Chamillionaire – Mixtape Messiah 3

Posted on April 1, 2013 by WWC

In the wake of his sophomore album (“Ultimate Victory”), Chamillionaire has decided to release the third installment in his popular mixtape series for free.The mixtape boasts 22 tracks, featuring Chamillionaire rapping over a number of new instrumentals, while addressing haters and those doubting him.

1.) Get Ya Burners Out

This opening track is an undeniable banger in every aspect. Over a very dark instrumental, Chamillionaire croons the hook, and even has some choice words for 50 Cent (who has recently quoted in saying that Chamillionaire doesn’t sell records). Great track, featuring Cham aggressively rapping, while calmly performing the hook.

2.) Money Already Made

Speaking of 50 Cent, Chamillionaire cleverly takes his new single “I Get Money” and flips it to “Money Already Made”. While many rappers are finding themselves on remixes of this track (Cassidy, etc.), it’s clear that Chamillionaire pulls it off best. An impecable flow, complimented by Cham’s punchlines (“Earing as bright as the top of a yellow candle/Try to grab that, you get hit with the metal handle”). Great song.

3.) Get On My Level

Once again, Chamillionaire’s ability to take your favorite song, and make it that much better, is painfully obvious. Fabolous’s “Make Me Better” gets the treatment here, as Cham works the beat, telling haters to ‘get on his level.’ Slabs, candy paint, and money are the main theme here, making for another good track, with Cham showcasing his ability to shine.

4.) Living Good

A more uptempo track, Chamillionaire addresses the doubters with a series of punchlines (“Shouldn’t want to hate on me, you could trust you don’t want that/Cause I used to the punch clock, now I just punch cats”), making for another good track. Although the hook is simple, Cham’s delivery once again is as hard as ever.

5.) It’s Just Pain

After the previous track, Cham mellows out and reworks the “Renegade” beat, crafting a deep track; possibly fit for one of his albums. Although the track clocks in at just over two and a half minutes, Chamillionaire’s delivery is once again flawless, making for one of the album’s best songs.

6.) The Call

This “song” features Chamillionaire literally calling God, letting him know all the drama that comes with rap game. It ends with God hanging up on him, and Cham back on the grind.

7.) Nothin But Lies

Kanye West’s new single is the next instrumental to be destroyed by Chamillionaire. Punchlines and clever lines are once again present (“If I lost 10 million, I’d shrivel into a baller”), and the hook is once again written very well, with Cham remixing the song better than the original.

8.) Ima Playa Fasho

My personal favorite on the album (mixtape), this song features Chamillionaire spittin’ over UGK’s “International Players Anthem”. Cham starts off the track paying homage to Outkast’s ‘Southernplayalisticcadillacmuzik”, complete with a very strong hook. His hookwriting skills haven’t faultered at all, with this track being the prime example. Definatley a great track, and proves why Chamillionaire should be mentioned in top 5 in the game (currently).

9.) Roy Woods Jr. (Skit)

Pointless skit (mixape filler) clocking in at a staggering 2 minutes. Skip it.

10.) Failures Not An Option

T.I.’s “Big Shit Poppin” gets the work here, with Chamillionaire cleverly reworking the hook. His flow is once again on point, as he discusses the hustle that got him to the top in the first place. Although the song is fairly short, it is a mixtape track, and should be looked at as just that. Good song.

11.) Got A Lot Of Options

Next up is Trick Daddy’s “Tuck Ya Ice”, and Chamillionaire once again provides another great remake. This track features Cham briefly abandoning his aggressive flow, to croon the beat with his Houston swag. While not the most noticable track on the album, this is a cut above anything released this year. The hook is also performed exceptionally well here.

12.) See It In My Eyes

This track is Houston all the way through. Over sluggish, southern production, Chamillionaire’s punchlines are in top form (“I drop a mixtape and they party like it’s they b-day/They disc jockin, so Ima call ’em DJ’s”). Great track for the southern heads, featuring another great hook, and old school sample blended perfectly with the beat.

13.) Don’t Hurt Em Hammer

A multilayered chorus is provided, as Cham expresses his problems with the rap game. Over a bouncing instrumental, Cham creatively describes his love for hip hop, but how most are trying to exploit and make a quick buck off it. Hip hop in it’s purest form.

