“99 Ways To Die” was not only Master P’s fourth solo effort, but was also released in the golden era of California’s hip hop reign. The Bay Area was also the original home of P’s No Limit Records, as evidenced by 1995’s “99 Ways To Die.” The album was released after the success of P’s “West Coast Bad Boyz” and contains a completely different feel than P’s catelogue when No Limit obtained commercial success in New Orleans.

1.) Intro/17 Reasons: After paying homage to such Bay Area veterans as E-40, Rappin 4 Tay, Too Short, JT The Bigga Figga, and Spice 1 over Earth Wind & Fire’s “Reasons”, P flips the script over a funky loop about an attempted car jack with his brothers – C-Murder and Silkk The Shocker. Good way to open up the album.

2.) Commercial 1: Although the album’s first track was billed as an intro, this second track on the album, is just a commercial about P getting bit while getting head. Pointless skit, skip it.

3.) Dead Presidents: Before Jay-Z’s “Dead Presidents II” was heralded as an East Coast classic, Master P’s ode to currency recieves a West Coast treatment. While P’s rhymes aren’t anything spectacular (“I’m not Dr. Dre, but Richmond, California’s ‘Deathrow'”), funky Bay Area production, combined with P’s delivery make for a good track.

4.) Rollin Thru My Hood feat. Big Ed, King George, Lil Ric, Silkk: Over another bouncing instrumental, Master P describes a day rolling through his hood in Richmond, California. Backed up by later ‘No Limit Soldiers’ – Big Ed and Silkk The Shocker, P recieves a little help from some of his first recruits to the tank – Lil Ric and King George. While everybodies verses are on par, Silkk suprisingly steals the show with a smooth flow over an even smoother beat.

5.) Bullets Gots No Name feat. E-A-Ski, Rally Ral: Production on this song has a definite West Coast vibe, as all three artists do an excellent job at describing how ‘bullets gots no name’, so your best bet is to stay strapped. Great track up and down.

6.) When They Gone: After three previous uptempo songs, Master P dedicates this track to everyone dying in violence. From the average joe on the street to his brother Kevin Miller, P’s delivery and charisma carry this track, making for another great track, and possibly one of the album’s best.

7.) Playa Wit Game feat. King George, Silkk, Simply Dre: This song is one of my personal favorites, as P trades verses with his brother over a very funkdified instrumental, before King George laces the third verse. A great hook by Simply Dre, and even better production carry this song.

8.) Commercial 2: This commercial is entertaining for the simple fact it features Romeo (who was only about 5 years old at the time) asking his dad if he’s ever killed someone before. Otherwise, skip it.

9.) 99 Ways To Die: Easily the best track on the album, this is Master P just kicking rhymes Bay Area style, while detailing the West Coast hustle, and how the streets are indeed ‘survival of the fittest.’ Even though the hook is very simple, it’s Master P’s delivery and ability to make a good track that make this a West Coast classic.

10.) Rev. Do Wrong Commercial: After only one song seperating two skits, this is another dissapointing ‘commercial’ featuring “Rev. Do Wrong” who is preaching in a church about the 99 ways to die in the hood. Skip it.

11.) Hoe Games feat. C-Murder, King George, Silkk: This track is very different. It starts off with Master P portraying a radio host awarding the caller that can properly define a ‘busta.’ The beat is very basic and repetitive, and this song is worth listening to for the simple fact C-Murder makes a rare guest appearence. Otherwise, this is probably the weakest track on the album.

12.) 1-900-Master P: After the dissapointment of the last song, P and younger brother Silkk get funky over this dedication to the ‘late night creep.’ This track is another one of the album’s highlights as P’s flow and subject matter make for a great track. King George adlibs the hook.

13.) When They Gone (Radio): Not much to say about this track, except for the fact that the explicit version is already on the album, and the radio version isn’t that much different. Dissapointing way to close out an otherwise good release from Master P.

While not containing the polished beats and greatness of “Ghetto D”, this album offers fans a glimpse into what Master P was before he was, well – Master P. P’s Bay Area roots shine throughout the CD, and although some would bill this as an underground classic, an overabundance of skits and some weaker tracks end up dragging it down. This is still a good release none the less, and manages to still get respect to this day, being billed as one of P’s better albums.

