VA – Beef Soundtrack

VA - Beef Soundtrack1. No Vaseline(Ice Cube)

Of course you all know of this diss track, classic stuff here as Cube takes on a whole group and lyrical slaughters everyone of them. This track has a killer bouncy beat with a dope flute melody in there. Classic diss track! DOPE!

2. Beef(Tech N9ne Feat Big Krizz Kaliko)

This is one of the best Tech tracks I have ever heard, great beat that resembles “FTI”. Tech starts it off with a great verse, the way he changes flows here is great. The chorus is easily one of the best choruses I have ever heard with a Rock vibe to it with Krizz singing. Krizz with a dope verse, the thing I like about Krizz is that he can go from a sing-song type flow to a lethal rapid type flow. Tech finishes things off with another great verse, he even mentions Joplin here(For all my Missouri kats). DOPE!

3. You Don’t Really Want It(KRS-One)

I respect KRS and all but this track is horrible, from the beat to the chorus, pure drizzling shits. KRS disses Nelly and he has some good lines but it just isn’t clicking. Wack

4. Westside Slaughterhouse(Westside Connection)

One of my favorite West tracks of all time. WSC go after Common here as Ice Cube has some really good lines aimed at him. One of the best disses ever. DOPE!

5. Murder By #’s(Skatter Man & Snug Brim Feat Ricky Skarfo)

What the hell is this doing on here? This was later put on Urban Legendz, I wrote a review for this a while back and I listened to the track more so this is going to be totally different. Skatter’s verse is easily the best as he tells a great story. Snug has a good verse. Skarfo has a decent verse. Good

6. Drama(Prodigy Feat Twin)

Nice guitarish style beat here but Prodigy sucks anyway and Twin is worse. Average

7. Real Muthaph****in’ G’s(Eazy E Feat BG Knoccout & Dre’sta)

I think this song is really overrated, I think the beat is classic and Dre’sta’s verse is good but the rest just doesn’t do it for me. Good

8. Caution(Black Child)

This track isn’t bad, in fact it’s quite good. I have no clue who the first 2 guys are since it never mentions them. Great beat here. Good

9. When The Rain Drops(Kutt Calhoun Feat Snug Brim)

Slow starting, I mean really slow but once it kicks in it’s a pretty dope track. Kutt is overlooked and Snug actually spits a rapid style verse(!). Good

10. That’s It(KRS One Feat Mad Lion)

Another horrible KRS track, I just don’t care about this song, there is nothing good about this. The beat is horrible. Wack

11. Postman(Poverty)

Who? This track may have the worst starting ever. Horrible chorus, who the hell is this guy? This is horrible. Wack

12. Now I See(MC Shan)

I like Shan but this track is terrible, and the beginning is an automatic skip. Wack

13. Snake Ya(Tech N9ne Feat Big Krizz Kaliko)

Nice Arabian type beat here. Tech’s first verse is crazy here as he goes into about 3 different styles here. I like the chorus here, it’s a little silly but it gets the job done. Krizz with a pretty good verse. Tech finishes it off with a very dope verse. DOPE!

14. Let’s Go(It’s A Movement)(Warren G Feat KRS One & LiL Ai)

Decent track, KRS & Warren do their verses well but this LiL Ai person is horrible, has to be one of the worst flows and verses I have ever heard. Average

15. Witness Protection(Jayo Felony)

YYYYEEEAAA!!!!! This track has a wicked weird beat, Jayo’s chorus is great but a little awkward. This track is crazy. DOPE!

16. Day I Die(Tru-Life)

Tru-Life is some guy who beefed with Mobb Deep, the bonus DVD explains it better and it’s a great segment, but this is not great, in fact this is horrible. Wack

17. F*** The Police(N.W.A.)

I don’t have to explain this track, you all know it and it’s a classic. DOPE!

All in all this gets a Good rating, the concept here is good but they ruined it by putting weak tracks and tracks that have nothing to do with beefing. Cop it if you don’t own any of these classic tracks, oh yea the Tech tracks are great as well so be sure to atleast peep it.

Copywrite – High Exaulted

Copywrite - High ExaultedThere was a time when people said whites couldn’t rap..even after the Beastie Boys and House of Pain, most hardcore rap fans refused to think of the possibility that a white dude could beat a black dude rappin. After a few exceptions (growing more and more common) like Cage, Bubba Sparxxx and most notably (of course) Eminem, Eastern Conference signee Copywrite78 steps up to try and bridge the gap even further.

