Back in 1997, before Cash Money’s prime and multimillion dollar deal with Universal, the label released a string of albums from their first marquee star – 17 year old B.G. After releasing the regional smash “Chopper City” in 1996, B.G. followed it up with the release of “It’s All On U Vol. 1” in early ’97. “Vol. 2” was put out later that same year.

1.) Don’t Hate Me

Anybody that knows anything about Cash Money knows that The Big Tymers always set an album off with an intro. Mannie Fresh’s smooth production make for a melodic way while gaming haters and non sayers.

2.) What U Want Do

The first real track from B.G. is the uptempo “What U Want Do.” While B.G. manages to properly ride the beat, his lyrics are noticabley amateur. However, his delivery, combined with Fresh’s production, makes for a good track.

3.) Get Your Shine On feat. Big Tymers

Before Cash Money blew with Juvenile’s “Ha” and “Back That Azz Up”, B.G. gave labels a reason to sign them with his New Orleans anthem “Get Your Shine On.” Over very soothing production, both B.G. and The Big Tymers deliver a classic song.

4.) Livin’ Legend

My personal favorite on the album, B.G. (even at the age of 17) spends this song declaring his status as a ‘livin legend’. 6 years before the release of his album of the same name, and only 4 albums into his career, B.G. provides proof he was already a legend in the game. Great song, with even better production by Mannie Fresh.

5.) Hot Boys 226 feat. Hot Boys

B.G.’s delivery on this song is noticabley strong, keeping up with Fresh’s upbeat bassline driven production. Lil Wayne makes for a strong guest appearence, as does Juvenile making for an above average song by the Hot Boys.

6.) Ride Or Die feat. Hot Boys

Using the same sample Lil Kim used for one of her earliest singles, B.G. and Lil Wayne trade verses, with sharp flows, over this mellow track. Juvenile adds another guest appearence at the end of a track, before B.G. steals the show at the end of the song.

7.) Plan Went Sour

Over another mellow beat, courtesy of Mannie Fresh, B.G. attempts at telling the story of a heist that went wrong. Lyrics are once again a drawback, but a good hook and delivery make for a listenable song, on a New Orleans classic.

8.) Clean Up Man

The Baby Gangsta gets violent on this track, explaining his role as the “clean up man” with a “K in his hand”, ready to clean up any mess. This is one of those tracks where B.G.’s laid back southern drawl works with the production extremely well. Good song.

9.) I’m Try’n feat. Juvenile, Lil Wayne

B.G. expresses his attempt at abandoning the gangsta lifestyle, but how it keeps callin him. A teenage heroin addict, B.G. has obviously had his share of what he calls “that monkey on my back.” Juvenile assists with the hook (as does Lil Wayne with a forgettable verse), giving the hook a lil Hot Boy flavor, over Mannie’s funk driven bassline.

10.) ‘U’ All ‘N’

This is one of the only tracks on the disc that the album could do without. Production sounds stale, and B.G.’s vocals are noticabley low, along with lyrics that aren’t up to par with the rest of the album. Skip.

11.) 6 Figure feat. Hot Boys

This is more of what I expect out of a B.G. song. Over dark Mannie Fresh production, Gizzle’s altered vocals blend perfectly with the beat, as he describes his need for 6 figures. Lil Wayne and Turk follow his verse up with recognizable flows, but the song is undoubtedly stolen by Juvenile, who serves up the songs best verse. Great track, and clearly one of the album’s best.

12.) Stay N Line Hoe

To close the album out, B.G. chooses to express his hate for those ‘dog ass hoes’. Production is very simplistic, as is B.G.’s verse, making this track a very dissapointing way to close out a near flawless album.

In conclusion, even at the age of 17, B.G. serves up some of his best work on this Cash Money classic. Far better than the original “Chopper City” and “It’s All On U”, this album proved that Cash Money was more than just a regional success, and legitimized B.G.’s career (this was the last album before “Bling Bling” was released to the masses on Gizzle’s follow up ‘Chopper City In The Ghetto’).

Overall Rating: 4/5

When I heard Kanye West had another album coming like the rest of the world I was expecting high pitch sped-up samples with clever chops with the usual list of appearances. However, kanye has come back with a totally different sound for his newest offering. Sampling and chopping is still present but since his albums have progressed so has his creativeness.

From the first single you could tell that Kanye was taking to a new approach when he begins the song with a daft punk sample. “Stronger” samples ‘Harder, Better, Faster, Stronger’ in the background, while being covered and lead by thick and rich synth. It is then topped by strong drums and Kanye’s usual brag raps. For fans of Kanye’s old stuff it will take a little bit to embrace it though will soon see it’s a strong song and just shows his diversity. The second song to be heard before the release “Can’t Tell Me Nothing” also is a new attempt by Mr. West. With trademark dirty south drums and light synth, you see Kanye appealing to down south fans while keeping his intact with what sounds to be sampling though really vocals from Connie Mitchell. The up and coming single “Good Life” which features the surprising appearance from T-Pain again is balance between new and old. Sampling “P.Y.T. (Pretty Young Thing)”by Michael Jackson is a sample not new for West as he used it before for a Memphis Bleek song; Kanye uses new pieces while adding heavy synthesis over them. The song again sounds more down south sound while adding a different style to it.

The mixture kanye has bought is more hit then miss in my opinion. Songs such as “I Wonder” works, where it combines both samples of vocals and piano with synthesis and drums which sound very played with. It also works with“Flashing Lights” where strings and synths are used together and is finished off with Dwele’s smooth vocals.“Champion” samples Steeley Dan where he pays tribute to a few people with hits of synths here and there. “Drunk and Hot girls” however does really work and you are reaching for the skip button. It’s a shame as it was the only real promising appearance with the almighty Mos Def.

Apart from T-pain, Dwele and Mos Def there are some more guests however none the listener would expect. For“Barry Bonds” the man of the moment Lil’ Wayne joins Kanye over an animated sounding beat to brag. Chris Martin of Coldplay sings the hook to the “Homecoming” where he metaphors Chicago as a women which has reminisces of Common’s I Used To Love You especially as the first line is borrowed from his song. The beat is nicely created with piano and hard drums.

Kanye has also teamed up with Premo to create “Everything I Am” where vocals, scratching and sharp sampled piano hits makes this deep song. This is what the fans expected more of Kanye. “The Glory” which samples Laura Nyro and has strikes of strings layered on top of it is also what I feel is more expected from Mr. West.

