interesting way to open up the album.

2.) The Medicate Freestyle Session feat. Kadafi, Storm, Napoleon: This is a 20 minute long freestyle session featuring ‘Pac’s lil homies – The Outlaw Immortalz. Great song, just based on the fact it gives a glimpse at the talent these artists actually had. And while it does get a little repetitive after a while, it’s a gem to hear these artists together as Storm has retired, and Kadafi passed on only 5 months after this was recorded.

3.) N E W Jerz: Kadafi is just yelling “NEW JERZ!” here. Skip.

4.) The Brotherz At Armz Session I: This unreleased “One Nation” album cut, features ‘Pac and the Boot Camp Clik going back and laying their vocals over the course of 9+ minutes. Raw track, as you can hear the instrumental being looped with different effects being added.

5.) The Brothaz At Armz Session II: Blended in from the previous track, this features ‘Pac and the homies talking and expanding on the song, while the instrumental is still being looped and completed, showing that ‘Pac did, indeed, rap over the very basics of an instrumental, while letting engineers and mixing take place later.

6.) The Let’z Fight Session: At a solid 9 minutes, this is the infamous “Let’z Fight” session. Portions of the video of this recording have leaked to the net, as the verse has now been releaed on “Realest Killaz” featuring 50 Cent. This however is completely different, as you get to hear a drunken Pac fumble words and lace his adlibs, as the Boot Camp Clik perform their 16’s. Great, great track.

7.) The Military Mindz Session I: To anybody that’s heard the instrumental used on the Original Version of this song, you’ll know how much better it is then the released version. This track features ‘Pac performing his famous outro, over the pounding production, with Boot Camp right there with him. Classic track.

8.) The Coast II Coast Session: This track was released to the net as “Thug Nigga” with Greg Nice, and actually contains 2Pac’s acapella’s on here, making for a track worthy of remixing. This is once again, them just running the track back, live in the studio with Smif N Wessun in the background.

9.) That’s Sick (Interlude): Pointless skit, blended in from the last track.

10.) The *****es Session II: Featuring the Outlawz and Boot Camp Clik going “Puerto Ricoooo”, with 2Pac’s “World Wide Dimepiece” verse being used, this is another preview of what a classic track this would’ve been. Snoop Dogg is featured on the outro.

11.) Too Much Hennessey (Outro): Although Pac is notably absent, this is The Outlawz clowning around, drunk as *****, and enjoying every minute of it.

12.) When Thugz Cry (Alternate Original): Hailed as a bonus track, this track (when compared to UTEOT’s remix) is perfect. A very mellow beat, and smooth singing, allow ‘Pac’s harsh lyrics to bounce over the production perfectly. Great way to close out the first disc.

[Disc 2]

1.) The Military Mindz Session II: A continuation of the last track, featured on Disc 1, these are added vocals and layers over the already pounding instrumental.

2.) Kadafi & Kastro Freestyle: A very entertaining freestyle, making it apparent this was originally recorded on video, as Kastro and Kadafi trade verses about fellow Outlaw – Storm, and how she’s “creeping up behind them”. Enteraining, and shows the youth and talent that both of these ‘Lawz had.

3.) The Lastonesleft Session: I expected more out of this track. This is, however, just ‘Pac and the homies listening to a studio cut of the track with nothing more then what has already been leaked for some time. Good song, but not recommended as the quality is subpar.

4.) Back To Thugz Mansion (Interlude): A very random, but entertaining video cut of Kadafi, obviously drunk as hell, calling two cabs for three people while freestyling to the infamous “Hit Em Up” track. He also tries getting a girl to go back to ‘Pac’s place at Wilshire for a little something.

5.) The East Coast War: An amazing 14 minute session, the first part of this segment features an interviewer asking ‘Pac what it would take for him to get together with the East Coast, and with him replying he would if America had community centers built. Cut to Kadafi, who is high once again, giving what sounds like his first real interview, being only 18 years of age at the time. Great interview, taken directly from Gobi’s home videos.