 

1) Sintro 

Intro to the album, just a bunch of samples hyping Copy.

2) *****soundcheck

Over a funkified, horn-laced beat by RJD2, Cop really starts up the album. These first verses might mislead, it’s good but not what he can truly do, and might make it seem like he’s overhyped. Don’t be fooled; he’s just starting up slow. (Good)

3) Fire it Up 

This beat is more aggressive, produced by Camu Tao but in the same general vein as the previous. Cop follows his own advice and really kicks it up here, especially on the last couple of verses. Shit begins to warm up. (Great)

4) Let Me In 

The beat is more creepin, a bit psycho. Cop spits about *****in *****es with obscene lyrics, funny punches and general shock value. Though the song is good, it was a bad move for Copy to make a song that, in almost every way, sounds exactly like one an unsigned Eminem would make. Best to stay clear of that comparison. (Good)

5) Enterlude

RJD2 shows off here, with a slower beat that could easily be something off Big’s Ready to Die. No lyrics.

6) Three Words ft. Camu Tao, Tage Proto 

Over an enticing, string beat that sounds almost classical (by Copywrite himself), 78 and Camu spit crazy, complex-styled lyrics; Tage, however, gets extremely annoying with his heavy, distracting lisp. Sounds pretty funny, actually. Other than that, the track is sicc. (Great)

7) Hear Me Though

This, another Camu beat, is rambling and more layered, mostly guitar riffs. Copywrite spits even harder on this one, killing the complexity and punchlines at the same time. One of the best tracks on the album. (Excellent)

8) Badabing 

Produced by DJ Mighty Mi, with an organ-type instrument combined with a church bell, gives it a feel of impending doom. Copy’s darker lyrics work with the atmosphere. The hook is flat, purely business, shows Copywrite will destroy enemies. (Excellent)

9) Centerlude

Another showoff, no-lyric cut, this one produced by Copywrite. This time it’s a RZA-like style, bumping drum/bass with a disjointed piano. Pretty good.

10) Nobody ft. Jakki da Mota Mouth 

Once again produced by RJD2, it’s a dark, jazzy beat, another RZA flavor. Copy and Jakki work well together, going back and forth to finish each others’ lines. Nice collab joint. (Great)

11) Holier Than Thou 

This beat RJ is aight, it seems too low and drops out sometimes. It’s not aggressive or dark enough for Cop’s style. Copy is good, but doesn’t seem to know how to flow over the unusual beat, so just goes straight through with a basic old-school style. (Decent)

12) Ready, Aim…

This is more like it. A Camu Tao production; if you’ve ever heard Royce ft. Twista – Let’s Go, it kinda sounds like that, especially when Copy starts speed-spitting. Like the versatility, since he does it pretty well, though mostly he has to abandon his punches. (Good)

13) On My Dick

Apparently, Cop ain’t afraid to get behind the boards himself, cuz this is another self-production. It’s a halting beat, not the best, not the worst. Copy’s lyrics are about being in the club, causing chaos. It’s not bad, takes a couple shots (you ain’t hostile, you hoestyle; all up in VIP tryinna pop ’Cris) (Good)

14) Tower of Babble ft. Smut Peddlers

Once more produced by DJ Mighty Mi. It’s a rambling beat, relying mostly on a drawn out violin sample that feels like an Italian opera sample. 78, Mr E and Cage spit nice verses for the most part, but nothing mind-blowing. (Good)

15) Seven Light Years

Yet another production by RJ. It’s hard to explain; you have to hear it, but it’s good. Copywrite is at his siccer moments here. There is nothing, absolutely nothing wrong with this track. (Excellent)

16) Theme Music ft. Jakki the Mota Mouth

This DJ Mighty Mi cut is a bit lighter-styled synth track, Copy spits the first verse, some hard lyrics. The man is so good, even good is starting to sound bland at this point. It seems lopsided, since Copy’s first verse is unassisted, but Copy helps Jakki stress/finish some of his words and lines. However, the second verse is still nice. Another solid collab joint. (Great)

17) Exitlude 

A brief cabaret-style beat/singer combination that has no place on the album.