The album hasn’t really got many topics as his previous albums though “Big Brother” finishes of the album well. Over a guitar, bass, drums and synths Kanye West pays tribute to the living legend “Jay-z” thinking of him as a big brother.

In all this album gets a 4 out of 5 from me. Even thought there is only one real bad track the album is far from perfect. Kanye has brought a different style to his last ones and progressed and tried a lot more risky things. Lyricism is still at an alright standard though doesn’t really amaze.

Recommendation:

This album isn’t for everyone though is worth a try.

In this industry everyone loves to claim that their debut album was a classic. But what truly makes a classic album? Let’s run down the list of prerequisites that are needed for an album to have the right to be called a classic. First and foremost it would need to have numerous chart topping smash hits. It would need to have a couple cult underground hits. Legendary tales surrounding its production is definitely a must. Then there’s the most important aspect – impact and influence for years to come. It has to revolutionize whatever genre it represents. All of said traits can be found in Snoop Doggy Dogg’s impressive 1993 debut album, Doggystyle. This 13 track masterpiece (18 on the original print since skits were on separate tracks) certified two things in its wake. One, Dr. Dre’s The Chronic would not be a one hit wonder for Death Row Records, and two, Snoop had established himself as a full blown superstar. With that in mind, feel free to dipp with us as we take a trip down memory lane.

1. Bathtub

The initial album intro takes us into the pimp’d out lifestyle of Snoop Doggy Dogg. While getting bathed by a sultry sounding woman, the doorbell rings. In true pimp fashion Snoop sends his girl to ‘handle that’. As she opens it, bursting through the door are legions of plastic well wishers all trying to get a word with the big dogg. After a brief conversation with Warren G, who puts Snoop’s new baller status life into perspective, the show begins!

2. G Funk Intro

True to its name, the G Funk Intro ushers in the overture to Doggystyle in perfect G-Funk fashion. However, the first voice to be heard rapping on the album is not Snoop. The lyrical gangbanger herself, The Lady of Rage, tears up the intro with an aggressive and on point set. Following Rage’s impressive drop Snoop hits us with a small Two-bar taste of things to come. The beat to the intro takes cue from Dr. Dre’s fascination with the Parliament Funkadelic era of funk music as a definite homage’s to “(Not Just) Knee Deep” can be heard.

3 Gin And Juice

Perhaps one of the most recognizable tracks in Snoop Dogg’s career, Gin and Juice could possibly be credited to Snoop’s ascension from popular newcomer to music superstar icon. The Grammy nominated second single off the album became an overnight radio/club/party smash hit and was released itself as a single, earning a gold certification. The lyrics to the song come out strong and catchy. More specifically the hook to the song has been so influential in Hip-Hop culture that it has been the subject of re-use by such artists as 2Pac, Jay-Z, and 50 Cent. The beat itself contains heavy samples of George McRae’s “I Get Lifted” which compliments Dr. Dre’s energetically potent production. Gin and Juice is the quintessential early 90’s club banger.

4. Tha Shiznit

This is one of the best seemingly freestyled tracks on the whole album. Dr. Dre’s fast paced, yet oh so rhythmic beat is perfect behind Snoop’s ridiculously smooth flow centering on the flyest subject Snoop can speak on – himself. The bass guitar licks have an almost calming effect, while the funky jazz flute part of the melody leaves a lasting impression on the audience. Definitely not to be skipped over.

5. Lodi Dodi

This eerily slow and catchy homage to the 1985 Slick Rick and Doug E. Fresh classic “La Di Da Di” is the first underground hit of the album. Snoop recites almost word-for-word the original song in this G-Funk’d remake, which ironically to this day is ritualistically recited word-for-word by true Hip-Hop heads. Dr. Dre, true to his style at the time, provides a chilling and unnerving beat.

6. Murder Was The Case [DeathAfterVisualizingEternity]

The original version to the more popular hit remix is Snoop’s first attempt (and success) at a bonified concept song. Murder Was The Case could just as well be the narration to a masterfully executed horror novel or film, but is ironically a concept theme to an 18 minute short film of the same name directed by Dr. Dre and starring Snoop. The song starts out with Snoop dying in an emergency room after being shot repeatedly, when at the last minute he makes a deal with the devil. The scene then switches to Snoop surviving and living a baller lifestyle just as Satan promised him. Snoop gets more and more greedy, yet never is able to satisfy his growing appetites. At this point his greed becomes too great and his caught up in a prison sentence complete with all the horrors and realities of time to be served. Although the remix has a more cinematic style beat, the original does not fail to have conveyed an aura of tragic dread and dark spiritualism.

7. Serial Killa

It’s time for the Death Row camp to shine all around, as Snoop is joined by then fellow inmates Tha Dogg Pound, RBX and a post car-accident D.O.C. Tha Dogg Pound’s Dat Nigga Daz provides an uncredited co-production on this cold and remorseless hit of murda. Kurupt starts out the track with his trademark savage verbal hits that we have not heard since his impressive debut on Dr. Dre’s The Chronic. Daz then takes the mic dropping his O.G. style verse that then smoothes over to Snoop who lays down a clear warning as to what it is to ***** with the Dogg Pound crew. RBX finishes out the track which also serves as the last time we are to hear him on a new Death Row project.

8. Who Am I (What’s My Name)?

This song served as the first single to Doggystyle. The significance of the song is that like so many other artists who have achieved classic album status Snoop uses his own name as a song premise. Also to be noted is that Snoop Doggy Dogg was one of the first in Hip-Hop to set this trend, which would be followed in later years by such artists as The Notorious B.I.G., Jay-Z, and DMX. Lyrically this was the archetypical hit song of the 90’s with Snoop dropping some of the most memorable, catchiest, and cool lyrics of the time. He even pays homage to his own classic catch phrases from The Chronic’s “Rat-Tat-Tat-Tat” (“Because I never hesitate to put a nigga on his back”) and “Deep Cover (187)” (“Cuz it’s 187 on a motha*****in cop”). Dre pays homage’s of his own to Parliament Funkadelic with samples from “Atomic Dog”, “(Not Just) Knee Deep”, and “Give Up the Funk”. The song was released as a single in late 1993 and eventually earned a gold plaque.