6.) Basket Case Instrumental: The instrumental to Greg Nice and 2Pac’s unreleased and previously unheard track, “Basket Case.”

7.) Basket Case aka ’96 Sho Shot: Featuring the instrumental heard on the previous track, this 47 second clip features an unheard Tupac verse, adding on to speculation that “One Nation” was, in fact, finished and completed, being that there are so many tracks done. Good verse, and will hopefully get treated well on a future release.

8.) 2Pac’s Studio Philosophy: Although this video has been used on countless do*****entaries (“We don’t have the time or the luxury, to just sit here…we dont have it. I knocked my whole album out, doing like three songs a day. Get them niggaz on the track, get that beat poppin, and lace it!”), it’s great to hear it in full quality, with ‘Pac showing his more humorous side, clowning Gobi after his speech.

9.) The Troublesome ’96 Session: Much like “Lastonesleft”, this is just Troublesome ’96 played in the background, leading some to believe this track was intended for “One Nation”, as most of these songs were.

10.) Reincarnation: Undoubtedly the track on the album. It’s well known Tupac had habits of taking unreleased songs (from his Thug Life era), and re-recording them for Deathrow. Examples are “When I Get Free”, etc. This is no different. However, putting a twist on “Only Fear Of Death”, this song is much more relaxing and actually quite sad when hearing what great potential ‘Pac could’ve reached with songs like these.

“My only fear of death, is reincarnation…
I use my last breath, to reach the whole nation
How can they call me murderer for my spoken words?
This composition be my prophecy, I hope it’s heard…”

Great, great track. Classic in every aspect.

11.) Secretz Of War (Outro): Just somebody shouting. More a skit; skip it.

12.) M.O.B. (Original): A lot different then the released version. Featuring all the same vocals however, this track is above average.

13.) Just Like Daddy (Dramacydal Version): No where near the original version, this track is noteworthy for Edi’s appearence and verse alone. Otherwise, skip.

So, in conclusion, if you are a fan of Tupac then this album is for you. If you don’t appreciate the way his music’s been handled, and want to hear the Sessions as they were recorded, then this album is also for you. Although, the price is steep, the album is clearly worth it, as you get to hear ‘Pac in a light you’ve never heard him before. Great album.

Overall Rating: 4.5/5

Top Dogg – Every Dogg Has His Day

Posted on April 1, 2013 by WWC

From a brief 3 year stint at Deathrow Records (billed as the label’s leading artist, along with Tha Realest), Top Dogg has been on a very long hiatus since his departure from the label in 2001. Top Dogg returns with his “debut” album, ‘Every Dogg Has His Day’ (featuring cuts from his Deathrow album that never dropped) released via internet in mid-2006.

1.) Ghetto Fairytales: A very circus-esque beat is used for Top Dogg to start off the album. Mediocre lyrics and a very corny chorus, however, drag this track down. Featuring cartoon type sound effects, referencing of Porky Pig, this track is unbelievably wack. Skip it.

2.) Can’t ***** With Dogg: Featuring production catering more towards the Westcoast, Top Dogg, half-ass raps on this one. While the hook is catchy, Top Dogg tries his best Suga Free impersonation (half rapping, half macking), and it doesn’t work for the most part. Another below average track.

3.) Just Be Thankful: A soulful beat, and a very smooth hook, is provided here, and is the best kind of production for Top Dogg to mack to. More of a reminiscing track, details Top Dogg explaining his come up. And while he tries the “Snoop thing” a little bit too much, it still makes for a relaxing song.

4.) Trippin: Although this is another very short track (2:33), Top Dogg bounces over the funky instrumental provided for him, complete with DJ scratches. Fake friends, and skandalous hoes is the theme here, and Top Dogg correctly works the beat, making for a decent track. Good song.