Overall Rating: 3.7/5

Public Enemy aren’t hip and/or happening and they haven’t been since the zenith of their popularity back when Fear of a Black Planet had everyone wanting to Fight the Power. That hasn’t stopped PE from keeping things moving though, matter of fact since they split from Def Jam they’ve been on a creative roll and released several good-to-great albums along the way. Their new album, How do you sell Soul to a soulless people who sold their Soul?, continues that artistic momentum. Chuck couldn’t give a damn about the popularity contest that is mainstream music and he’ll keeping hitting you over the head with logic and political awareness, doesn’t matter if you like it or not. To quote Mistachuck himself I’m too old to be popular and at my age if I can’t teach, I shouldn’t even open my mouth and begin to speak. And with those words you know what to expect from the album, PE in full effect not minding if you consider them cool in the least, they’ve got more important things to worry about.

If this all sounds boring then you’ve probably never been big on the group to begin with, your loss though cause the album is a definite winner. Chuck’s voice is as commanding as ever and his enthusiasm and commitment really bring the message across. Add to that the retro-production, which is top notch, and it becomes pretty hard to not like this album. Wait a minute, retro-production? Isn’t that just another way to spell ‘dated’? Nope, PE has just come to the point where their history has become so undeniably significant to hip-hop that they can reference it without any shame and that’s exactly what Bomb Squad original Gary G-Wiz does behind the boards. The interludes and samples strongly recall Fear of a Black Planet while the use of live instrumentation takes you back to Muse-sick-N-hour-mess-age (their unheralded classic).

Still the album isn’t without it’s faults as their are a couple of lesser moments, usually with a Flavor Flav tag to them since Flav’s solo spots are for the most part uninspired throwbacks to his shining moments on the records of old. That and the record does bog down a little in the middle. Other than that you’d be hard pressed to find a rap group that’s been in the game for twenty years and counting and still sounds as vibrant as PE does.

So what if they’re considered the Bill Cosby’s of rap and they keep moving along unimpressed by all these new trends and fads that have the kids going nuts? They know that once puberty’s over their catalog will be digested all the same, even if they’re getting slept on today. And you know what, not caring if you’re cool…that’s really cool.

Conclusion: It’s not an album of the year candidate but it’s yet another solid release in a long and storied career which doesn’t seem to be ending anytime soon. The fact that you also get a bonus DVD with a live concert, several videos and short do*****entaries is just icing on the cake. The bottom line: 7.8/10

Before Master P’s No Limit empire blew up in the late 90’s and officially put New Orleans on the map, people seem to forget he spent his early career in the Bay Area (more specifically Richmond, CA). After making a slew of guest appearences on P’s solo albums (and three albums as a member of TRU), the youngest Miller brother, Silkk The Shocker released his debut album in August of ’96. This album features appearences from the entire No Limit roster, and production from Beats By The Pound.

1.) Murder feat. Master P, Big Ed: Over a pounding instrumental, that starts off with a volt of shock, Silkk’s rowdy style comes into play. Master P croons the hook in his signature Ice Cream Man tone, as Big Ed (R.I.P.) provides a noteworthy guest appearence. Murder is obviously the main theme, as Silkk details the many ways he likes to see it done. Good track.

2.) I Ain’t Takin No Shorts feat. Master P: This track has a funky Bay Area feel, and is very reminiscent of TRU’s “Mobbin Thru Da Hood.” Silkk’s lyrics and rowdy offtempo flow actually work the production well, as Master P provides adlibs for his younger brother. Although the hook isn’t anything special, Silkk provides another above average song.

3.) I Represent: One of my personal favorites on the album, this track features Silkk representing for his hometown of the Calliope Projects. Production is g-funk at it’s finest, as Silkk croons the thick southern instrumental with more tales of murder and crime. Great track, and definately one of the best on the album.

4.) The Shocker feat. Master P: This track was featured as the album’s lead single and was followed by a video soon after. The song itself however is a No Limit classic. Silkk even goes as far as to compare his knowledge on the dope game to learning his ABC’s. Master P follows with a subpar verse, but this is clearly Silkk’s song. Good track.