9. For All My Niggaz & My *****es

Definitely the “Coming soon from Death Row Records” advertisement song as Tha Dogg Pound and The Lady Of Rage were given the opportunity to show the world what they could do. Most importantly they would do it without the help of the big boss dogg. Kurupt starts off the track with a lethally potent slow verse which lays the tempo for next couple of verses. What’s to note here more then anything else is the first signs of obvious chemistry between Kurupt and Daz. The two smoothly play off each other, giving us a taste of things to come; which would come out in the smash hit “What Would U Do?” and the entire Dogg Food album two years later. Rage closes out the song with short yet strong verse. Co-production props should go to Daz, who was uncredited for his work on the song.

10. Ain’t No Fun (If The Homies Can’t Have None)

Guess whose back in the motha*****in house! Snoop and his Dogg Pound homies serve up yet another classic joint centering on bustin hoes and passing to the homies. The song that gave Nate Dogg his pre-Regulate popularity is probably one of the most fun tracks off the LP. Nate starts off the track with a short tale about a flip that is so catchy you can’t help but sing along. Kurupt and Snoop both drop entertaining verses, closing out with Warren G dropping his verse and the most hilarious line of the whole album – “So back up ***** because I’m struggling. Just get on your knees and then start jugglin”. The violin and bass heavy instrumental, which contains a sample of Lyn Collins “Think (about it)”, rounds out the song.

11. Doggy Dogg World

Snoop is once again joined by Tha Dogg Pound, but more unexpectedly by 70’s Soul group The Dramatics. The beat is one of the most crispy-clean sounds of the time, let alone the album, taking direct inspiration from Richard Fields’ “If It Ain’t One Thing, It’s Another”. Snoop starts Doggystyle’s third single by addressing the cheap Snoop Dogg imitators that were floating around at the time. Kurupt however steals the show with an impressive display of lyrical talent that would only be rivaled by his own verse on “Stranded On Death Row”, released only a year earlier. Although Daz does not have the lyrical stamina of Snoop or Kurupt, he more then makes up for it with his performing presence and slick rhyming savvy. Doggy Dogg World is uncharacteristically smoother then any of other tracks on the album but definitely ensures its niche.

12. Gz And Hustlaz

This track is without a doubt the single greatest freestyled track in Death Row Records history. Snoop’s unscripted endurance trial flows bar for bar in an almost flawless fashion, and does not skimp on the albums trend of smoothly executed, catchy, and memorable phrases such as “If you want some, get some, bad enough, take some”. The beat itself was taken entirely from Bernard Wright’s “Haboglabotribin”, with some slight modifications, and reworked with Snoop taking advantage in every way possible concerning the beat. It is as if Snoop’s unique and smooth flow was made to be performed over this type of instrumental. Although not a hit, Gz And Hustlaz is quality material.

13. Pump Pump

Doggystyle comes to a close with the albums most hardcore and intense song. The beat itself is the high point of the song. Its sound would be at home in the goriest scene of the sickest slasher film. This would definitely be Dre’s cherry on the top to a dramatically intense themed album, which could be considered the epitome of a hardcore rap album. Snoop drops his first two cold and remorseless verses right before introducing the final guest to the album – a very young Hershey Loc who too spits with a cold and vicious demeanor. All in all the song serves as a climatic end to an epic album.

The final score? A well deserved 5 out of 5 classic. If The Chronic changed the sound of Hip-Hop, Doggystyle cemented the sound and ensured its reign for the next decade. Everything about this time in Snoop’s life took its toll on the album and is the reason why it is the best known and most classically treasured projects of Snoop Doggy Dogg’s career. In a few years he would be known as: one of Amerikaz most wanted alongside his lable-mate Tupac, The Doggfather, and eventually the Big Boss Dogg, but the majority of his fans will always remember Snoop as the young pimp who was doin up the game Doggystyle.

Yet another 2Pac release. In all honesty, I think even the most hardcore of ‘Pac fans are losing track of albums circulating from the deceased rapper. This album is the official followup to 2003’s “Nu Mixx Classics”, and features more new production and features from (surprisingly) ‘Pac’s homeboys. The majority of this collection consists (much like “Nu Mixx Classics”) of ‘Pac’s Deathrow material.

1.) Picture Me Rollin feat. Kurupt, Butch Cassidy

If anyone is familiar with the original (and as a ‘Pac fan, how could you not be?), they will notice right off the bat that this is very similar to it’s original version. Danny Boy is replaced with Butch Cassidy, who does a very comendable job on the hook, giving new life to the track. Kurupt also doesn’t dissapoint, providing classic Westcoast flavor and a classic verse. I’m going to go out on a limb, and say this is better then the original. Haters feel free to hate on.

2.) Keep Goin feat. Hussein Fatal

This track features the self proclaimed Outlaw Don – Hussein Fatal, who doesn’t dissapoint in the least. While also providing hook duties, 2Pac provides a classic (although short) verse dissing the Bad Boy camp (whose reference is unfortunatley edited out), taking you back to a time when the beef was hot. Hussein clearly steals the show, however, and proves furthermore why he deserves more credit. Great song.

3.) What’z Ya Phone # feat. Candy Hill

I’ll be the first to admit, I was never the biggest fan of this track. While the original features Johnny J’s signature sound, this is more of a solumn track, with an overdone hook. Candy Hill’s verse is also not on par with ‘Pac’s. And although this track doesn’t really do anything for me, 2Pac’s verses are placed perfectly with the instrumental, giving it a new twist. Decent at best.

4.) Staring Through My Rear View feat. Dwele

Phil Collins classic sample is still provided, in this slightly modified version of the original. Maybe that’s for the better, as this song was/is an undeniable classic. One of the only differences is Dwele provides the hook (and does a good job at that), but this track is slightly in need of the Outlawz. Thankfully, 2Pac’s pristine outro is still in tact, making for another good track.

5.) Hail Mary [Rock Mix] feat. Outlawz

I understand what the producers were trying to do with this song, but it fails in every aspect. ‘Pac’s now famous intro to this song sounds terribly layered, and the beat is just too out there for any fan to appreciate. The Outlawz verse remains the same, but the beat is just too much, making for the first wack remix on the album.

6.) Got My Mind Made Up feat. Outlawz, Kurupt

Much like the original classic that appeared on “All Eyez On Me”, production, for the most part, stays the same. 2Pac sets the track off, and is followed by Hussein Fatal, and Young Noble. Kurupt (who drops arguably the best verse on the entire song) is up next, and doesn’t dissapoint in the least. Good track.