14.) Roy Woods Jr. (Skit)

Another skit revolving around this guy wanting his “Hammer’s Greatest Hits” CD. Skip it.

15.) It’s On

Chances are if you’re up to date with hip hop, you’ll recognize this beat. “Wipe Me Down” gets the Chamillionaire treatment (here remade as “It’s On”) and doesn’t dissapoint in the least. If you originally hated this track because of Lil Boosie, you’ll love it now. Chamillionaire’s flow is impecable, and his punchlines are on point. Not dissapointing in the least, with Chamillionaire continuing to prove why he deserves to be mentioned with the best.

16.) You A Dummy

To give Lil Wayne a run for his money is one thing; but outrapping him on his own beat is another. Chamillionaire does just that, and with ease. Detailing how he went from rags to riches, Cham uses this track to shout out everybody he’s cool with, and his sudden rise to the top. Yet another great song, with Chamillionaire’s hook writing skills shining again.

17.) Chamillionaire Speaks

Continuing from the last song, Chamillionaire takes the time to shoutout all the haters that doubted him in the past. Nothing but an interlude, although it’s entertaining.

18.) Mo Scrilla

Young Jeezy’s “Go Getta” is the instrumental provided, and while Cham shines throughout the song; it’s one song that doesn’t stand out. The hook is great, but Lil Wayne’s remake is clearly better. Only listen if you can’t get enough of Chamillionaire’s crooning.

19.) The Crowd Goes Wild

Great track from start to finish. Polishing up David Banner’s “9mm”, Cham cleverly flips the whole concept of the original, and dedicates this one to his recent success, and how everybody wants to or should want to, get a feature from the best rapper in the game – Chamillionaire.

20.) Makes Me Stronger

This instrumental is a tough one. Kanye West’s “Stronger” features an odd choice for a sample, but works it perfectly. Chamillionaire, fortunatley for his audience, does too (if not better). Showing that no one beat is too ‘out there’ for him to use, Cham keeps the hook simple, and gives his listeners something to think about (“If hip hop is dead, then I say…/That I escaped Deathrow like I’m Dre”). Great track, and will suprise most.

21.) Chamillionaire Speaks

Picking up from the last album, Chamillionaire drops some more knowledge, re-assuring critics that Houston’s reign is nowhere close to being over. Good interlude.

22.) Rain feat. Famous

The only song featuring a guest rapper, this track is possibly the only dissapointment on the mixtape. Chamillionaire flawlessy provides the hook, but Famous is nothing special on the mic.

So, before Chamillionaire drops “Ultimate Victory”, he shows his dedication to his fans by dropping this summer gem to keep them content for the next two months. Unfortunately, also, for the state of hip hop, this release is (questionably) the best mixtape release of 2007. Keeping it simple, and staying true to your roots, have catapaulted Chamillionaire into the spotlight; and rightfully so. Hopefully “Ultimate Victory” will live up to the high expectations this mixtape has set.

Overall Rating: 4.5/5

Petey Pablo – Same Eyez On Me

Posted on April 1, 2013 by WWC

Forthepeople Ent. has done it again. With the previous release of Kurupt’s “Against Tha Grain: EP”, the Deathrow catelogue sees another release in the last inmate to record a full album for the label – Petey Pablo. To be honest, however, Petey Pablo isn’t your typical Deathrow artist. He’s not from the West Coast, and actually seemed out of place when first signing to Tha Row in 2005. This is his highly anticipated (but never released) Deathrow debut – “Same Eyez On Me.”

1.) We’re Blown: Great way to set off the album. Proving that he’s capable of riding West Coast beats, Petey gracefully performs the hook (“Puff, puffin that Cali dro, sippin on Patrone/I got my mind made up, and gotdammit we’re blown”), proving that phenomonal lyricism is not needed to make a great track.

2.) Same Eyez On Me: WOW just about sums this track up. The production on this song is flawless. While most listeners we’re probably expecting some sort of remix to 2Pac’s “All Eyez On Me”, this track takes a complete turn to the opposite, as Petey details coming up over this pounding West Coast instrumental. From the hook to the verses, this track is nothing less then classic; and easily the best song on the album.

3.) Everywhere I Go: Petey’s dirty south roots are fully exposed on this track, as he gives the hook that North Carolina drawl. However, the lyrics and delivery Petey offers are just below average, making for a just below average track. Decent at best.