5.) No Limit Party feat. Master P, Mia X: Before Soulja Slim’s “NL Party”, three of the tank’s original members let haters know they’re ‘aint no party like a No Limit party.’ Unfortunately this song is filled with tired chanting and below average verses. You’ve heard the same Master P verse before, as the only highlight is Silkk’s verse (which is surprisingly spit over 2Pac’s “Ambitionz Az A Ridah”), which is still only a portion of this mess of a track.

6.) Free Loaders feat. Mo B. Dick: Over more funkdified loops, No Limit’s resident singer – Mo B. Dick provides a smooth hook, as Silkk lets loose on these free loading hoes. Although lyrics are again a bit simple, Silkk finds a way to make the track enjoyable, and different from the average No Limit formula.

7.) 1 Mornin: This song clocks in at only 1:30, and production is unfortunately the only thing worth listening to. Silkk’s verse is noticabely offbeat, and the hook is terrible. Skip.

8.) How We Mobb feat. Master P: After listening to the first 8 tracks of this album, it’s apparent this album was still geared to the West Coast market. Master P provides the song with more tales of slangin ice cream, over what sounds like a sequel to “Mobbin Thru Da Hood.” Silkk’s verse isn’t anything special, but production and a great hook make for a good song.

9.) It’s On: After more threats, Silkk displays his lyricism with some suprisingly good punchlines (“…I done took more cash from niggas, than gold diggers”), with consistent production to back him up. Good track.

10.) Ain’t Nothing: Although this track features smooth and mellow production, Silkk’s verse and offtempo delivery make this track about hoes a miss. The hook is bland, and it feels like a song that’s been done over and over again. Skip it.

11.) Ghetto Tears feat. Master P: This song features a more instrospective side of Silkk The Shocker. Much like Master P’s “Ghetto Heroes”, Silkk details the bad side of the dope game. Growing up poor obviously had an effect on the Miller brothers, and it’s displayed on this track, with Silkk questioning how children are mistreated and abused. Production is equally as fitting, making for one of the album’s deeper songs.

12.) Mr. feat. Master P: Silkk debuts his alias (an alias he used in his later years on No Limit) over this hard hitting track. Call him what the ***** you want, just make sure “Mr.’s” in front. Good track.

13.) It’s Time To Ride feat. Master P: Production is really a factor in the making of this song. Silkk’s generic-as-ever hook, combined with Master P’s recycled themes end up dragging it down in the long run, but it’s more evident than ever that KLC and Beats By The Pound’s smooth production carry this lackluster effort.

14.) If My 9 Could Talk: Much like “Murder” or “It’s On”, this track contains more of a hardcore theme, which surprisingly works very well for Silkk. Considering his lyricism wasn’t anything exceptional to begin with, this track showcases more of Silkk’s delivery; which is what makes the song as good as it is. The beat occasionally drops, adding to the anticipation of the next verse. Good song.

15.) Commercial One feat. Skull Duggery: Although billed as a commercial, this song is in no way a skit. Master P sets off the minute long teaser by introducing one of the newest soldiers signed to the tank – Skull Duggery. Over dark production, courtesy of Beats By The Pound, Skull shows love to his hoodlums across New Orleans. A longer runtime is the only thing that could’ve made this track better.

16.) Got Em Fiending feat. Master P, Big Ed: This song starts off with a sing-a-long chorus provided by Master P, and quickly turns into what sounds like house music. While the hook lacks, Silkk’s verse is on par and actually suits the beat well. Big Ed is also featured on this track and provides his signature ‘assassin’ sound, and Bay Area style. Decent song.

17.) My Car feat. Mo B. Dick, Pure Passion: Mo B. Dick makes another appearence on the album over this relaxing beat. While Silkk obviously remains the premier artist, it’s Mo B. Dick’s smooth melodies (backed up by Pure Passion) that makes this track worth listening to. Although the theme is different, it works the track well, making for another above average effort.

18.) Ghetto 211 feat. Master P: While it seems this album has it’s weak moments, Silkk continuously turns out unapologetic gangsta music. Over another funk driven sample, Silkk’s slightly offbeat flow croon the production well, while Master P provides another generic hook. It’s almost guarenteed that you’ve heard these rhymes on his previous efforts (especially considering his album, “The Ice Cream Man”, dropped in April of the same year). Average song at best.

