Mobb Deep – Blood Money

Mobb Deep - Blood MoneyWhen Mobb Deep burst on the scene in 1995 with “The Infamous” they released some of the grimiest music ever in hip hop history. Since then in the 11 years, a lot has changed. Since then the grimy edge has been washed away with their record sales too with their last record not even reaching gold. Before they would only trust a selected view to help create their dark grimy vision and as time increased so did their circle of the chosen few. Even though everyone could see this with every release, but this hit the fans the hardest when they sign to 50 “Mr. Mainstream” Cent’s label G-unit records.

The album gets off with a head start with “Smoke it”. I feel the horns reflect as a sign of success over their last release. It’s quickly finished and we hear their newest single “Put em in their place”, the first single still holds some of their griminess with their computer based beat with the simple horns pattern and synth to create an atmosphere, but the biggest problem is, who is this aimed at? It’s too grimy to be in the head of the mainstream fans and it’s too pop to be for the underground. This equals the Mobb Deep to isolate both their audiences.

As you could imagine, the other G-unit members are plastered all over the track listing. This is to pull in a bigger audience, a different audience. While this does bring in more it also isolates some of their hardcore older fans. The first song with a G-unit member is “Stole Money” where Lloyd Banks joins the Mobb Deep lads over again a very simple beat from a few organ hits but seems to work.
After this, a flood of featuring slots is let in, with the other G-Unit members featuring on an embarrassing amount of 9 out of the 16 tracks. “Creep” where 50 Cent joins them, which BTW has already taken the title of the most annoying beat of the year in my view. The Beat is so simple yet so annoying, all the producer has done is gone up and down in a scale of keys to create it. Though “Give it to me” featuring the great Young buck is a much of an improvement with it’s Arab feel which would seem to be a great song for the club. The main problem is buck wasting his normally brilliant skill on this. The next guest I wish I could say that for the next guest but when it totally the opposite. Tony Yayo is the name he goes by and his whole career is a trainwreck. It’s a shame as this song had potential, with it’s trademark Mobb Deep grimy sound sampled cleverly from the Knight Rider theme song. One song which holds both good lyrics and beat is “Pearly Gates” ft 50 Cent, this a personal highlight for me has it is actually song with substance. The beat is a bouncy, yet quite soulful one with them talking about God and their lives. Plus this is all completed by a catchy hook from no other then 50 Cent. 50 who always delivers addictive hooks supplies them with one more. He joins them on “The Infamous” supplying them a very weak hook for them over a old school type of beat with it’s cowbell sounds and a very addictive bassline. He also joins them on the soulful “It’s Alright” perfectly finished with Mary J Blige.

50 also appears on the bonus tracks which can be found on other releases, the already mainstream hit “Outta Control (Remix)” which can also be found on The Massacre DVD reissue and “Have a party” feat another master of hooks, Nate Dogg which can be found of the Get rich or die trying OST.

Apart from the songs already mentioned and the other songs which there isn’t a G-Unit member in sight there’s only a measly 5 other tracks. Saying that with the G-Unit name over this release you can expect a few club tracks and there’s one more. The track has a bouncy beat with a popular mainstream sounding synth while they talk about girls and their advantages to their “Backstage Pass” which is handily the name of the track. This also has a quick appearance of 50. The popular sounding synth I described before also is used on “Capital P, Capital H” which makes this album sound quite repetitive. 2 of the 3 which I haven’t mentioned are also highlights to this album. “Daydreamin’” has a dark eerie feeling which is created by the rising strings and its Indian chimes. This track isn’t just good because of the beat but lyrics are quite good too with them describing everything they wanted but couldn’t get which a lot of us has felt like before. All this plus with a good hook. What more could you ask for? “In Love with The Moula” also has both good beat and good lyrics. While it is a used concept of them comparing money to a women but they do it cleverly while being backed by light pianos and strings.

In all this gets a 2 out of 5 maybe a 2.5

Everyone has seen the downfall toThe Infamous but now this must really be the death of them. The boatload of featuring slots from the G-Unit members is an obvious decision made by 50 and their marketing team. The sound and topics of this is their most risky shots for mainstream and by this like I’ve said before in this review it’s isolating their old fanbase and I don’t see it drawing the G-Unit fanbase that much either. Lyricism has always been weaker then most for them but has really gone downhill even for them. The beats have too with them having to ask more people to bail them out.

Recommendation: Don’t buy this. If you’re a fan of Mobb Deep and/or G-Unit give it a download and base your opinion on that instead of going straight out and buying this. In my opinion buy something worth while like Ghostface “Fishscale”Vakill “Worst Fears Confirmed”Dilated Peoples “20/20” or Gnarls Barkley “St. Elsewhere”. These have been 2006 best releases from the USA especially as not many good ones have been churned out.

Mobb Deep – Amerikaz Nightmare

Mobb Deep - Amerikaz NightmareMobb Deep first blew in the early-mid 90’s. Hip Hop fans loved their chemistry, Havoc’s dark, grimey production fit perfectly with Prodigy’s strictly gutter style. Since then, their music slowly evolves every time they put out an album, from their original dark shit to more piano-laced, to this.