5.) Me & My Boyz: A smooth piano laced Westcoast beat is dropped here (perfect Deathrow style), and Top Dogg serves crack on this one. Easily the best song on the album, Top Dogg is letting the haters know “if you wanna make noise, make noise, but when i whistle…ya betta watch yo back for me & my boyz”. The hook is noticabley similar to Snoop.

6.) Top Dogg Cindafella: The most controversial song on the album. Top Dogg released this in early 1999, complete with video (poking fun at Snoop Dogg), which caused enough controversy, itself. However, Snoop Dogg later mocked Top Dogg by dropping his own song “Snoopafella” on his ‘NL Topp Dogg’ album a few months after. Who’s idea was it first? Doesn’t really matter. Topp Dogg’s version is much better, featuring the accomidation of a flute, scratches, and smooth singing. Great track.

7.) She Used To Know Me: Weak track, up and down. Besides the fact that the sound quality is exceptionally poor, it’s a weak attempt at a track about a girl that “used to know him”. The beat is mellow, but Top Dogg’s lyrics are well below average. Skip it at all costs.

8.) We Don’t Love ‘Em [Street Mix]: Great Westcoast feel to this track. Taken from the same page as Ice Cube’s “Today Was A Good Day”, Top Dogg flawlessly works the beat describing a day in the life on the Westside; when it comes to “those skandalous hoes.” Great song.

9.) If U Can’t Stand The Heat feat. Eastwood: A song cut from his long anticipated Deathrow album, Top Dogg features then new comer – Eastwood, who clearly steals the show. While the beat is somewhat boring, Eastwood makes the track noteworthy.

10.) They Wanna Be Like Us [Street Mix] feat. Tha Realest, Doobie: Featured on “The Chronic: 2000”, this track features leading labelmates at the time – Top Dogg & Tha Realest. Tha Realest jumps on the track with a verse, hook, and attitude very similar to Tupac, as does Top Dogg with Snoop. Doobie has a weak verse, which makes for a very average track. Production doesn’t stand out, dragging the song down.

Overall, is this CD even long enough to be called an album? Minus a few great songs, this release is very lazy. Featuring mixes from previous albums, and terrible quality on some songs, it seems Top Dogg just rushed to release this, as a way to make some quick money. My advice, if you like Top Dogg, download this; but note that you’ve probably heard the majority of these songs before.

Overall Rating: 2/5

Tha Realest – Witness Tha Realest Mixtape

Posted on April 1, 2013 by WWC

Tha Realest’s name is synonamous with ‘Pac biting. Ever since his debut in 1997 on the “Gang Related Soundtrack”, Tha Realest’s style, demeanor, and even tattoos and looks have been 2Pac related. Ironically signed to Deathrow Records for 5 years, Tha Realest made his name known nationally appearing on compilations like “The Chronic 2000” and “Too Gangsta 4 Radio”. However, after being shelved like everyone else on Tha Row, Tha Realest left after his contract expired in late 2001. Serving up the prequel to his national debut “Witness Tha Realest”, Tha Realest offers the mixtape (of the same title), which features renowned artists C-Bo, Kurupt, WC, Roscoe, Dru Down, and Devin The Dude.

1.) Street Lyfe feat. C-Bo, Jewell: A smooth piano loop is laced, as C-Bo serves up one his best verses in a while. Tha Realest follows (although a little off beat) with a good 16, while Jewell sings another beautiful hook. Good track.

2.) Tha Pressure’z Of Man feat. Crooked I: After garnering attention with their successful collaboration ‘Drunk Driving In My Glass House’, Crooked & Tha Realest return with this hard hitting track. Crooked I clearly steals the show, though, with his delivery, and equally impressive lyrics. Great collaboration.

3.) Everyday feat. 6’9: A laid back track, Tha Realest bounces over this smooth instrumental, with introspective lyrics, and deep message. Great track, and could’ve easily been used for his debut. Solid production, a smooth hook, and Tha Realest’s surprisingly deep topics make for a good track.