19.) Why My Homie feat. C-Murder, Master P: After an entire album without a TRU feature, the three Miller boys finally show up for one of their first dedications to the deceased. Undoubtedly the best song on the album, this track features smooth jazz melodies, TRU delivers three exceptional verses dedicated to their brother – Kevin Miller. While Silkk and Master P provide noteworthy appearences, C-Murder clearly steals the show with his polished flow and delivery. Great way to end the album.

So, in conclusion, it isn’t Silkk’s skill as an MC that make this album worth listening to, but rather his ability to make good songs over even better production. After relocating to New Orleans in 1997 to further expand his No Limit empire, Master P manages to churn out No Limit’s last great Bay Area release in the form of Silkk The Shocker’s debut album. Unfortunately this release remains overlooked in not only No Limit’s catelogue, but Silkk’s catelogue as well, when it’s actually one of the better releases the tank had to offer.

Overall Rating: 3.5/5

Ronny Braunstein has come a long way since launching his own label late last millenium and releasing his debut album I Need Drugs on it. The lo-fi recording was a highly promising debut which garnered him a dedicated fanbase from jump and since then that promise seems to have come to fruition. From 2004 till 2005 Mr. Braunstein even went Master P on us by dropping solo albums by Ill Bill, Mr. Hyde, Goretex, Sabac and two of his own for good measure, his personal masterpiece The Pre-Fix for Death and the sleazy ode to pornography that was The Sexorcist.

Now Death Rap is upon us, Necro’s first album in over two years and the first Psycho+Logical release to be distributed by Koch records and Abstract records. In a lot of ways this is the most professional looking album in Necro’s catalog yet. Apart from the Death Metalesque artwork the album booklet also features all the lyrics to the songs, the credits and a seemingly endless barrage of thank you’s (by Necro’s standards anyway). Where the general tone used to be buy P+L product or DIE ! Necro now chooses to express both his gratitude for all the years of support and the love he has for all his fans. It’s a minor observation but it indicates the Sexorcist’s ambition to rise above his current cult status and attempt to reach out to a bigger audience, in that regard even Necro’s posing for the picture in the booklet seems deliberate. It’s just too bad that the actual album doesn’t share the same characeristics.

First things first : Death Rap is a very solid record, period.
The best songs on the record all share a common eighties horror movie feel thanks to the eerie ominous keys and/or effective sampling, two things which have become Necro trademarks over the years. It helps Death Rap get off to a very promising start in the form of the Charles Manson storytelling track that is Creepy Crawl and also lifts tracks likeKeep On Driving (which succesfully samples the movie Daddy’s Deadly Darling), Exploitation (featuring a barnburning verse by Mr. Hyde that manages to instantly create anticipation for his next solo release), the Ill Bill assisted As Deadly As Can Be and closing track Portrait of a Death Rapper above the rest and will guarantee themselves a place on any Necro fan’s ipod.

Also evident throughout Death Rap is Necro’s growth as an emcee. His flow has become more self-assured, especially compared to the I Need Drugs days, he has become a master of cadance and multi-syllabic rhyming and in a lot of ways the album is a showcase for those qualities. The only problem is that sometimes this also causes him to fall head first into abstract backpacker territory (‘artistically, sadictically, statistically, realistically, pistol whip thee’ on the hardcore influenced Suffocated To Death By God’s Shadow or ‘sanguinary, biochemistry, chemotherapy, chemical treatment, criminal cemetary, symmatry’ from the aformentioned Exploitation). His mastery of flow also dominates the hardcore track Suffocated where he keeps pace with the breakneck rhythm laid down by Mike Smith and Steve DiGiorgio. As a showing of his skills as an emcee it’s very impressive but on it’s own the track doesn’t really work and ends up being less than the sum of it’s parts, with such a star studded supporting cast you’d expect more, the musicianship is there and Necro pulls it all together on the third verse but the first two verses come of as a course in emceeing 101. The Harley Flanagan collaboration Belligerent Gangsters doesn’t fare any better as Flanagan delivers an underwhelming performance on the hook. Which leads to one of Death Rap’s biggest problems : the overall lack of decent choruses. There are virtually no hooks worth mentioning, which in itsself wouldn’t be too much of an issue if it weren’t for the fact that very few of the songs contain more than two verses or come close to the three minute mark. It gives the album somewhat of a glorified mixtape feel, which is enhanced by Necro’s non-stop barrage of freestyle rhyming as there are virtually no storytelling tracks like Dead Body Disposal or songs that come from the artists personal experience such as Reflection of Children Coming Up In The Grave. There are some hooks on the Metal inspired joints but to be honest they tend to fall more into Spinal Tap territory than anything else, especially Evil Rules which leads the images of Dave Ellefson getting stuck in his pod should they ever take this song out on the road.