18) June 

This is a deep track about Copy’s life and frustrations. The beat is a sad string beat, kinda surprisingly produced by RJD2. It’s a sad joint that sounds almost like something Royce might do, with an instrumental slapped in the middle. Has some deep shit relating to the month of June, the month of his birth and the month of his father’s death. (Excellent)

 

My Rating: 4.5/5

This is as close to a latter-day classic as it gets, folks. The whole thing has a different style and flavor that’s so refreshing from cardboard-cut popular rap, with some of the best underground production out and style reminding of some of the best Eminem/Canibus material rolled into one. If not for a very few weak links like constant battle rhymes and nearly no topics (and those wasted instrumentals–c’mon, someone SPIT on em!!) this could be classic shit. One of the best rap albums I’ve bought, and that includes Illmatic, All Eyez On Me and Ready to Die.

My Recommendation: No excuses. BUY.

Kutt Calhoun – B.L.E.V.E.

Kutt Calhoun - B.L.E.V.E.1. Bring The Flame(Feat Big Krizz Kaliko)

Great way to start off the album, no stupid intro here, IT’S ALL MUSIC!!!!! Kutt uses a Pac-like chorus on this song. Man Kutt just rips the first verse here, great beat on here as well, very hard hitting. Kaliko isn’t really on here much, he just does the beginning, this was all Kutt here! Good

2. Hip Hop Warning(Feat Big Krizz Kaliko)

Great song here, has a touch of Hip Hop with a hint of bounce here, nice chorus with Krizz singing the typical Strange chorus which is always great. CONSIDER YOURSELF WAAARRRNNNEEEDDD!!! Heh! Kutt actually uses some good wordplay here and some good lyrics, he speaks the truth on here. Good

3. Nationality(Parlaa Remix)(Feat Big Krizz Kaliko)

Horrible, skip this. Wack

4. Keep It Keeblur(Feat Tech N9ne & Big Krizz)

DOPE! They used a great West beat here, Kutt sounds comfortable over these type of beats. Seems to flow better here as well. Tech N9ne with a great verse as usual. I dig the chorus as well, Krizz is seriously overlooked. Kutt ends the song with another good verse. DOPE!

5. Walk With A Limp(Feat Big Krizz)

Awkward, that’s how I can describe this song. Big Krizz is all over the place on the chorus here. Average

6. Goldberg(Feat Tech N9ne)

Song’s hilarious, Tech finally disses the stupid “urrrr” phrase(Like Right Thurrrr). Track is just average to me though, I don’t like the beat but Tech is on point here with his flow. Average

7. Got Plans(Feat Big Krizz)

Another average track. Average

8. Real Sex(Feat Tech N9ne)

The beginning just messes up the whole vibe, why waste a Tech N9ne appearance on this? Wack

9. In My Face(Feat Skatter Man, BG Bulletwound, & Snug Brim)

DOPE! I dig the beat here, very dark and dope. BG Bulletwound & Snug Brim kill this song! One of the best tracks on here easily. DOPE!

10. Panic Box(Feat Boy Big)

I semi dig the old school Bay sound but it’s just another awkward track. Kutt tries but everything just comes off as weird, a track that is really hard to listen to. Wack

11. The Know How(Big Krizz)

Beginning isn’t good but once the beat kicks in with Kutt rapping then it gets really good. Nice bouncy type beat here with Kutt flowing perfectly over it. Good

12. N A WhiteManzEyez(Feat Tech N9ne & Big Krizz)

Tech only does the beginning by talking. Kutt raps pretty fast over this track which is very dope. Dope message here. Great chorus here as the beat really kicks in with Krizz singing. Dope track! Good

13. My Life(Feat Tech N9ne & Big Krizz)

Tech isn’t even on this song. Kutt owns it here though, Krizz with a good chorus. Good

14. To Whom it May Concern(Feat Snug Brim, Skatter Man, & BG Bulletwound)

Snug rips the first verse, then Skatter with a good second verse, then BG with a decent verse, and finally Kutt with a good verse but he sounds way too much like Pac here, I’m sure that was his intention but it sounds a little weird. Still a good track, if you listen closely you’ll hear Tech play one of the Mayor’s workers(lol). Good

15. Parlaa(Feat Big Krizz)

Blah blah blah, heard it before. Wack

16. Dat N*gga Dare(Feat Big Krizz & BG Bulletwound)

Great way to end this track, I love the bouncy eerie style beat here. Krizz is a little weak on the chorus here, I dig Krizz but he makes the chorus really annoying. Kutt owns it here. Good

 

All in all a Good album, this is way different than Skatterman & Snug Brim’s album. Kutt went for a more West style here and I can dig that. Cop it if you’re a Strange Music fan.