4.) The Life feat. WC, A-Bo, LBG: CLEARLY the best track on the album. This is the West Coast at it’s best. Featuring Westside legend – WC, Tha Realest serves up his best verse in a long time. After nearly 4 minutes of LBG, A-Bo, and WC tearing it up, Tha Realest comes with a noticable flow, very reminiscent of ‘Pac in his prime. Great track, and without a doubt, the best on the mixtape.

5.) That Don’t Make U My Gurl: East Coast production don’t suit Tha Realest; point blank. Southern beats and West Coast instrumental are what he needs to stick to, and this is a prime example. Over a soulful sample, Tha Realest tries his best to detail his struggle with women getting attached. Not a good look. Skip this one.

6.) R We Really Homiez feat. A-Bo: A-Bo guests again, and doesn’t dissapoint. Similar subject matter for Tha Realest, as they go back and forth over another smooth sample. Fake friends is the subject here, and while Tha Realest’s lyrics could use an upgrade, it still makes for a decent track.

7.) Nigga What: The first real southern-themed track, features Tha Realest in his purest form. While the hook is definatley as generic as it gets, Tha Realest rides the beat perfectly, making for a suprisingly great track. “Quicker then your average, a West Coast savage” is about as good as it gets.

8.) This Dream feat. A-Bo: Another deep track (to balance the mixtape out), features A-Bo once again. This, however, is obviously the deepest song on the entire mixtape. Over a dark instrumental complete with violin chords, Tha Realest pours his heart into this one. Good song.

9.) Ridin feat. LBG, Bonecrusher: This is yet another attempt at an East Coast crossover. While Bonecrusher rides the beat perfectly, and doesn’t dissapoint in the least, Tha Realest shows once again, while his style’s just not suited for NY flavored hip hop. Decent track, for Bonecrusher’s feature alone.

10.) Hoez’z Iz Trouble feat. A-Bo, Gonzoe, Finesse, Dirty Black, WC: A Regime rollcall (minus Yukmouth), features the Bay Area based group trading stories on troubling hoes. Smooth instrumental, plus good features from each artist make for a noteworthy track.

11.) Thug’n In Tha Summatyme: Great, great, West Coast summertime track. Featuring Nate Dogg-soundalike, Boskoe, Tha Realest rides this Westside banger smoothly. Zapp effects are used here, demonstrating Tha Realest can switch up the subject matter, and make a smooth, ride out song. Perfect for the BBQ’s.

12.) Why Iz Tha World So Bad: Despite the fact most of his song titles are a little too much like ‘Pac’s, Tha Realest serves up another above average track. As he questions why the world is so bad, the beat manages to save the song.

13.) ***** U If U Lonely feat. Tha Gotti Boyz: More of an R&B track catering to the ladies that are lonely. Tha Realest doesn’t care, cause he’s gonna ***** you either way. Good song, as I think most listener’s wouldn’t expect a more laid back cut like this.

14) Sumthin Like A Pimp feat. Devin The Dude, Dru Down: Although billed as the first single for “Witness Tha Realest” back in 2005, this song has been shelved for the mixtape, as a long 2 years has gone by. Never the less, this is cleary Dru Down’s song as his macadoshis flavor completes the track, and only features one verse from Tha Realest. Good song for Dru, only.

15.) 2 Live & Die 4 Tha Westside feat. Kurupt, Roscoe: Featuring D.P.G. brothers, Tha Realest ends the mixtape with another track similar to Tupac. In full blown war-mode, Tha Realest, Roscoe, and Kurupt correctly represent their coast to the fullest with this banger. Great way to end the album.

In conclusion, if you can’t get past the fact this guy sounds like Tupac, and you hate him for “biting” or “swagger jacking”, there is no point in even listening to him. But if you appreciate the music he actually makes as an artist (similar to ‘Pac or not), then peep this mixtape, as it is a very good apetizer to what his national debut could be. Hopefully all the years on the independent scene will pay off, and the world will finally be prepared to “Witness Tha Realest”.