7.) Pain feat. Styles P, Butch Cassidy

The original “Pain” featuring the late Stretch is regarded as one of ‘Pac’s best songs. So topping it, or even making a remix on par with the original, proved to be tough. This song isn’t bad (Butch Cassidy actually does another excellent job on the hook), but in comparison to the original is lackluster. Styles P drops a good verse, but production isn’t exactly great. Average at best.

8.) Lost Souls feat. Outlawz

This is very similar to the original “Lost Souls”, which appeared on the ‘Gang Related Soundtrack’ back in 1997. The only difference is a slight change in the beat, and a new verses courtesy of the Outlawz. If you liked the original chances are you will like this one.

9.) Wanted Dead Or Alive (Gangsta Party) feat. Snoop Dogg

Much like “Hail Mary (Rock Mix)” this track started off with a heavy guitar influence. At first listen it’s wack, but as soon as Snoop’s verse drops, the beat switches tempo. Pac’s hook (“2 of the livest, wanted dead or alive”) sounds good, and makes for another decent remix. However, after a couple listens, it sounds pieced together.

10.) Initiated feat. Boot Camp Clik

2Pac’s “One Nation” comrades show up for the remix of Daz’s original “Initiated.” Production is very east coast flavored, and while Boot Camp drops above average verses, the tempo of Pac’s verse sounds terribly out of place, when compared to the original, which really ends up dragging this track down.

11.) How Do U Want It

When remaking a classic, be sure to do it justice. “How Do U Want It” easily fits the aforementioned category, and while I had doubts about this song, it turned out to be very good. A completely different vibe is used, with the beat being aimed toward the club scene. The only drawback is the hook (not nessescary at all), but other then that, Pac’s verses remain timeless even 11 years after his death.

12.) Picture Me Rollin feat. Outlawz

This, unlike the first track to open up the album, contains Danny Boy’s vocals, and a guest appearence from the Outlawz. Hussein Fatal, once again, drops the best verse on the track. But, with the exception of his verse, the Outlawz lack, failing to really make this a great remix. I expected more out of the end of the album.

In conclusion, this was a very worthy sequel to “Nu Mixx Classics.” While not tampering with Pac’s formula too much, and keeping guest appearences mainly people he actually worked with (what a concept) made this album work in a good way. Album highlights include “Picture Me Rollin”, “Keep Goin”, and “Starin Thru My Rearview.” The only complaint I have with this release is while most remixes are on point, there are a few terrible tracks (“Hail Mary” being one of them), and they are clearly milking Pac’s legacy for every penny it’s worth.

Overall Rating: 3/5

1. Class Of 3000 Theme Song (Sunny Bridges, Philly Phil, Kim, Kam, Madison, Li’l D, Eddie and Tamika)

This is really different, as there’s really no rapping, and it’s mostly just a short introduction to the show. I like it, and Andre 3000 produces a really nice, jazz-heavy beat. This whole album is about Andre’s production and the originality of the characters. I dug this, actually, and you have to listen to it in a different context, since this isn’t geared for the gangsta rap lovin’, mixtape listening fans. Good.

2. Life Without Music (Sunny Bridges, Philly Phil Kim, Kam, Madison, Li’l D, Eddie and Tamika)

Andre 3000 produces a very nice, piano beat. This is pretty much the characters talking about how shallow life would be without music. Andre does some singing, and the choir kicks in. Well, this was different, and I actually liked it, oddly enough. Nice humor. Good.

3. Throwdown (Sunny Bridges, Philly Phil, Kim, Kam, Madison, Li’l D, Eddie and Tamika)

Andre’s production is all over the place here, and it just doesn’t sound good, at all. Andre does some singing here, and it just can’t save this really sloppy beat. Yeah, this wasn’t very good, and it’s a shame, since there was some nice effort put into the singing. Wack.

4. Oh Peanut (Sunny Bridges, Eddie, Li’l D, and Madison)

Nice bouncy beat, very clap-happy and it transitions into a really nice jazz-heavy tone. Yeah, this sounds pretty good, with the horns. The singing is pretty simple, and it’s mostly “Oh, Peanut, we love you, baby!” Some of the characters rap about how useful the peanut is, and I like the originality of it all. This is definitely different, and it works. It’s not just different for the sake of being different; it actually has a message, and as simple as it is, it works. Good.

5. We Want Your Soul (Li’l D)

Dark beat, very organ heavy. Andre raps about how people would do whatever to get famous, even if it means selling your soul. The piano kicks in, and it makes the track sound really good. I liked this. Good.

6. Banana Zoo (Sunny Bridges, Philly Phil, Kim, Kam, Madison, Li’l D, Eddie and Tamika)

Bouncy piano beat, and it sounds really good. A nice, party-type track with nice singing, and the characters talking about a funky gorilla. No, I’m not making this up, and it’s actually good because it’s so original. Good stuff. Good.

7. A Richer Shade Of Blue (Sunny Bridges, Li’l D, and Eddie)

Jazz-heavy type track, with a message about how even rich people can have the blues. Definitely something different, with the characters talking about their cultures. Andre was trying for something original, and he definitely scored it here. Good.

8. Fight The Blob (Sunny Bridges)

Very horn-heavy type track, and the message is about fighting a blob with music. Andre does a shot, simple-style rap, and it works. Good track, actually. Good.

9. UFO Ninja (Sunny Bridges and Li’l D)

I’m convinced that Andre is a huge Digital Underground fan, because this sounds like something they’d make, and that’s definitely not a bad thing. This beat is definitely odd, and I can’t really describe it, maybe a drum-heavy Asian-style beat. There’s some odd singing, and that’s about it. I liked this. Good.

10. Kim Kam Jam (Kim and Kam)

Pretty nice, bouncy piano beat. That’s pretty much the whole song, with the characters talking. This worked, and listening to a good-sounding piano jam is always fun. Good.

11. Luna Love (Professor Luna, Sunny Bridges and Madison)

Latin-style beat, with some comedy mixed in. Nice, catchy singing, and with Andre, you can always count on that. This was catchy. Good.

12. The Crayon Song (Sunny Bridges)

Disco-style beat, and it’s really fun sounding. Andre does a really good job singing and making this track nothing but fun. Rap fans can be stuck up, and that’s a shame, since this whole album is about having fun, especially this track. Really nice stuff from Andre, and probably the best track on the album. Good.

13. My Mentor

Nice jazz track. Nothing but nice sounding horns, and a nice sounding piano. The whole track consists of this, and that, of course, is great. No lyrics, just great music. Good.