VA – Grit City Volume One

VA - Grit City Volume One1. Step Up

This is a great way to open the album. This song has a real hip-hop feel to it. The beat is on some real hip-hop shit, the lyrics are also on some real hip-hop shit. This track is really good. 8/10

2. Beverly Davis 

On this cut, Swann Notty talks about meeting a girl and all that. He really puts a picture in your mind, which makes you enjoy the track even more. Even though he is talking about a girl, this in no way is a “pop love song”, this still has a good hip-hop feel to it. Real good shit. 8/10

3. The Professional 

This one is not as good as the first 2 songs on this CD, but it is still a good song. The lyrics are on point, delivery is on point, nice track. The chorus on this might remind you of a DJ Premier chorus, cause of how the way it’s parts from different songs mixed together and scratched. 7/10

4. Sunshine Days 

The beat on this is fresh. In a way reminds of a Kanye West beat how it samples and old track and the voice is sped up and put together on the beat. The lyrics on this are about as tight as the lyrics on the other songs. The lyrics on this song mostly reflect the struggle these rappers went through, in a way this is a deep dong. Tight song. 8/10

5. Niggas Don’t Know 

This one is on some soulful hip-hop stuff. Beat is nice, lyrics are nice. This is probably one of the tightest songs from this CD. Definitely worth checking. 8.5/10

6. Who’s Who

This sounds like a jazzy hip-hop song. It’s really nice to relax to, just chill you know. The delivery on this is not as good as the delivery of the other MC’s on this CD, for some reason, it sounds like Soul Supreme goes off beat from time to time. Going off beat doesn’t take away the fact that the lyrics are tight, but if the delivery was more on point, this track would have been better. 6.5/10

7. What Would U Do? 

This song features T-Max, the beat on this is well put together. Nice instruments played on this, well put together. The lyrics on this is kind of like a story type rhyme, T-Max basically talks about a scenario, and at the end of it, he asks you “What Would U Do”. Real tight, something you don’t really hear these days in hip-hop. Great song. 8/10

8. Still Spittin’ (RMX)

This song features the legend himself, KRS-One. KRS-One comes off tight on this. This one also features Akbar, L D Headtoucha, Illin’ P, Supastition and An Ion. I have to say the MC who came off the best is Illin’ P. His verse was really nice. But all the MC’s on this dropped hot stuff. This is definitely one of the best songs on this CD. 9/10

9. Bizzy To The Letter 

This one is different. The beat is not that good really, you can’t really hear the kicks on this. I can’t say I’m feeling this track. The only thing that saves this song is the lyrics, if the beat was better, it would have been way better. 5/10

10. 17 Emcees 

This one is good, it is not the best but it is still good. Not everyone is going to like this one, it really depends on your style. I myself can’t say I love this song but I can listen to it, it is not the wackest song out there, it is not that wack, it just isn’t my style, that’s all. 6.5/10

11. Story Of The Warrior 

This song is really nice. The beat for some reason reminds me some Chinese stuff. The lyrics flow nice, goes well with the beat. This song is definitely one worth checking out. 7.5/10

12. Ghetto Fabulous

This one is really nice. I love the beat on this one, it is slow but it is really nice. The lyrics are tight as hell on this. I really love this one, another one of the best songs on this. 8.5/10

13. Shine It On ‘Em

This track is dope. I’m feeling this one, the beat reminds me of something, I can’t really remember what it reminds me of but I’m sure I heard a beat like this before. The lyrics are nice, really on point. 8/10

14. 9’s Revisited 

I like this one. The beat in a way reminds me of a live jazz song. The piano on this one is kind of wack though, I think if the piano on this was taken off this song would have been great. But the rhymes on this are tight. Real hip-hop in my opinion, dope shit. This song is nice but the piano gets annoying after a while. 7.5/10

15. Ma$$ Rise

This is another nice one. I’m really feeling this one. Beat is nice, rhymes are nice, dope ass shit. One of the songs you definitely need to peep from this CD. 9/10

16. Take Time Out 

This is another one of the different type songs. This is better than the other Ra Degrees song on this CD, I got to say this one is better. Still not the best but better. This is a cool song. 7/10

 

Overall this CD is really nice. This is better than most of the rap CD’s coming out today. This CD contains some really fresh talent, this just shows you some of the best talent is underground. This is a CD definitely worth looking out for. I say this one is worth buying, real good CD.