Overall Rating: 3.8/5

O.F.T.B. – The Missing DR Files

Posted on April 1, 2013 by WWC

With the recent release of Deathrow’s catelogue, many fans have wondered what happened to former inmate’s albums that never saw the light of day (Danny Boy, Tha Realest, Top Dogg, J-Flexx, etc.). O.F.T.B. easily fits that category, as they were around when Tha Row was the reigning label in rap. 1996 saw the completion of their album (here titled “The Missing DR Files”), which featured the likes of Tupac, Kadafi, Kurupt, Snoop Dogg, and MC Hammer. Released in 2007, this is definatley regarded as a highly anticipated album.

1.) Intro: O.F.T.B. talking on the phone, excited over the recent addition of their lost Deathrow tracks.

2.) Better Dayz (96 Original) feat. 2Pac, Big Syke: Despite what people think, this is the original version of Tupac’s track “Better Dayz”. O.F.T.B. and Big Syke, both spit great verses. Syke’s verse is especially relaxing, featuring Tupac’s depth. Great song.

3.) That Was Then, This Is Now feat. Snoop Dogg, Kurupt: Very uptempo track, reminiscent of “Tha Doggfather.” A very funky sample is flipped for the O.F.T.B. and Tha Dogg Pound to get busy to. Vintage Deathrow track, perfectly capturing the 96 flava, they brought to the game.

4.) I Come Up Hard: Despite the title, this track is very relaxing. Featuring a ver melodic bassline, this is O.F.T.B. in another form. Detailing their come up, O.F.T.B. paints a portrait of the struggle of Watts in the late 80s/early 90s. Also featuring an unknown singer, this track is fairly above average.

5.) World Wide feat. 2Pac, Kadafi, Kurupt: Commonly referred to as “Time After Time”, this is the first time this track was released in CDQ. Everybody comes correct here, making for a perfect track. Tupac’s extremely menacing verse, works well with Kurupt’s hook, and Kadafi’s complimentary verse. O.F.T.B. do another great job.

6.) Check Ya Hood feat. Jewell: This song was actually released in ’96, complete with a video. Very, very mellow beat, suit Jewell’s melodic hook perfectly. O.F.T.B. details another come up in the ghetto. Great track overall, and really starts to let you see what O.F.T.B. could’ve been if marketed correct.

7.) I Trust Nobody feat. Street Damage: Decent track. “I Trust Nobody” has a very hardcore beat, but O.F.T.B. doesn’t do it quite the justice it deserves. Street Damage is dissapointing, and O.F.T.B. could’ve came a lot harder. The lackluster hook really drags the song down. Average at best.

8.) Still A Mystery To Me feat. Outlawz, Kurupt: Easily the best song on the album. This is a very heartfelt tribute, and possibly the most authentic song O.F.T.B. has every produced. Taking place between Tupac and Kadafi’s death, this beat has very smooth piano chords, featuring all the Outlawz and O.F.T.B. reminiscing about their lost soldiers. Best track on the album, and definatley recommended to any Deathrow fan, or hip hop fan in general.

10.) Project Kids feat. The Nickerson Garden Project Kids: A different kind of concept, featuring O.F.T.B.’s project homies. Vintage west coast beat, but a very hard song to really appreciate. Basic lyrics from 11 year olds, drag this song down, with a wack hook. Skip it.

11.) I’m On One: Another relaxing track. Listening to the first 20 seconds of the song, you’d think it was a Bone Thugs track. O.F.T.B.’s hook is exceptional here, as they deliver very hard lyrics. Great song, and definatley a stand out track on the album.

12.) Ladies Night feat. 6 Feet Deep: Another Deathrow group that never released an album, 6 Feet Deep lace a smooth hook over a great beat. This album, after listening to the majority of the tracks, has a very relaxing party vibe. This track is no exception, featuring O.F.T.B. putting a “gangsta twist” to another good track.