14. Cool Kitty (Sunny Bridges, Tamika, Mackenzie and Kaylie)

Nice, 50’s-style, beach beat. The characters talk about being cool, and this is something different, and while I’m not really into it, I think others would dig it. To me, this is a nice beat, mixed in with semi-annoying characters. Average.

All in all, I’m going to give this a “Good” rating. Andre 3000 definitely tried to do something different, and it worked. This is pretty much a kid’s album, but adults would dig it, too. It’s pretty much a jazz track, mixed in with some fun characters from the show “Class Of 3000.” I’d give it a listen if I were you, because there are some really nice tracks.

Hailing from Ft. Myers, Florida, Slip-N-Slide rookie – Plies, has been building a buzz over the past year. After the success of his street single “Chopper Zone”, and the release of his own mixtape “Da Real Nigga Bible”, Plies offers up his debut “The Real Testament”.

This album, although anticipated by a lot of southern heads, is unfortunatley nothing special. Plies flow stays the exact same throughout the whole album, and his lyrics need a drastic improvement. However, on the flip side, this album is built for car systems, song for song. Hopefully Plies will follow up his debut with a better choice of beats, and a little diversity, when it comes to subject matter.

Overall Rating: 2.5/5

Disc 1

1. Swisha And Dosha

Nice, electric guitar type beat. It doesn’t get annoying, and still maintains a solid base for both Pimp C & Bun B. Pimp C starts it off with a pretty good verse, I mean, he definitely showed some nice emotion, and with Pimp, you’re usually going to get some nice emotion. Bun B carries to meat of the rapping with a very nice verse, completely cementing himself as the lyricist of the group. The chorus is pretty good, as the actual singing isn’t good, but it fits the track so well, that it sounds good. Pimp C lets his crudeness shines, and that’s the Pimp C I know and love. Good.

2. Int’l Players Anthem (I Choose You) (Feat Outkast)

Andre starts off with a pretty nice verse, and the ton of the album fits the mood. Juicy J & DJ Paul produce a relaxing, soulful beat, sampling “I Choose You” by Willie Hutch. Pimp C does his usual, fun verse. Bun B pretty much outshines both men, and flows the best over this beat. I sort of didn’t like Big Boi’s verse, to be honest. It seemed like he didn’t really care, and it really ruined the whole tone of thos track. Oh well, it was a good enough track. Good.

3. Chrome Plated Woman

Nice player-type beat, produced by Pimp C. Pimp, having produced this track, knows exactly how to flow over this, and does a great job. Bun’s verse is, of course, really good, but it’s Bun B, and consistency has always been his strong point. Nice chorus, with some organs playing in the background, on top of the beat. Nice stuff. Good.

4. Life Is 2009 (Feat Too Short)

Nice old school beat by Scarface. Pretty much a “Life Is…” remake, and that’s definitely not a bad thing. Pimp C is the one who truly makes the most out of this beat. His voice is perfect for these type of tracks. Too Short sounds like it’s a chore to rap, and that’s pretty much a given for current Too Short. Good track. Good.

5. The Game Belongs To Me

This track really didn’t do much for me. I mean, saying “Bobby by the pound and Whitney by the key” is funny, but the beat is standard stuff, and UGK sound bored. Average stuff. Average.

6. Like That (Remix)

I like the beat here. It’s pretty much a party beat mixed with some rapid flavor, but it works. Pimp C tries his hand at some rapid flow, and does a pretty good job here. The chorus is pretty standard, but I dig it, a lot, because it’s just that: simple. They’re not trying to be complicated here, and that’s great, because rap music doesn’t have to be complicated. Bun does a good job, of course, but that’s already known. Good.

7. Gravy-Slower

type beat, and I don’t exactly care for it. These type of tracks sort of bore me, and this is no exception. While UGK try, this whole tone is just unbearably boring. I mean, it’s not horrible, but it’s incredibly unremarkable. Average.

8. Underground Kingz

Nice starting with the piano, then right into the funk-type beat, with horns splashed throughout. They both do a good job, but man, the chorus is just a little too unimaginative. Still, the track is pretty good. Good.

9. Grind Hard (Feat Young T.O.E. & DJ B-Do)

Nice, heavy-style, southern crunk beat. T.O.E. is pretty horrible, actually, and almost manages to ruin the whole track for me. I mean, the name “Young T.O.E.” is bad enough, but he makes things worse with his awful rapping. Pimp C does the best job on this track because his voice suits this perfectly. B-Do is standard stuff. This was two features trying to ruin a decent track, and it almost does that. Average.

10. Take Tha Hood Back (Feat Slim Thug and Middle Fingaz)

Nice, crunk style beat, very hard hitting. I’m just glad the features don’t actually suck, so I don’t have to worry about them ruining the track. Everyone does a really good job, and this, while unlike UGK, is pretty good. I appreciate UGK for doing something different. Good.

11. Quit Hatin’ The South (Feat Charlie Wilson & Willie D)

Oh yeah, Willie D is pretty great and Wilson can sing, so this will be good. Pimp C produces a pretty good, laid back beat, with funk styles and organs. A long singing section, but I dug it. Willie D is pretty much the best thing on this track. I mean, Willie’s always been the most underrated rapper alive, so it’s nice he has a feature on this album. Good track. Good.

12. Heaven

I liked this, and it’s a nice slice of different compared to the other tracks. Pimp C produces a nice slow-paced, funky track. Pimp C, of course, raps perfectly over this type of track. Bun B does a pretty great job, too. Good track. Good.

13. Trill Niggas Don’t Die (Feat Z-Ro)

Good, funky type track, mixed with some horns and a nice bassline. Pimp C does a great job, Z-Ro does a good job, even though he trips over his words a few times. Bun B does pretty good job, of course. Good track, and a nice way to end disc 1. Good.

Disc 2.

1. How Long Can It Last (Feat Charlie Wilson)

Very nice funky-type track, mixed with some soul samples. Whoa, Pimp C is trying his hand at a different production style, and I dig it. Pimp C does a good job flowing. Wilson has always been a good hook guy, so he delivers the goods in that department. Bun B is pretty great here, but when is he ever NOT great? Good.

2. Still Ridin’ Dirty (Feat Scarface)

Scarface produces a nice beat, sort of bouncy but mixed with some funk and a nice dark piano. Everyone does a good job, and I’m really digging the variety displayed on this album. UGK isn’t afraid to try different styles, and it works.