4.) I’m Makin Movez: While most listeners would be turned away after listening to the first 20 seconds of this song, Petey Pablo fully redeems this terrible hook, with superb verses, over this bouncing instrumental. The only downfall to this track, is there is no real substance, and the hook and beat aren’t anything excellent. Average track to say the least.

5.) I’ll Beat Yo Azz feat. Kurupt: After the last two dissapointments, Petey returns with fellow inmate Kurupt to present the world with true Deathrow flavor. Both rappers bring energy to the track, and while the hook is once again underachieving, this song is entertaining to any fan (past or present) of Tha Row.

6.) It Ain’t Fair: Petey Pablo is no stranger to music with substance. From the passionate tracks on his previous albums, he has proved that heartfelt, emotional songs don’t always have to revolve around lyricism, and a hot 16. This is a perfect example. A great slowed down tempo is provided, as Petey states his problem with society today. Good track.

7.) So Crazy feat. 2Pac: Any artist ever signed to Deathrow after Tupac’s passing, is almost guarenteed some sort of remix with him. It’s almost as if it’s stated in Deathrow’s contract. Petey Pablo is no different. However, while some collaborations have worked, this unfortunatley doesn’t. 2Pac’s classic So So Def diss record, has been tampered with and edited unbelievably. While production is on point, this track is somewhat of a dissapointment, considering it was a battle record before a club friendly track.

8.) Push It Away: This song unfortunatley is the first bad song on the album. Everything from the beat to Petey’s singing the hook (not that great), make for a boring and lackluster effort. Skip it.

9.) Too Much feat. Kurupt, Eastwood: While keeping in mind that the production on this track is very simple (with nothing extraordinary about it), Kurupt, Eastwood, and even Petey Pablo display their skill on the mic, making for another good track, and showcasing the talent Deathrow had up until 2005.

10.) Somebody About To Get It: Finally, Petey’s gangsta side is presented on the album. And while, once again, the lyrics aren’t anything exceptional, the beat, simplicity, and overall truth in Petey’s raps make for a good track. The chorus is one of the only drawbacks, as Pablo’s hook writing skills need to be polished before stepping in to the booth.

11.) Set The Record Straight: Along with “Same Eyez On Me”, this song is truly one of the album’s gems. Petey promises to “set the records straight” and does just that, detailing his come up and eventual signing to the now nototrious Deathrow Records. From the lyrics to the suprisingly great hook, this is Petey Pablo at his best.

12.) Simple & Plain: Simple and plain just about describes this song to a tee. The production sounds eerily familiar, and verses lack anything not said in another song. Decent at best, and one of the albums filler tracks.

13.) Holla At Ya Folkz: Midway through the album, it is terribly obvious that Petey’s hooks are a major, major fault. This is another below average song that sounds too rushed, and is really about nothing at all. Skip it.

14.) Let’s Do It: Full Metal Jacket’s “me so horny” sample is used here, as this track is an attempt by Petey at appealing to the ladies. The beat, however, lacks any punch, and isn’t soft enough to appeal to the ladies, making for another below average track. Typical boasts about the player lifestyle offer nothing new to the table.

15.) What Cha Gonna Do?: This is more of Petey’s style. A perfect club anthem, this track features an Arabian inspired flute, with Petey perfectly crooning the looping and pounding beat, with a perfect touch of southern flavor. Great production usually always makes for a great track; and even Petey’s hook manages to get the job done on this song.

16.) That’s Why: After listening to the first 30 seconds of this song, one would think that the track has the potential to be a classic. A pounding instrumental is used, but Petey’s hook is lackluster, and the verses aren’t hitting hard at all. Production is well above average, but unfortunatley Petey doesn’t do the beat justice. Average.

17.) In Your Casket: By now it’s clear that the majority of this album is catered to the players, ballers, and gangsters. However, this song will be a complete suprise to most listeners, as Petey goes into horror-core hip hop, and works this dark production well. An uptempo bassline is used, as Petey provides the perfect energy and delivery, making for one of the best tracks on the album.