The short running time of the album, a mere 37 minutes total, along with it’s pseudo-mixtape aesthetic are in stark contrast to the album’s packaging. Maybe a couple of more verses here or there wouldn’t have hurt, neither would some more efficient hooks but as it stands…

Conslusion : Death Rap is sure to please the Necro diehards and will no doubt find it’s place in their record collection. At the same time it’s hard to recommend this album to folks who are new to the Sexorcist’s brand of musical mayhem as they might be better off checking out Gory Days or the Pre-Fix instead. Still if you’re saving up your milkmoney to buy the new Ja Rule record I’d suggest you take a chance on Death Rap regardless, it’s not a bad album at all it just could’ve been so much more.

5.9/10

Ok so I first now got my CD that I was waiting a long time for and when I got it, the CD cover was kind of low budget and I was like, man I paid $30 for this??? But anyway ***** all that, I popped the first CD in the CD Player and I was like daaaaaamn this shit is off the hook!!

CD 1:

1: Intro / Big Game Hunter

A dope ass intro with the sample of the Nightmare on Elm Street theme along with samples from Chronic 2000 and also samples of Tha Realest and other people talking about him, real good introduction to the CD. After that Big Game Hunter starts and this song is just a classic, the flow and beat is hella dope and it really brings back the Death Row feeling from the mid 90’s.

2: High Powered

This song is cool, the beat is kind of simple, but it goes. The track is only 1 min and 39 sec so it’s basically a album filler but it’s a good one.

3: U Can Count on Me

This track is real good, nice west coast vibe with real good lyrics about real homies who you can count on at all times. The track is hella laid back, so if you like to smoke, you just gonna want to light up a blunt to this one.

4: Syde 2 Syde ft. El Dorado

This track is another classic with a laid back west coast beat. Tha Realest talks about back stabbing homies and the life on the streets and he also throws shots at Eminem. El Dorado does a good job on the track too.

5: Drunk Drivin’ In My Glass House ft. Crooked I & Swoop G

Most Realest fans allready heard this track, but now it’s in full CD quality and the track slaps even more then before. Tha Realest, Swoop G & Crooked I do a real good job on this track. The track is just a classic.

6: I Wonder Does God Care? (OG)

This track is real good, the beat is dope Tha Realest is just speaking his mind about the way the world is in his point of view. His Verses are on point and the track goes hard.

7: Summer Time Fling (OG)

Well this track it says OG on the CD cover, but honestly I heard the OG track of this way back and it does not sound anything like this one, but don’t get me wrong, this one is good too. The OG beat on the leaked one is better though. The track is real good for cruisin around in the summer time or just kickin’ it with a fine lookin gurl.

8: Ghetto Prisonerz

The beat on this track is dope, has been used before on a 2pac track, I forget wich one right now…. Tha Realest’s flow is cool on this one too. He’s talking about the street life, snitches and his mission to find freedom. The featured artists on this track did a good job too. Defenitly a good track.

9: Can’t ***** With Us

This track is ok, the beat ain’t nothin special though. Tha Realest’s flow is ok too, he spits some real shit, but his flow get’s off beat a lil bit. This song is more of a album filler. You might like it or you might want to skip it.

10: For Money I Will

This track is just a classic in my oppinion. The beat is another laid back west coast beat and Tha Realest’s flow is real tight on this one too. He’s talking about the hustle and what people can do for money. It’s not a money track like people do now dayz, this track has a real meaning to it.
CLASSIC TRACK

11: Incase I don’t wake up

Another track that most people probably allready heard before, but not in this quality that’s fo sho. This track is a classic nuff said!! 1 of the best tracks Tha Realest has ever done.