Final Rating: 3.65/5

Jim Jones – On My Way to Church

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

1) Intro 

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

2) Capo Status 1st Take 

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

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

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

4) This Is Jim Jones ft. Cam’ron 

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

5) Let’s Ride ft. JR Writer 

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

6) Certified Gangsta ft. Cam’ron, Bezel 

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

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

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

8) End of the Road ft. TI, Bun B 

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

9) Shotgun Fire 

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

10) Capo Status 2nd Take 

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

11) Lovely Daze (Memory Lane) 

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

12) Spanish Fly ft. Chico DeBarge 

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

13) Livin Life as a Rider ft. Denise Weeks 

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

14) Twin Towers ft. Bizzy Bone 

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

15) When Thugs Die 

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

16) This is Gangsta ft. Juelz Santana, Bezel 

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

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

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

18) Bend n Stretch 

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

19) Talking To the World 

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

20) Capo Status Final Take 

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

21) Outro 

Back to the church setting for the outro.

My rating: 2.5/5

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

My Recommendation: Download/burn your favorite cuts.

Kurupt – Kuruption

Kurupt - KuruptionKurupt – Kuruption – 1998 Antra Records

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

West Coast Disc

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

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

2. Make Some Noize – Production: Soopafly

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

3. Put That On Something – Production: Devante 

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

4. Play My Cards – Production: Battlecat

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

5. We Can Freak It – Production: Battlecat 

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

6. Fresh – Production: Daz 

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

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

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

8. Ho’s A Housewife – Production: Kurupt 

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

9. Cant Let That Slide – Production: Twin 

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

10. That’s Gangsta – Production: Warren G

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

11. Survive Another Day

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

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

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

East Coast Disc

1. It’s a Set Up – Production: D Moet

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

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

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

3. Game – Production: D Moet 

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

4. Gimmewhatchagot – Production: MED 

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

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

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

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

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

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

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

8. Its Time ft. Deadly Venom 

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

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

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

10. Who Do U Be – Production: RJ Rice

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

11. Freak It ft. Noreaga

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

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

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

Rating – 4/5

AZ – Final Call

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

 

1) Intro ft. Lemon

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

2) Omega 

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

3) The Truth 

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

4) Seems That Way 

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

5) Talkin’ Gangsta ft. Tony Sunshine

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

6) Side 2 Side ft. Ron G 

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

7) You Know ft. Rell 

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

8) No Strings

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

9) Gangsta MC’s ft. Lemon

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

10) Live Wire 

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

11) Magic Hour ft. C L Smooth 

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

12) I Am AZ 

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

13) Girls R Free

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

14) Poor, Poor People ft. Lemon 

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

15) Let Me Know ft. Aaliyah

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

16) Quiet Money Anthem ft. Nu, Young

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

 

My Rating: 3.5/5

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

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

Silkk the Shocker – Made Man

Silkk the Shocker - Made ManSilkk the Shocker – Made Man – 1999 No Limit Records

 

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

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

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

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

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

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

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

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

5. This Is 4 My – Production: KLC

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

6. Commercial One – Skit 

Silkk causing shit with some guy on the street.

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

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

8. I Want To Be With You – Production KLC 

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

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

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

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

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

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

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

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

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

13. Mr. 99 – Production: KLC 

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

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

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

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

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

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

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

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

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

18. Commercial Two – Skit 

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

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

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

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

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

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

Rating – 1/5

Pete Rock – Soul Survivor II

Pete Rock - Soul Survivor IIPete Rock. I first heard the name not too long ago, when I found out he’d remixed PE’s Shut ‘Em Down and produced Common – The ***** In You. Pete is a very prolific producer, with a very ’70’s style that is truly soulful and can be nostalgic. He has a talent for picking out fitting MC’s to be on his songs, and since he doesn’t rap often & has a collab on every track that’s a good thing.