18.) In A Minute: It was too good to be true. 17 songs into the album, and while it appears that one Deathrow artist has finally stepped into his own, and not expressed Suge’s personal problems on wax, don’t hold you’re breath. Petey Pablo (of all rappers) decides to diss Dr. Dre, Eminem, Snoop Dogg, Nate Dogg, 50 Cent, Young Buck, and The Game all on one track. Not only that, it’s not even done well. If you’re going to diss an entire label, pull your guns out and come correct. This song features production ripped straight from the Lil Jon formula, and is the worst way to the end the album.

In conclusion, while Petey Pablo surprises most listeners with his unofficial Deathrow debut, it’s still clear as day that no matter how he was marketed, Petey wasn’t going to bring Tha Row back to prominence. However, Petey succeeds at what most Deathrow artists not named Dre, Snoop, or Pac, failed at; and that’s making a well rounded album. While this is probably not the last album to be released by Forthepeople Entertainment from Petey Pablo, let’s hope that if further material surfaces, it’s a little more original then what has been presented.

Overall Rating: 3/5

Lloyd Banks – Mo Money In The Bank Pt. 5

Posted on April 1, 2013 by WWC

Mixtapes aren’t usually worth reviewing. However, when you’re arguably rap’s punchline king, and have recieved awards based on the fact mixtapes is part of what you do, compromises can be made. Lloyd Banks second LP (“Rotten Apple”) lacked the commercial success of his debut, but if there’s one thing Banks has proven, it’s that his gritty lyricism and punchlines have remained in tact. This is the last installment of his “Mo Money In The Bank” series, and features countless freestyles over popular instrumentals.

1.) Kill A NY Cop (Intro): Nothing more then an intro, this features the beginning of a New Line movie, followed by countless cops feeling the wrath of the streets.

2.) Almighty U.N.I.T.: Over a smooth bassline, Bank’s catchy hook, and smooth delivery make this track noteworthy. Punchlines still in tact (“Think of a sliced diamond/that’s kind of how I’m shinin”), this is a good opening track for the mixtape.

3.) Showtime (The Game’s Over): To say that exiled G-Unit member The Game has been attacking his former crew, is an understatement. This is Bank’s retaliation track. Clocking in at just over 3 minutes, Banks’ diss features memorable lines (“The hood made him cover up the butterfly/Now Ima make ya cover up the other eye/Cause you ain’t never merked nothin, that’s another lie/Nigga don’t make me hum you a lullaby”), the beat lacks the power of a great diss track. However, most fans will be pleased to see Banks go back at The Game. Good track.

4.) Time To Chill: This beat is very old school, and while Bank’s delivery is great, the hook and actual song is boring. Decent song at best; otherwise skip it.

5.) Eminem Speaks (Interlude): A radio conversation of Eminem biggin’ up Lloyd Banks, and hailing him as the “punchline king”.

6.) Reppin Time: Taking Dipset’s “Reppin Time” beat, Banks tries his flow over a Southern instrumental. Point being, that Banks is flawless on this song. However, the only drawback is that Banks doesn’t usually do southern beats, and his fans might not like the new sound.

7.) NY NY: A very different type of track, Lloyd Banks declares his love for the Rotten Apple over this very solumn and depressing beat. Great track with clever lines reminscent of his old days.

8.) Get Yo Guns: Over a bouncing Dre-inspired beat, Banks’ “Get Yo Guns” is only a minute and a half long, but bangs hard enough to be put on repeat with above average lines (“I grind hard, and shine like Ferrari lights”).

9.) On My Hip: Banks again switches up the flow and remakes Rich Boy’s breakthrough hit “Throw Some D’s”. Banks adapts once again, cleverly remaking the hook, and flowing smoothly over Polow Da Don’s smooth production. The only drawback is Bank’s lazy flow over a more upbeat track.

10.) Mary Jane: This song is only a minute and a half long, and is unfortunately boring, without any memorable punchlines, verses, or hooks. Nothing more then Bank’s half assed dedication to the chronic. Average at best.

11.) Body Erasers Skit: Typical mixtape filler skit…Skip it.

12.) Show Discipline feat. Tony Yayo: This is more of an album track. Great track in every aspect, with Bank’s reworking Cormega’s “American Beauty” bassline, with more uptempo drum kits. Classic lines like “I’m lightning on the tracks, like Tyson on the mat” make for a superb song. Even Yayo holds his own. Don’t skip.