12: I Know I’ll Die Soon ft. Nutt-So

Now I thought this CD was only from Tha Realest’s Death Row Days, but nope apparently not. This song was made after his DR Days, but that don’t matter because the track is on the CD anyway. The beat is more of a East Coast Beat and Tha Realest does a real good job on his verse. Nutt-So is ok on his verse and the hook is all right. If the song was mixed properly the track probably would have been better, but because of the poor mixing the track is just another album filler.

13: 99 Bonnie & Clyde ft. VK

This track slaps. The beat is cool and everybody does a good job on the track. It’s more of a track where they showin off they skills on the mic.

14: Hustlin’ ft. San Quinn & Jewell

This right here is a good track to end the first CD with. It’s laid back, but still with a lil faster tempo. Everybody does a good job on the track, and the Jewell gives that sound of perfection on the track. Defenitly a classic.

CD 2:

1: Can’t Mobb Deep

A perfect way to start off the beginning of CD 2. A dope diss track where Tha Realest goes after Mobb Deep, No Limit, Bad Boy and everybody else he had beef with. The track could’ve had better sound quality, but I ain’t trippin on that because it’s good enough and the track is just a classic!

2: Kiss All Night ft. Doobie

A track for the ladies with a nice laid back beat. It has more of a East Coast feeling to it and Tha Realest and Doobie do they thing and it’s cool, but to me the track is just another album filler. I could skip it.

3: Just My Type ft. Sheeba Black & Blaqthoven

Another track for the ladies, but again it’s another album filler. The beat is nothing special, the flow is good, but that’s enough to save the track. The hook is good too, but it still ain’t enough to keep me listening to the track.

4: Played Yourself

yeeeeeah now after 2 album fillers comes a real tight track! The beat is real dope and has a lil bit of that Ruff Ryders feeling to it and the featured artist does his thing too. The only thing that brings the track down is the end of the track, there’s space for at least another verse and probably a hook, but instead all you hear is the beat.

5: M.O.B. ft. CPO Boss Hogg

Another dope track and this one goes real hard. The beat slaps, Tha Realest comes correct on his verse as well as CPO Boss Hogg. It’s DEATH ROW!!!

6: God Bless Your Thugged Out Soul

This track is cool, a nice layed back beat and the track sounds like it was probably done back in the late 90’s. The Verses are good and Tha Realest comes correct and spits some more of that reality shit. The only thing that brings this track down is the sound quality and also the mixing of the track. The track is good, but could be a lot better.

7: It’s better This Way

This track is ok…. Just another album filler in my ears, but hey, somebody else might like it. It’s a track for the ladies, but it’s not a hit.
I don’t know what else to say about it lol…

8: Ride For Me

Finally another classic track! A real good track for the females, where Tha Realest talks about having a girl who will ride for him. The hook is real good and has a female singing. This is what was needed after a few album fillers, a classic!!

9: Waitin’ for Jesus to Come part 2

A nice slow song about homies who passed on and trying to find hope in the streets. Another classic about some real issues that we all have to deal with.

10: We’re Untouchable ft. Amp Pacino

This track is a cool song about a relationship with a down girl who’s down to ride. The verses are real good and the beat is the type of beat you just wanna light up a blunt anc chill out too. A classic track.

11: Would You Be My Girlfriend

The name says it, another track for the ladies… The beat is cool, the verses are on point, but once again the quality was not the best.
The song is good though and that makes it worth listening too…

12. All Night Long ft. Jewell

And once again we have another track for the ladies, but this one is also a track that would be cool at the club. It has a cool clubbish beat to it and Tha Realest and Jewell are just made for doing tracks with eachother!

13: We Won’t Die (ft. Nutt-So)

The beat is simple, the flow’s are all right, but nothing special. I could skip this one, this is mix tape quality, not album quality…. It’s too bad that both songs with Nutt-So had to be this way, because they’re both artists who are capable of making a classic together.