 

1) Truth Is ft. Black Ice

Over a great slow beat with echoey riffs and lazy strums, Black Ice talks his verse, which is pretty nice even with no flow. Kinda makes you feel like Malcom X is talking to you in rhyme, over a beat. (Great)

2) We Good ft. Kardinal Offishal 

The beat here is a funky guitar chord, I’m not sure how to describe it but it’s very 70’s. Canadian Kardinal has a good first verse, but his second is much better. (Great)

3) Just Do It ft. Pharoahe Monch 

Love this beat, a halting funkified…beat. Again it’s hard do describe, but it has bells and an echoey xylophone(?) chorus. Pharoahe’s verses are, as usual, illness. (Excellent)

4) Give it To Ya ft. Little Brother 

The beat is nice, laid-back and soulful as usual but unique in itself. This chorus has someone singing, and Little Brother’s verses are basically fire. (Excellent)

5) It’s the Postaboy ft. Postaboy

This beat is more energetic, chaotic. Postaboy dominates the track, and he’s aight, but his voice gets pretty annoying. (Decent)

6) It’s a Love Thing ft. CL Smooth, Denosh 

Pete and CL reunite on this track. It’s a 70’s-style love cut, the beat has horns and that echoey xylophone sound in the background, with a really bumpin base. Smooth’s lyrics are..smooth, and Denosh sings smoothly on the cut as well. The whole cut really has that perfect flavor they were looking for. (Excellent)

7) One MC One DJ ft. Skillz

The beat is again more energetic, this one has samples of James Brown screamin in the background. Skillz’ verses are pretty nice. (Great)

8) Beef ft. Krumbsnatcha

Very laid-back beat, a complex snare with harplike strums and bells in the background, but Krumbsnatcha’s verses are nothin special, except for the last one. At least he rides the beat well…the chorus can get annoying, though. (Good)

9) No Tears ft. Leela James 

This cut is about hard times. The beat is nice, base bumpin, more harplike strums that fit Leela James’ soulful, Macy Gray-soundish crooning. Gives a great, laid-back feeling. (Great)

10) Headrush ft. RZA, GZA

YES! A song with Wu-Tang Clan’s head honchos. The beat sounds almost like RZA and Rock collabed on it, like Pete tried to produce a song for a Wu group album. RZA leads off with a pretty nice verse, but GZA’s is better, str8 illy. (Great)

11) Fly Till I Die ft. Talib Kweli, C L Smooth 

The beat is smooth, that Kweli-fitting type of ethereal shit that backs his voice great, however it’s a bit stiff after a while. Talib’s verses are some realness, managing in his way to bring conscious rap into the mix of sickness and smoothness. C L Smooth is smooth on the hook, but unfortunately that’s all he does. (Great)

12) Warzone ft. Dead Prez 

Dead Prez on a party cut? At first this was a wtf track, but listen and you see what’s being said. Over a great vintage dance beat, Dead Prez rebukes the industry’s major artists going soft on club songs; the style of the song just doesn’t appeal to me, DP is still a bit too commercial for my tastes here and every line ends with “in da club”… (Good)

13) Da Villa ft. Slum Village

The beat is nice, a fade-in horn over soft piano chords and a laid back snare. Slum Village largely comes nice, especially the second & 4th verses. The hook is nothing special, but it really doesn’t matter. (Great)

14) Niggaz Know ft. J-Dilla 

This beat seems almost like a PR interpretation of a Dr Dre track, maybe Watcher (pt 1)..actually it’s very similar. It’s not bad, it’s not great. Dilla’s verse isn’t that nice, but his flow is really good. Pete actually raps on this one, maybe his verse was ghosted by J, maybe not. It’s in that moderate area. (Decent)

15) Appreciate ft. C L Smooth

C L returns on this last cut, rapping verses this time. His shit is smooth as usual, sounds a bit like LL on the cut. His flow is good and smooth, lyrics are aight. The beat is a nostalgic type of strummin guitar, I think it’s sampled. (Good)

 

My Rating: 4.2/5

All in all, Soul Survivor II is a solid followup and largely a really *****in good album. It has few failing points, and even fewer are Pete’s fault. But PR managed to bring out most of hip-hop’s most popular ‘underground’ MC’s from all over the country and out of the country, plus reunite with Smooth a few times, and he pretty much makes it work, showin versatility by crafting beats to match each MC’s/singer’s style.