13.) Doin It At The Spot feat. Big Pimpin’: Wack song, overall. This track starts off with a porno skit, and is O.F.T.B.’s attempt at a ***** song. While the beat (like most of the album) is on point, and is very mellow, the song’s theme and concept is recycled (although it probably wasn’t when this was made), and ends up dragging the album’s credibility down.

14.) Lost Souls: An Eddie Kendricks sound-a-like is used on this track, about Lost Souls. Great track overall though. The bouncing funk of the beat, and O.F.T.B.’s flow is impecible. G-Funk at it’s finest, as this proves to be another reminder and reason of why Deathrow was on top of the game back in 96.

15.) Sooner Or Later: A deep, thought out song, about fate and how sooner or later, the good life will fall into their favor. While O.F.T.B.’s lyrics take a step back on this one, the beat is another testament to the superb production laced on this album. Good song none the less, but fails to stand out among other gems on the disc.

16.) So Long feat. MC Hammer: The perfect way to close out the album, and my personal favorite track. This song, is easily on par with “Still A Mystery To Me”, if not better. Featuring a surprise feature from MC Hammer (a Deathrow artist at the time), O.F.T.B. laces this beat with mournful lyrics dedicated to the lost homies dead from gang affiliation. The hook is the real gem on the song, and is a long, smooth way to close out this album, as you can’t help but to think about ‘Pac when listening of this track, and the atmosphere at Deathrow at the time.

Overall, this album is a very good effort. While O.F.T.B. may never have the lyrics of Kurupt, or the charisma of Tupac, they proved to be a very good group, while on Tha Row. Although released 10 years after its initial completion, this proves to be a West Coast classic. Hopefully more unreleased Deathrow material, from other artists, and O.F.T.B. will continued to be released in the future.

Overall Rating: 3.5/5

Prodigy – Return Of The Mac

Posted on April 1, 2013 by WWC

After 4 albums with Mobb Deep, Prodigy made the leap from 1/2 of one of the greatest duos hip hop has seen, to solo artist. “H.N.I.C.” was critically aclaimed and solidified Prodigy as a commendable soloist. However, it was another 7 long years, a potential break up with Havoc, and a questionable G-Unit deal later that P released his sophomore effort, “Return Of The Mac.” Produced entirely by The Alchemist, this is a prequel to “H.N.I.C. II.”

1.) The Mac Is Back: An intro featuring Prodigy talking over a very soulful beat. Good choice for an intro, even though it doesn’t feature Prodigy rapping.

2.) Return Of The Mac (New York Shit): Featuring former Prodigy foe, Tupac, on the hook, this song contains very uptempo, 70’s blaxploitation-production. Complete with saxophones and all, Prodigy stays on his NY shit consistently, making for a great track.

3.) Stuck On You: Despite being released to the underground in 2004, this song (and also the album’s main single), is near perfect. A perfect sample is provided by The Alchemist, as Prodigy’s laid back flow completes the track. Good effort.

4.) Mac 10 Handle: Great track. A grimey old school sample is used, and Prodigy takes advantage of it. With lines like “I sit alone in my dirty ass room, starin at candles, high on drugs”, P makes another very good song, suprising most at this point.

5.) Down & Out In New York City: An interlude, featuring smooth production. Although it’s just a skit, it fits the album perfectly, and is another showcase of The Alchemist’s skills as a producer.

6.) Rotten Apple: Possibly the best all around track on the album, P details the ruggedness in the rotten apple. With memorable lines such as “If Pac was still alive, we’d be on the same team/we got bigger fish to fry then that ***** Supreme”, Alchemist’s production is a gem once again.

7.) Madgesty Speaks feat. Madgesty: Pointless skit featuring Madgesty, dedicated to fallen soldiers – Tupac (of all people), Stretch, E-Money Bagz, and Kadafi.