3. Stop-N-Go (Feat Jazze Pha)

Stop-N-Go? Isn’t that a gas station? Jazze Pha produces a beat that doesn’t sound like what he’s used to producing. Whoa, I’m shocked, SHOCKED I tell you! This is like a bad Scott Storch track, though, and it makes the track an annoying batch of noise. Bad track, just bad. Wack.

4. Cocaine (Feat Rick Ross)

Really slow-type track, and it’s pretty smooth sounding. I mean, you have to be in a certain mood to listen to this, but it’s still good. The chorus is simple, but I like the singing. Good rapping, too. Good.

5. Two Type Of *****es (Dizzee Rascal & Pimpin’ Ken)

Whoa, Dizzee Rascal? I mean, I’m not a Rascal fan, but this is quite the random guest. Funky type track, and it’s pretty much standard UGK machismo. Dizzee really tries to not sound like the odd man out, and he does a pretty good job of doing that. What’s next, a guest appearance from El-P?

6. Real Women (Feat Talib Kweli & Raheem DeVaughn)

The randomness continues, as Kweli guest stars on this track. The beat is pretty funky, sampling “You Can’t Hide Love” by Skip Scarborough. Kweli is so out-of-place here, but he actually does a good job, and doesn’t sound uninspired like his usual guest appearances. Good track. Good.

7. Candy

Pretty good beat by Scarface. I can’t really describe it, it sort of has an Eastcoast, reflective feel to it, sampling “Bridge Thru Time” by Lonnie Liston Smith. Bun does a great job here, as these type of beats were made for him. Good stuff. Good.

8. Tell Me How Ya Feel

Jazze Pha tries to mix his style, LiL Jon’s style, and Scott Storch’s style, which is odd, because Storch produces like a low-rent LiL Jon nowadays. Pretty much a standard, UGK track. Well, standard for this album, which isn’t a bad thing. Good.

9. Shattered Dreams

Funky type track by Pimp C, and I dig it. I mean, there’s really nothing that distinguishes it from other funky type tracks on this album, but it’s still good. Good.

10. Like That

Oh man, LiL Jon produces a really bad track. Like, really, really bad; it’s very sloppy, and in turn, makes UGK rap horribly. I’ve never been annoyed by Pimp C, and I was annoyed. This was horrible. Train Wreck.

11. Next Up (Feat Big Daddy Kane & Kool G Rap)

What odd guest appearances, but I’m definitely not arguing. Hey, even Marley Marl produces the beat, and it’s piano heavy and pretty decent. I mean, I was expecting more, but this track isn’t bad. Big Daddy Kane definitely knows how to vibe with UGK. Kool G Rap sounds out of place, but he does a good job. Good, albeit disappointing track. Good.

12. Living This Life

Nice, slow-paced, organ beat, mixed with some nice bass. Good reflective type track. Good.

13. Outro

Outro.

14. Bonus Track: Int’l Players Anthem (I Choose You) (Feat Three Six Mafia) (Chopped & Screwed)

I can’t stand chopped & screwed, so of course, I couldn’t stand this. I just don’t get the appeal of this mess, because it sounds freakin’ horrendous. Wack.

15. Bonus Track: Int’l Players Anthem (I Choose You) (Feat Three Six Mafia)

Same beat as before, but mixed with Three 6 Mafia. I actually liked this one better than the Outkast version. Good.

16. Bonus Track: Hit The Block (Feat T.I.)

Swizz Beats is a pretty horrible producer nowadays. I mean, if there’s one producer who’s inconsistent, it’s Swizz Beats. This beat is horrible sloppy, and makes everyone sound horrible. It sucks that this album had to end on this note. Train Wreck.

All in all, I’m going to give this a “Good” rating. I liked this, and I appreciate UGK for trying some new stuff. My one gripe, was that this album was insanely long, and could’ve been shortened up a little bit. Still, this is recommended.

Hate him or love him, Ja Rule’s contributions to the hip-pop game are undeniable. From 1999 to 2003, Ja Rule literally went from a “DMX knockoff” to the king of R&B collaborations. His track record speaks for itself; and up until the overwhelming media backlash in 2003, Rule topped the charts. While his first offering ‘Venni Vetti Vicci’ was aimed at the hardcore audience DMX so quickly took advantage of, Rule returned in 2000 with the more radio friendly “Rule 3:36”. “Pain Is Love” is his third album, and was released in late 2001.

1.) Pain Is Love (Skit)

Ja Rule sets off his third offering talking over a menacing instrumental while police sirens can be heard in the background, but can later be heard singing in the background. Not the best way to open up the album.

2.) Dial M For Murder

Over slow and thuggish production, Ja spits what one would call his life story. While the lyrics are subpar and the hook features more whining from Rule, Ja’s delivery and the production make for a listenable track.

3.) Livin It Up feat. Case

Chances are if you were a hip hop fan in 2001; you’ve probably heard this song at least 50 times. This pop fueled collaboration with Case features a classic Stevie Wonder rendition. Rule croons the hook (with the now-too-typical tale of sex, drugs, and rock n roll), and offers a suprisingly good single that had everyone vibing. Good song.

4.) The Inc. feat. Cadillac Tah, Black Child, Ashanti

Over another pounding instrumental, Ja and the Murderers (Black Child, Cadillac Tah) show a glimpse of Rule’s street side. Great, great beat; and even Ashanti finds her way on to the end of the song, giving it some extra flavor. Great song.

5.) Always On Time feat. Ashanti

This song is the perfect example of the gift (and curse) that Ja had; and that’s making sing song collabo’s for the radio. While it got him to the top; this song is nothing more then a “I love my lady” type of songs. Decent song at best; but definatley not a banger.

6.) Down Ass ***** feat. Charli Baltimore

“Every thug needs a ladyyyyy!!” just about sums this track up. After the mediocre performance Rule served up with “Always On Time”, Ja returns with this God awful mess of a song. Featuring Charli Baltimore, this features Rule singing to his women, once again. Although heralded as his calling card, he’s clearly capable of much more. Skip it.

7.) Never Again

Just when a listener of this album thought it couldn’t get any worse, it does just that. This is yet another song with Rule performing/whining the hook with an off key pitch. Rule’s apologized to enough women, and simply didn’t need to do it again on this track. Skip it.

8.) Worldwide Gangstas feat. The Murderers

This should be more of what’s expected from a good Ja Rule album. Over thorough New York production, the entire Murder Inc. roster spits flames over this street banger; with Ja rapping the final (and best verse) on the song. Great track.