13.) What Y’all Wanna Do: Lloyd Banks comes up short on this one. After the last track, this is a dissapointment. While the beat is on point, Bank’s subject matter (jewelry, TV’s, etc.) is a little played out. Listen only if you need to own everything Bank’s puts his name on.

14.) Ride Slow: A rework of Kanye West’s “Drive Slow”, Bank’s flow is at an all time high. While the theme and concept hasn’t changed (diamonds, fresh fits, and cars), Bank’s lyrics work perfectly (“I’m a trendsetter, sittin on Benz leather/You know the 10 letters – Lloyd Banks, nigga”). Great song.

15.) The Flow: “The Flow” is more of an upbeat track, with Bank’s attacking the beat like he should’ve on “Rotten Apple”. While not packing hte punch of any of the tracks on “Hunger For More”, this short (but inspired) track is hopefully a sign of things to come. Good song.

16.) Black Superman feat. Tony Yayo: This song features G-Unit’s original members explaining while they are no “Captain Save-a-hoe”. The beat is on some West Coast tip, and while Bank’s rides out, Yayo’s voice and energy doesn’t work well with this track. Skip Yayo’s part, and you’re good to go.

17.) Help: Featured on Bank’s “Rotten Apple”, this is the 2nd single (also a video), and was just thrown on the mixtape for promotion and good measure. Check out my review of “Rotten Apple” if you want to know more about this track.

18.) Clipz: These are the songs Bank’s works the best over. A remake of The Clipse’s “Mr. Me Too”, Bank’s smoothly croons the instrumental at just over a minute, with a smooth delivery and a swagger matched by none. Good mixtape track, and more of what I expected from Banks.

19.) Make A Move: Also featured on Bank’s “Rotten Apple”, this track is an upbeat instrumental featuring live drums. Great track, up and down. Check the “Rotten Apple” review for more on this song.

20.) Born & Raised: Lloyd Banks closes out the mixtape on another southern beat. This time it’s Trick Daddy’s “Born & Raised”, and Banks re-does the hook to his favor, because he’s certainly not from the county of Dade. He reworks the song perfectly however, and is a suprise to most listeners as Banks chooses to work southern instrumentals. This song would only work better if it were a little bit longer.

So in conclusion, Banks “Mo Money In The Bank Pt. 5” is a somewhere in between his other releases. While lacking the punch of “Money In The Bank”, but noticabley better then “Mo Money In The Bank Pt. 3”, this is an average release. I, personally, expected more out of hearing “Mo Money In The Bank Pt. 4” at the beginning of 2006. Unfortunatley this is the last chapter, and proves that before Banks drops his 3rd solo effort, that he needs to polish his beat selection and energy.

Overall Rating: 3/5

Huey – Notebook Paper

Posted on April 1, 2013 by WWC

1. Intro/Notebook Paper
Pretty much a standard intro, but Huey tries to make it different by……rambling. Well, that isn’t different, is it? Now we get a party style beat, almost like LiL Jon, but drunk on moonshine. Huey isn’t bad here, as he flows well over the beat. This track is a little weird, in that it’s a mix of party and gangsta. I sort of liked this, and appreciate the effort displayed by Huey. Even though he didn’t have many quotable lines, he still tried his hardest to salvage this ugly beat. Average (Leaning towards good).

2. Bout Dat
Okay, this beat sounds like a bunch of farting and whistles. This style was pretty much perfected by LiL Jon, and was ruined by Scott Storch, who was pumping out these kind of beats in a shameless manner. Huey makes it simple, but simple isn’t always bad. You know, this is a good track to play in a car, I mean, who would play someone like Aesop Rock in their ride? That’s like Bill Gates throwing up gang signs. Okay, I’m getting off track. I actually liked this track, as Huey flowed well over the beat. Good.

3. Aye
Here’s the problem with this cd so far: Every beat sounds the same. This isn’t good, as it makes everything flow together in a sloppy manner. Huey pretty much raps about becoming a rapper, and he isn’t afraid to say he’s awesome. I don’t know if I agree with that, but Huey’s shameless attempt at being gangsta is amusing. Average.

4. Pop, Lock & Drop It
We went from LiL Jon to Three Six Mafia here. The constant “Pop, lock & drop it” from the female is horrible. Absolutely horrible. This is like Juicy J & DJ Paul sniffed glue, and decided to produce. This isn’t good at all. Wack.