8.) To The Top: A more mellow beat is used here, with what appears to be live instruments in the background. P’s lyrics are above average on this track, showcasing his unique style. The beat’s climatic overtone make for another good track.

9.) P Speaks: Yet another interlude featuring Prodigy looking back on old times, showing more of the mixtape side of the album.

10.) 7th Heaven: To contrast the mellow vibe of the album, Alchemist serves P with some uptempo funk. A threatening Prodigy demonstrates the gangsta image he brought to the game back in ’95. Above average track.

11.) Bang On Em: Another mellow track, featuring Prodigy at his best. Not as lyrical as previous tracks, it’s more of P’s bragadocious side. This is more reminiscent of “H.N.I.C.”, with Prodigy detailing “All I care about is music, and who I gotta cut.” Good track, with another perfect 70’s inspired beat.

12.) Nickel & A Nail: Superb production on this track makes it a standout. Prodigy’s demonstrates a faster flow, then his usual laid back style. “Some chose ballin, music was my calling”, about sums up this track. It’s a gutter track, with a very mellow relaxing beat. The hook is a very old sample, blended with Prodigy’s chorus.

13.) Legends: After hearing the first 12 tracks, it’s more then obvious Alchemist provided Prodigy with pure crack. Another great production, featuring Prodigy detailing his personal come up. “Gangstas don’t die, we just turn to legends/ what we go through is hell, what the ***** is a heaven?”, showcase Prodigy’s personal demons and pain. Great track.

14.) Stop Fronting: Prodigy chooses to close out the album the same way he started. From Mac’s to chains, P’s gangsta swagger is most evident here. Although not the best track on the album, with a lackluster hook, the verses and production make up for what would’ve been an average track. Good way to close out the album.

In conclusion, this album is billed as a mixtape. But if P had chosen to, any one of these tracks could’ve fit “H.N.I.C. II.” The only drawback from this album receiving a perfect rating, is the lack of songs. P shows no miscues, and proves he hasn’t fallin off, despite his lackluster effort on Mobb Deep’s “Bloody Money.” If “H.N.I.C. II”, is anywhere as good as this, it will no doubt be a classic. So, in the words of Prodigy, “this the mixtape, imagine how the album sound.”

Overall rating: 4.5/5

Young Buck – Buck The World

Posted on April 1, 2013 by WWC

Young Buck has been through a lot. Three years removed from his debut “Straight Outta Cashville”, an album that went gold, it would appear G-Unit is falling apart. An industry backlash has seen 50 Cent & Co. take a lot of verbal abuse. However, Young Buck manages to serve up his sophomore effort “Buck The World”, after the recent dissapointments of Lloyd Banks and Mobb Deep. Boasting production from Dr. Dre, Polow Da Don, and Hi-Tek, Young Buck hopes to revive the energy and fans the Unit once had.

1.) Push Em Back: Great effort to open up the album, production is laced crisply, while Buck re-assures everyone that the Unit is still getting money. Over smooth piano chords, Buck provides a note worthy opening track.

2.) Say It To My Face feat. 8Ball & MJG, Bun B: Typical southern production on this one, as Young Buck, 8Ball, MJG, and Bun B provide predictable southern bragging, that make for a slightly above average song. Bun B serves up the best verse.

3.) Buss Yo Head: An underground anthem, this is Buck at his best. Over epic production, Buck lets everybody knows that it’s his time to shine, so move over. Aggression and perfect production, make this a classic track.

4.) I Ain’t *****ing With U feat. Snoop Dogg, Trick Daddy: This song is a letdown. More should be expected out of Hi-Tek production, and Snoop Dogg is featured singing here. Trick Daddy serves up an average verse, but this track is an overall letdown. One of the album’s lackluster efforts.

5.) Get Buck: The 2nd single from the album, this is Polow Da Don at his best. After the recent success of “Throw Some D’s”, Polow provides Buck with horn blaring production, that brings the best out of Young Buck. Great choice for a single, and should be an anthem in the club for a minute to come.