Amerika’z Nightmare 

The title track starts off the album here. The beat is constructed from guitar riffs and a snare that seems too high. The shit that annoys me, though is the constant windy sound in the background. Prodigy’s verses here aren’t his usual illy, and Havoc’s is tpically nothin special. Neither is the hook. (Poor)

Win or Lose 

This is the first real deviation from the classic Mobb sound. Over a Jigga-ish, lavish-livin type (think of Annie) beat with horns and shit, and a sample of a woman crooning on the hook late 80’s/early 90’s “romance song” style, seems like a toast to the high life but it’s really about hustlin, doesn’t really fit. The verses are aight, again P’s better den Hav’s. (Decent)

Flood the Block 

The beat here is really hard to describe, but it gets type annoying after a while and it’s distracting. There’s some type of buzzing sound in the background that really does it. Havoc actually leads off here. Prodigy’s verse is much better. (Decent)

Dump ft. Nate Dogg 

A more urgent “action” beat with a crazy fast violin with a complex snare. Prodigy leads off, finally coming with his sick style, followed by Havoc trying his best…but what was Nate thinking with this hook? The hook god is good until the end of every hook, that monotonous “dump dump dump” throws the whole shit off. (Good)

Got it Twisted 

You can’t tell me you ain’t heard this recently. The Mobb’s first club banger (I think ever), and it’s not a bad first try. The beat is more like the older style den the previous tracks, it’s pretty good. My only problem is the subpar verses. (Decent)

When You Hear The 

AIGHT finally back towards typical M-O-B-B. Prolly cuz Alchemist produced this joint. The beat is annoying as hell, some type of discordant piano with a cheap horror movie horn thing. Sounds more suited to OutKast. P’s verses are nice, tho. (Decent)

Real Niggaz ft. I-20

Really 70’s style beat, Havoc comes on and raps a long, decent first verse. Prodigy comes on after and doesn’t do much better. HATE the hook, deep-voiced motha*****in I-20 (DTP) rumbling almost incoherently. (Poor)

Shorty Wop 

Hav n P are startin to scare me. This track is odd to say the least, it’s almost like G-Funk NY style. Listen to hear what I mean. Not that it’s a bad beat, it’s good. But the hook, is just *****in strange, and P’s verse isn’t in his style at all. Track really throws you off if you’re not expecting it. (Good [but *****in odd])

On the Run 

I really ain’t feelin this beat, at all. Shit is sloppy, chaotic and just doesn’t fit. On a high note Prodigy’s verse is some illy multies shit, but really that’s the only redeeming quality about the track. (Poor)

Throw Yo Hands 

Here’s the Kanye produced joint ehbody been talkin about. It’s a pretty good beat, creative in a good way, wit guitars and a bumpin drum track. As you listen to it it grows on you. Prodigy’s verse is some good shit, too. Even Hav has a good appearance. (Great)

One of Ours pt 2 ft. Jadakiss 

This is a beat I can feel. The snare is fast as HELL, can’t figure why, but otherwise it’s a pretty good beat. Jada spits his fire, does his thing for basically the whole song with Hav on the chorus. (Great)

Get Me ft. Littles, Noyd 

Seems to sample Raekwon’s classic song Criminology, slightly sped up with a weak, shuffley snare but backed up by a thumpin base..not really feelin it. The verses are good here, notably Littles’. (Good)

Real Gangstaz ft. Lil John 

Irrefutable proof that Lil John does not belong tryinna make dark beats and Mobb doesn’t belong on a crunk song. The beat is kinda disorienting, while you’re tryinna listen to Prodigy’s good verse, this construct of whistles and one deep, repeated piano chord is distracting you. It gets old and annoying pretty quickly. Best part about the song, besides P’s verse is the hook, REALLY not feeling Lil John come on and give instructions for the clubbers. (Poor)

Never Change 

A more interesting, better sound for the Infamous M; almost like they’re rhymin on a Pete Rock beat. It’s not a bad beat and it seems to fit the track pretty well. The hook is unimaginative, but Prodigy comes nice. (Good)

We Up

The beat here is heavily piano-laced with not much of a snare, but still a good beat. Prodigy laces it with a nice first verse, his next one is aight; Havoc comes next, his verse is of course nothin special. (Good)

Got it Twisted Remix ft. Twista 

Don’t like this one as much as the original. Same beat, same hook, but this time Prodigy’s verse is subpar and Twista’s not on his usual level, one of the slowest verses I’ve ever heard him spit and he’s not even that nice on this cut. (Poor)

Bustin ya Hammer 

I really feel this beat. It’s flutey, has a kind of Native American tribal/chanting flavor. For once I like the hook, verses aren’t good, aren’t bad. (Good)

We Don’t Love Em 

Some type of smooth, jazzy lounge beat. Real smooth, feelin it. One of the ‘woman *****in’ songs that has to be on every hip hop album after 97. P’s flow is sicc, lyrical tip is cool too. Not feelin the hook/bridge at the end, another monotonous hook that makes me ready to smash Hav in the face. Not really the perfect way to end the album. (Decent)


My Rating: 2.5/5

This album really disappointed me. I know Mobb is jus tryinna try a new style, but it’s really not workin for em, but a few really hardcore supporters of the Infamous like these joints. You could say something was wrong with almost every track, or you could say every track sucked but had redeeming qualities.

My Recommendation: D/L this and form your own opinions on it, if you like it cop it, if you only feel a couple joints keep those.