14: Way 2 Real ft. Daz Dillinger

A great way to end the album… Tha Realest and Daz do a good job together, can’t complain at all. The beat is simple and has a closure feeling to it, so when you finsihed with this song you will feel that the CD has come to an end.

Ok, so I paid 30 bucks for this CD and when I got it and saw the artwork for the cover I was a lil bit dissapointed and there was no booklet with track info or anything inside it. When I heard the CD I kind of got over that part though because the CD is good. It has a few flaws but every CD has it’s flaws. Thanks to the classic material this CD slaps and is worth listening to, and I’m defenitly gonna be listening to this CD alot. The album fillers and the poor quality on some of the songs are what bring the CD down a lil bit and because of those tracks it can’t get a 5 star rating….. I give it 4 stars out of 5. Is it worth paying 30 bucks for?? well honestly NO because of the low budget front cover and it not having a booklet or even a back track list inlay. For 30 bucks I would expect to get more and better quality on some of the songs. I don’t regret buying it though because the CD is still unleaked and it does have classic songs in there that are worth the money, but honestly I just gotta say something to FTP: Y’ALL BETTER LOWER YOUR PRICES ON YOUR SHIT OR PUT SOME MORE MONEY INTO MAKING THE CD CASES LOOK PROFESSIONAL BECAUSE I GOT HOMIES WHO RELEASE INDEPENDENT CD’S AND THEY PUT REAL MONEY INTO PRESSING THEM UP WITH REAL BOOKLETS, REAL PRESSED CD’S AND THEY ONLY SELL THEM FOR 10 OR 15 BUCKS AND THEY GOT JUST AS BIG AND EVEN BIGGER NAMES THEN WHAT THA REALEST HAS!

Shawn Carter has done it again. After a mediocre and not-so-well recieved comeback album only a year earlier, Jay has returned with an album he says was inspired by the release of the film “American Gangster”, a film based on the life of notorious 70’s heroin kingpin – Frank Lucas. The album is described as Jay’s return to his hustling lure, and features production from the Neptunes, Diddy, and Jermaine Dupri among others, as well as guest spots from Nas, Beanie Sigel, and suprisingly Lil Wayne.

1.) Intro

The album starts off with an exerpt from the film of the same name, followed by the true definition of a “gangster” over epic production. Although Jay doesn’t bless the mic on this one, it sets the album up properly.

2.) Pray

This song starts off with a somber prayer, as a pounding instrumental can be heard building up in the background. From there Jay takes the oppurtunity to produce one of his best tracks in years. Jay’s hunger can be heard in the emotion of his vocals (“Hey young world, wanna hear a story?/Close your eyes, and you can pretend your me”). Fans of the ‘Blueprint’ and Jay’s best work will certainly enjoy this track. Perfect way to open up the album.

3.) American Dreamin’

Before the album’s release Jay mentioned a track featuring Marvin Gaye samples, and after hearing this track, it’s obvious this was the track he reffered to. Production is top notch on this track, as Marvin’s mellow chorus and Jay’s whisper-esque flow blend perfectly with the instrumental. Although not better than the previous track, this is clearly another one of the album’s highlights.

4.) Hello Brooklyn 2.0 feat. Lil Wayne

This is obviously one collaboration that most fans would’ve doubted would ever happen. After seemingly taking shots at each other for almost a year, President Carter called on rap’s hottest prospect (Lil Wayne) to bless a track dedicated to the home of Jay. Unlike “Renegade” or “Black Republicans”, this is more or less Jay and Wayne going back and forth giving props to Brooklyn, NY. Although production is shaky at times, and the repetitive screaming in the background can get annoying, this song has still surpassed the standards rap has set for today’s era. Decent song.

5.) No Hook

“I’m more of Frank Lucas than Ludacris” just about sums this track up. Over a very soulful sample, complete with a bass guitar built for this track, Jay takes it back to his hustling days. This song is very reminiscent of the 70’s era, as Jay dismisses the need for a hook as he takes you back to his time of hustlin caine in the Marcy Projects, while also sending a warning to any rapper trying to dethrone the King. Great track.