6.) Buck The World feat. Lyfe: A frustrated Young Buck details how he woke up one morning screaming “***** The World” (sound familiar, 2Pac?). Good song none the less, with Lyfe Jennings on the hook. Buck mellows out for this one.

7.) Slow Ya Roll feat. Chester Bennington: Dr. Dre produces this gem, featuring Linkin Park’s Chester Bennington. This is Buck’s version of detailing an everyday struggle in different situations. Production is perfect on this track, and Buck delivers one of his best efforts to date. Great song.

8.) Hold On feat. 50 Cent: Typical G-Unit track, featuring 50 Cent crooning the hook. Over another Dre produced beat, this is somewhat reminiscent of an old time gangster track, which is also evident when watching the video. This song will grow on you, and becomes more addictive after each listen.

9.) Pocket Full Of Paper feat. Young Jeezy: A somewhat dissapointing effort, featuring what sounds like Lil Jon production. Same synths are used, and Jeezy’s adlibs are tiring on this track. Skip it, it’s a little too similar to everything else on the radio.

10.) Haters feat. Kokane: Recruiting West Coast legend Kokane for the hook, Young Buck lets his haters know that he still doesn’t give a *****. Smooth west coast production, provide for another superb track, as Buck wishes “Tupac was here to witness this”.

11.) U Ain’t Going Nowhere feat. Latoiya Williams: Smooth production is apparent here, but the song’s theme is recycled. As Buck and his girl go back and forth about how they can’t leave each other, it becomes a little too much. Banks is better at these type of songs, making the track under achieving.

12.) Money Good: At first sounding like another tried club attempt, Buck lets his lyrical side show, with lines like “things done changed, i’m hotter then a flame/ so i aint got time to beef with Jada, Joe, or Game”. Buck shows his will to move past conflicts, and focuses on getting money, over smooth production.

13.) Puff Puff Pass feat. Ky-Mani Marley: Buck is no stranger to weed. Nicknamed “Buck Marley”, a weed anthem was not even questionable for his second album. Sure to get the tokers chokin on that sticky, Buck provides a perfect track featuring Jamaican singer, Ky-Mani Marley.

14.) Clean Up Man: Quite possibly one of the best tracks on the album, Young Buck’s aggression once again carries this track. Production really helps the album, and this track is no exception. Young Buck describes his role as the Units clean up man, and nobody can do it like he can. Great track.

15.) 4 Kings feat. T.I., Pimp C, Young Jeezy, Jazze Pha: Looking at the featured list, you’d expect more out of this track. Jazze does the hook, and while the song’s decent, it’s also been available since mid-2006, and is a little bit of a dissapointment. Decent track none the less.

16.) I Know You Want Me feat. Jazze Pha: An obvious attempt at reaching the ladies in the club scene, this song works suprisingly well. Better then the previous track, Jazze provides a smooth beat for Buck to work with. Not the best choice for a single though, as it is out of Buck’s element.

17.) Lose My Mind: The track on the album that will take most listeners by complete surprise. Featuring a very aggressive Buck shouting like a rocker, this song is perfect. I would’ve never expected a track like this, and most fans won’t either. Perfect way to close out the album, on a suicidal note.

18.) Bonus Track – Funeral Music: 50 Cent’s diss to Cam’ron. Has nothing to do with Young Buck, and is a failed attempt at selling the album using the same G-Unit beef formula. Not worthy to be on the album.

So did Young Buck pick up where Lloyd Banks, and the rest of the Unit have failed the past 2 years? The answer is yes. This album, minus two or three filler tracks, is nothing less then perfect. Buck surpasses his debut album by far (which is a great album in its own right), and opts to go with big name producers who suit his style perfectly. I think it’s apparent The Unit is back in the game, thanks to Young Buck, and Young Buck alone.

Overall rating: 4.5/5