9.) Leo (Skit)

After the last song, I think it’s safe to say everyone expected more. Now, while most skits are overlooked on albums, there are a few that actually contribute to the album. This is definatley not one of them. Rule’s “Miss Cleo” imitation is neither necessary, nor funny. Skip it.

10.) I’m Real (Murda Mix) feat. Jennifer Lopez

Quite possibly Rule’s biggest hit to date, this track (featuring Jennifer Lopez) samples Rick James’ classic “Mary Jane”, and actually very cleverly makes for a great hip-pop track. If you can get passed the fact that Ja’s main priority is clearly geared towards a female teenage audience, this song might actually work for you. Decent song for what it is; and that’s a sing-a-long for little girls everywhere.

11.) Smokin & Ridin feat. 0-1, Jodie Mack

Over very soothing West Coast production, Rule gives his listeners quite possibly the best track on the album. This song, while simple, works perfectly; and is clearly the way Rule should perform his hooks. Great track in every aspect, with Jodie and 0-1 playing a great supporting act.

12.) X feat. Missy Elliot, Tweet

Ja Rule loves extacy. If you’re not familiar with this accusation, just listen to any song that he has ever had on the radio, and you’ll see what I mean. While his last dedication to E (“Extacy” from “Rule 3:36”) featured great production featuring Jayo Felony, this followup is a major letdown. It’s almost like Ja doesn’t know how to properly work this slowed down instrumental. Tweet is the only upside to this track, and that’s definatley not saying much.

13.) Big Remo (Skit)

Bernie Mac shows up to talk for half a minute. Not worth the extra song slot at all. Skip it.

14.) Lost Little Girl

Looking at the title, you’d expect a Tupac inspired track, in the veins of “Baby Don’t Cry” or “Brenda’s Got A Baby”. This song, however, features Rule’s failed attempt at singing another below average chorus over a club beat; making the subject matter almost forgettable. Terrible attempt at a song with substance. Skip it it all costs.

15.) So Much Pain feat. 2Pac

This track recieved a lot of criticism. While in recent years it’s obvious Ja Rule was heavily influenced by Tupac Shakur, this was his earliest attempt at a collaboration with the deceased hip hop legend. Featuring the same beat as the original “Pain”, Ja ‘pays tribute’ to ‘Pac by twisting his first verse and re-rapping it himself. However, the remastered beat, and the addition of 2Pac at the end of the track, make for a suprisingly good track that has easily stood the test of time.

16.) Pain Is Love

Looking at the lyrics on paper, this song seems to be a deep song that Ja has put together. But as Rule has proved throughout the CD, his ability to deliver these songs are almost laughable. Over another bubblegum production, Ja’s singing and constant whining make for an underachieving track. Bad way to close out the album.

Bottom line, this album is a roller coaster ride through and through. The balance of songs is almost non existant, with the majority of the tracks catering to a very different audience Rule gained with “Venni Vetti Vicci”. And while this album did manage to go triple platinum (thanks to the countless number of pop singles), perhaps it was oversaturation like this that led to the bashing of Rule by the media not even a year later.

Overall Rating: 2.5/5

After his breakthrough hit “Holla Holla” the previous year, Ja Rule returned the following year with his critically acclaimed sophomore effort “Rule 3:36.” Stepping out of DMX’s shadow, Ja set his own mark with a number of radio friendly hits, while still incorporating the gangsta image that made him famous in the first place.

1.) Intro

Nothing more then that – an intro. This features Ja singing about wanting to kill himself, to relieve his pain. Not believable in the least, considering he’s making millions of dollars.

2.) Watching Me

This is the proper way to start the album. Over a pounding guitar fueled instrumental, Ja’s aggressive lyrics and demeanor make for a good track. And although the hook is mediocre at best, Ja’s delivery saves this one. Good song.

3.) Between Me & You feat. Christina Milian

Featuring a then unknown Christina Milian, this is Ja’s first real attempt at catering to the ladies, on the album. The song managed to cross over, and help the album sell millions, but the song itself lacks. Milian’s simple and repetitive chorus, and Ja’s constant yelling make for a lackluster track.

4.) Put It On Me feat. Vita

This song (the 2nd hit from the album) was a much better choice for a single. Ja’s now famous “What would I be without you?!”, and harmonizing hook works perfectly, with Vita offering up a very worthy guest spot. This is a song for the ladies through and through, and nobody does it better then Ja.

5.) 6 Feet Underground

Clearly one of the best tracks on the album, Ja returns to the street, after the last two songs, over this pounding instrumental. Detailing how his enemies want to see him ‘6 feet underground’, this track features a clever sample, and a flawless hook. Great track in every aspect.

6.) Love Me, Hate Me

More of a mellow track, this features Ja performing his own chorus, with subject matter very similar to that of the late Tupac Shakur. Production is very simple and Ja’s lyrical skill suffers a bit here, but his hook writing ability shines once again making for a slightly above average track.

7.) Die feat. Tah Murdah, Black Child, Dave Bing

Murder Inc.’s lesser known member show up for this remake of last year’s underground hit – “It’s Murda.” While Tah and Black Child’s verses are nothing special, Ja’s hook (“Everybody gonna die, but nobody want dead…It’s your lifeeeee!!!!!”) and verse alone make for a worthy track. Great, great track in every aspect, with Ja standing out more and more as a solo artist.

8.) ***** You feat. 0-1, Vita

After the last track’s near perfection, this song is a complete dissapointment. Very bland perfection, and Ja’s unessescary singing, followed by Vita’s lackluster hook, make for an underachieving track. Skip it.

9.) I’ll ***** U Girl (Skit)

This “skit” features Bernie Mac, and Ja Rule singing over what sounds like one of Uncle Luke’s booty-and-bass beats. Complete waste of time. Skip it at all costs.

10.) Grey Box (Skit)

A skit followed by a skit. That’s a first. Skip once again.

11.) Extacy feat. Tah Murdah, Black Child, Jayo Felony

Ja’s first (of many) dedications to his favorite drug – E. West Coast artist Jayo Felony makes a surprising cameo, over this bouncing production. Ja’s hook is once again on point, getting the album back on track after the last few songs. ‘The Murderers’ are the only dissapointment, as they once again try to sound too hard over this instrumental. However, this one of the album’s better tracks.