My Recommendation: If you’re tired of the same old shit, and jus want somethin new, pick this one up; it’s def worth the $$.

Ma$e – Welcome Back

Ma$e - Welcome BackIn 1997 Mase burst on the rap world with super producer Puff Daddy in the year of Bad Boy Records. After appearances on Notorious BIG’s “Life After Death” album, the buzz on Mase was huge. After retiring from rap a few years later to start a congregation in Atlanta, the buzz returned when it was announced Mase would be returning to rap.

 

1. Welcome Back 

Sampling the theme song to the old TV show “Welcome Back Kotter”, Mase sets the tone to the entire album. The theme song to his return couldn’t be any more fitting. Mase is back, and according to this instant hit song, hasn’t missed a beat. Expect this single to get mad play in the clubs and on TV stations worldwide.

2. Keep Dreamin 

At first the beat is kind of annoying, but the rising tempo after a few listens fits Mase’s flow on this song. Unfortunetely there is no saving the horrible Kanye West “Workout Plan” style chorus. A better chorus and this track might have been a banger but it ruins the tempo and doesn’t fit at all with Mase’s style on the track.

3. We Don’t Have To 

A more laid back beat, a serenade to the ladies. Mase is back to his old *****y style of macking the ladies. The R&B chorus fits the song, personally not my style of track, but for the intended audience, it will probably be a hit.

4. I Luv Twyla 

A second love song back to back on the album, already the style of the rest of the album is set. This is what Mase is good at, and always has been good at. He reminices his old relationship with a former girl, and the chorus again perfectly fits the track. Good track.

5. My Harlem Lullaby 

A faster tempo but while its hard to pinpoint the problem with the production, there is definitely something missing. Repetitive beat, and the chorus is a little off but decent. A thank you song to his home for sticking beside him through everything. Average at best.

6. Wasting My Time 

Another song dedicated to ladies, but this time it’s a more cynical look at love life. The beat is a little bit of 8Bit Nintendo mixed with a R&B flavor. Surprisingly works, and Mase upholds his end of the bargain and doesn’t miss a step on it.

7. Gotta Survive 

A definite highlight to the album, a reflection of his life, over a slower and deep beat. His few years as a pastor really shows in this track, it makes you think, which is kind of a first from Mase since “24 Hrs. To Live”. Easily one of the best tracks on the album. Smoke to this track for sure.

8. The Love You Need 

Starts with a rap cliché skit of a phone call to his girl, starts off with the R&B hook which is nothing outstanding. But Mase really steps up his story telling ability on this track. At this point in the album though, the love songs are a little tiring.

9. I Still Love You ft. Nelly 

Hooking up with the man who got Mase to return to the rap game, Mase and Nelly do their best to defeat the atrocious chorus. If that doesn’t make you skip ahead, the flow over the beat will. Worst track on this album.

10. Do You Remember 

After the last song, it might just seem like this track is good, there is something catchy to it. Whether its just following the previous act that makes this stand out or not, it doesn’t really have anything else over the other songs. Average.

11. Into What You Say 

The production on this track is something Darren Vegas would have done in his horrible Death Row experience. Again, that style fails again, and doesn’t work on this track either. Another annoying chorus, what happened to Puff’s strictness on good choruses?

12. I Owe 

Again Mase tries to do a sing along chorus which again fails. The production isn’t very great either. He doesn’t do so bad on flowing over what he’s been given but it seems like a good time to end the album. And they did.

With the excitement of Mase being back, the question remained what Mase would be back? Harlem World or Double Up? Only twice on this album did Mase give us what he is capable of with “Welcome Back” and “Gotta Survive”. The rest of the album is repetitive, and while Mase did his job, the production and choruses are very lacking. Gives the feeling that with the excitement of Mase’s return Bad Boy was just jumping at the bit to get this album out without really paying attention to the detail they’ve been known for with production and hit choruses. Hard to pinpoint who to blame on this, but the album was rushed and it shows. Two instant hits previously mentioned, but the rest of the album will be forgotten by the end of the year.

Rating – 2/5