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

1) Intro 

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

2) Capo Status 1st Take 

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

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

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

4) This Is Jim Jones ft. Cam’ron 

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

5) Let’s Ride ft. JR Writer 

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

6) Certified Gangsta ft. Cam’ron, Bezel 

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

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

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

8) End of the Road ft. TI, Bun B 

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

9) Shotgun Fire 

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

10) Capo Status 2nd Take 

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

11) Lovely Daze (Memory Lane) 

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

12) Spanish Fly ft. Chico DeBarge 

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

13) Livin Life as a Rider ft. Denise Weeks 

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

14) Twin Towers ft. Bizzy Bone 

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

15) When Thugs Die 

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

16) This is Gangsta ft. Juelz Santana, Bezel 

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

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

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

18) Bend n Stretch 

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

19) Talking To the World 

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

20) Capo Status Final Take 

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

21) Outro 

Back to the church setting for the outro.

My rating: 2.5/5

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

My Recommendation: Download/burn your favorite cuts.