12.) It’s Your Life feat. Shade Sheist

While this Carribean flavored production is on point, and Shade Sheist’s verse flows perfectly; Ja unfortunatley doesn’t come through the way he could have. The hook is just under Ja’s potential, making for an average track at best.

13.) I Cry feat. Lil Mo

Another one of the album’s singles aimed at the ladies, this features Lil Mo. And while most will hate extremely hard, I’m going to go out on a limb, and say this is one of the album’s best tracks. Production is on point, as Ja flows perfectly, while Lil Mo soothes the chorus. Great track, that has stood the test of time.

14.) One Of Us

Although the concept of this song is original, the constant “One of us” in the background becomes a little repetitive. Questioning if God we’re ‘one of us’, Ja flows over this pounding production, with precision. Good track, and will surprise most listeners, who haven’t previously heard this song.

15.) Chris Black (Skit)

Another skit (this time clocking in at an unbelievable 3 minutes) features an incarcerated homie freestyling from the pen. Skip it.

16.) The Rule Won’t Die

At just over 2 minutes (shorter then the skit that preceded it), Ja explains why ‘the rule won’t die’. Production is on point, but Ja takes too long to start the track off, and therefore doesn’t have enough time to properly finish it. A somewhat dissapointing way to the end the album.

In conclusion, Ja’s sophomore album succeeds where his first one didn’t, in the fact that it attained commercial success. However, unlike his “Venni Vetti Vicci”, Ja sheds the thug image most of the time to appeal to his female audience. While it worked on this album, his future albums (“Pain Is Love”, “Last Temptation”) proved it was just a little overdone. So take “Rule 3:36” for what it is, and that is an entertaining album with a few great songs.

Overall Rating: 3.5/5

Tha Realest has a very strong work ethic. Hundreds of songs exist from his Deathrow period, and he has since backed that claim up, releasing countless more songs throughout the last 4 years. So when it was announced he had agreed to due an entire collaboration with Mob Life Records new signee – 730, for free, many weren’t suprised. Although recorded in 2005, the lack of pre-orders haulted it’s release, leaving many fans anxious and frustrated. Tha Realest, fed up with the situation, decided to show the fans some love and release the album via his website, in July, 2007.

1.) Intro

This is a 20 second skit to start the album off. It features a plane flying across the US, signifying the ‘East 2 West’ collaboration.

2.) Me & 730

Perfect way to really get the album going. Over a very bouncing instrumental, Tha Realest and 730 show great chemistry, trading verses throughout the track. Although the hook is a little corny, the chemistry between the two artists make for a great opening track.

3.) Who *****in’ Wit Us feat. Solja Boy

This beat is hard to describe. A mix between techno, pop, and southern influence apparent. Solja Boy and 730 work the beat well, but Tha Realest’s delivery doesn’t give the beat it’s just due. Decent at best.

4.) My Life Ain’t Easy feat. New Child, Captain Hook

An 80’s synthesizer is used, making for a very mellow beat. All four artists do exceptionally well, while expressing the struggles of their everyday life, over great production.

5.) ***** You

This song was the first song presented to the public back in 2005, when the album was originally recorded. Clocking in at just over 2 minutes; the beat is mediocre, and neither artist spits anything special. Skip it.

6.) I’m A Mutha*****in’ Gangsta feat. Swoop G, G Money, Known

Great, great song from start to finish. Over a mellow West Coast instrumental, Tha Realest’s reunion with former Deathrow labelmate Swoop G is a memorable one. Both artists stand out, and deliver good verses. Definatley recommended.

7.) Party On The Mob feat. G Money, Lil Bo

This song is West Coast certified all the way through. Over what sounds like something Dre is capable of producing, 730, Tha Realest, G Money, and Lil Bo croon the beat perfectly. Very, very West Coast, and one of the best tracks on the album.

8.) Beautiful Day (730 Solo)

730 introduces his single “Beautiful Day”, which boasts a thought provoking piano loop, but fails to garner any real attention. The lyrics are something more aimed towards the club, which ends up dragging the song down.

9.) I Don’t Know

This song is a very conceptual song. Both Tha Realest and 730 work this solumn instrumental, with a clever bass guitar string in the background, perfectly. This is more of an album track, and proof 730 can hold his own.

10.) Me & My Mu*****a’z feat. G Twin

Also released back in 2005, this track features Tha Realest and G Twin trading verses over a beat with a soothing piano. Great track, and remains fresh even 2 years after it’s initial release.

11.) Show Me Luv

This track is very country; and unfortunatley not in a good way. 730 is from New Jersey and while Tha Realest is from Oakcliff, Texas, he sounds somewhat out of place over this beat. If you can get passed the fact the production is underachieving, the delivery from each artist is above average.

12.) Easy To Be A Soldier Pt. II feat. Swoop G

When making a sequal to a classic, make sure you go about it properly. It’s hit or miss (see Snoop Dogg and “Still A G Thang”). “Easy To Be A Soldier” was released back in 1999 and was a harsh diss track directed towards Snoop Dogg and No Limit. This version features the same beat, and is directed towards nobody in particular. Nothing worth attention, and not even Tha Realest can redeem this track. A dissapointment.

13.) U Represent, I Represent feat. Captain Hook 

A very different type of sound is used here, and works great. 730 hops on the track, and absolutely destroys it, and the hook is excellent. Tha Realest’s verse is also on point (although his outro is classic) making for another great track.

14.) This Is My Life feat. Nzingha Shakur

This is more out of what was expected with 730’s solo. This track, from beginning to end, is very, very good. Nzingha Shakur soothes the hook perfectly, and 730 shows emotion on this track well.

15.) I Luv Bein A Nigga (Tha Realest Solo)

On one of the only mellow tracks on the album, Tha Realest pays his homage to Tupac once again (“And all day homie, we love to bang ‘Pac, cause deep inside our hearts, homie, ‘Pac won’t stop”). Great track.

16.) From East 2 West

Over a simple, uptempo track, Tha Realest and 730 finally touch on the cross country collaboration they’ve put together. Both east and west coast love is being shown here, as Tha Realest and 730 trade verses on each side’s prominent features. Great way to end the album.

So, thanks to Tha Realest, this album finally managed to see the light of day, and doesn’t dissapoint. 730’s east coast grittiness blended well with Tha Realest’s southern (but west coast inspired) delivery. While some songs are obvious fillers, and studio scraps, there are some classics (“Party On The Mob”, “My Life Ain’t Easy”) and for free, who can really complain?

Overall Rating: 3.5/5