6.) Roc Boys (And The Winner Is…)

Unlike ‘Kingdom Come’, this song (and most likely the album’s 2nd single) features Jay serving up a more polished flow, while at the same time declaring the rightful return of Rocafella Records. Diddy’s “feel good” production, combined with Jay’s apparent new found excitement for the game, make for another good track.

7.) Sweet

One of the reasons this album has managed to feel so live and fresh, is Jay’s decision to have a more live feeling by adding a live band. While production is very strong, the only fault of this track is that it does sound like Jay freestyled his entire verse. This combined with a hook less-than-great hook make for a mediocre song.

8.) I Know

Any fan of Jay-Z knows that some of his biggest commercial songs have come courtesy of The Neptunes. This track is no different, as Pharrell croons the hook in the smoothest manner possible, with Jay flowing perfectly over the Neptunes soothing production. This is one of the tracks on the album with a different feel, and easily outdoes any track on Jay’s previous album.

9.) Party Life

Production is very mellowed out, as Jay gets punchline happy, with smooth singing in the background. While detailing how he’s so ‘off the wall’ he might as well be a young Michael Jackson, Jay calms down for this track; which proves to be a good breaking point in the album. Good song.

10.) Ignorant Shit feat. Beanie Sigel

The return of two of the Roc’s premier members over a soulful sample (also used for Jim Jones’ “Summer In Miami”) sounds like a perfect combination…and ends up being just that. After addressing those doubting his thought provoking songs, Jay sarcastically gives the people “the ignorant shit you like”, by taking jabs at how simple and self absorbed hip hop has come to be.

11.) Say Hello

Taking a page from Scarface, this is Jay over more mellow production. Unfortunately, he seems a little lazy not only with the hook, but with his verses as well. Production is the highlight of this track, as Jay tries explain how he is no “ordinary nigga” even before he was known as Jigga, but ultimatley fails in making this song the classic it had the potential to be.

12.) Success feat. Nas

After their critically acclaimed collaboration “Black Republicans” on Nas’s ‘Hip Hop Is Dead’ last year, The God MC & Nastradamus return for “Success”. Over a pounding organ influenced production, Jay sets off the track with a strong display of lyricism (“I used to give a *****, now I give a ***** less/What do I think of success?, it sucks, too much stress”), and continues an amazing display of charisma, before passing the track to Nas, who sounds as hungry as he did on previous classics. After famously deading their beef two years ago, it’s becoming apparent that the co-K.O.N.Y.’s sound so much better on a track, than they do going at each other on a track. Classic song.

13.) Fallin’

This track is without a doubt the best song on the album. Everything from production (courtesy of Jermaine Dupri), to subject matter, and finally lyricism is shown. Jay details the struggle of the game (in a mode very reminscent of “Reasonable Doubt”), and sounds just as hungry as he did 10 years ago with such clever wordplay:

“…talking tough on the youtube, bout what you used to do
but’s that oldschool to the new crew, they doin numbers like Seduku”

14.) American Gangster

Much like last year’s “Show Me What You Got”, this is uptempo production courtesy of longtime collaborator Just Blaze. However unlike “Show Me What You Got”, this track is more of Jay in his true element. Describing how he is the ultimate ‘American Gangster’, this track has a very 70’s blaxploitation feel. Discussing the breakup of the Roc, and the rumors of an illegitimate child, all while maintaining a perfected flow, Jay takes this track where no other artist could making for another classic track.

15.) Blue Magic

Although Jay himself stated that this was a conceptual album, this track (and also the album’s first single) has a very different feel from the rest of the disc. The beat is not one of the Neptunes best, and although Jay manages to provide some quotables (“Niggas wanna bring the 80’s back/That’s okay with me, that’s where they made me at”), the song as a whole doesn’t blend well with the rest of the production and theme.

So after a dissapointing comeback album in”Kingdom Come”, it appears Jay has found the motivation he needed to produce the soon-to-be classic (even if it was inspired by a Denzel Washington film) “American Gangster.” This album should disregard any doubt that Jay still has the ability to make good records, while showcasing his hustler mentality over soulful instrumentals (credit Jermaine Dupri, Diddy, Just Blaze, and Bigg D). Although not on the level of “Blueprint” or “Reasonable Doubt”, this will still remain as one of Jay’s better albums.

Overall Rating: 4.5/5