5. Closet Full Of Clothes ( Feat Kydd Trell)
Honestly, it’s like the beat never changed. This is pretty much the same freakin’ beat that was on the last track, but with added Scott Storchness. I sort of liked Kydd here, as he understands how to make a feature memorable…sort of. I sort of wish Kydd Trell took over Huey’s spot as lead rapper. This was pretty “meh.” Average.

6. 2 Nite
The beat sounds like something you’d hear from La Bouche. Huey is pretty good at flowing to the beat. He uses a nice rapid tone, but he’s not sloppy at all. He’s more Twista and less random awful rapper on a Young Droop cd. Good enough. Good.

7. Tell Me This (G-5) (Feat Memphitz)
This is like a Young Jeezy track, and I sort of like that. Huey isn’t afraid to copy one’s style, and, in a way, that’s sort of good. I mean, most rappers try to carefully pick and choose who they copy from, but Huey is wide open with it. Good.

8. Money Ova (Featuring Diamond & Yo Gotti)
Diamond is absolutely awful, and trying to rap with 2 decent rappers is stupid. I mean, don’t expose someone who is copying La Chat. Huey’s a Missouri guy, so I dig some of his stuff, and he understands that you have to be polished. Pretty average stuff, actually. Average.

9. My Zone
Corny horns are used, well, it’s sort of like early 90’s sounding. I was expecting a “Saved By The Bell” reference, but no go. Huey tries to salvage this craptastic beat, but he fails. Oh, Huey, why must you try to be motivated? Wack.

10. When I Hustle (Feat Lloyd)
I sort of like this, as the beat is a weird mixture of DJ Quik and a Ne-Yo love ballad. Lloyd is a pretty decent hook guy, much better than a bored Nate Dogg, who is perhaps the most overrated hook guy ever. Huey is pretty decent here, and knows how to flow over a beat like this. This was good. Good.

11. Luv N Ya Life (Asia Cruise)
What exactly was this trying to prove? I mean, Asia is pretty okay on the hook, but the beat is like an old Cash Money dance track mixed with R. Kelly. Huey can’t figure out how to rap over this, so he pretty much copies his style from the previous track. This was…not very good. Wack.

12. Nobody Loves The Hood
Cue the sappy piano, and the R. Kelly wannabe hook guy. This is about the most corn syruppy thing I have heard so far on this album. You know what’s the deal, Huey raps about how hard it is in the hood. Heard it, don’t care. Wack.

13. Glad 2 B Alive (Feat T-Pain)
Not a bad beat, sort of sounds like something you’d hear on an old Hoy Boy$ track, but mixed with some new flavor. Decent enough rapping, and I like the singing, even if it’s sort of all over the place. Good (I appreciate the effort).

14. Pop, Lock & Drop It (Feat Bow Wow & T-Pain)
I liked this much better than the original, in fact, I might say that this might be the best track on the album, as they were shameless in copying something you’d hear on a current E-40 track. Well, the chorus freakin’ sucks, so I take back the best track on the album. Good.

All in all, I’m going to give this an “Average” rating. Huey is definitely a guy who is not bad, but the beats were a dime a dozen. This was like a LiL Jon parody album. You might want to stay away from this, as you’ve probably already heard the same stuff on the radio.

C-Murder – C-P-3.com

Posted on April 1, 2013 by WWC

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Overall Rating: 2/5

Mac – Shell Shocked

Posted on April 1, 2013 by WWC

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Overall Rating: 5/5

C-Murder – Life Or Death

Posted on April 1, 2013 by WWC

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Overall Rating: 4/5

Kurupt – Against Tha Grain: The EP

Posted on April 1, 2013 by WWC

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

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

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

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

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

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

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

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

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

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

Overall Rating: 4/5

2pac – The Sessions

Posted on April 1, 2013 by WWC

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

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

[Disc 1]

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

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

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

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

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

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

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

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

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

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

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

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

[Disc 2]

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

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

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

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

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

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

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

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

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

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

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

Great, great track. Classic in every aspect.

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

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

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

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

Overall Rating: 4.5/5

Top Dogg – Every Dogg Has His Day

Posted on April 1, 2013 by WWC

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

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

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

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

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

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

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

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

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

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

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

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

Overall Rating: 2/5