Tag Archives: The Neptunes

Nelly – Da Derrty Versions: The Reinvention

Nelly
Da Derrty Versions: The Reinvention
November 25, 2003
Derrty EntertainmentUMG
058/100
Nelly - Da Derrty Versions the Reinvention
1. Intro // 2. Country Grammar [Jay E Remix] (feat. E-40) // 3. Iz U // 4. E.I. [David Banner remix] // 5. Ride With Me [Jay E Remix] (feat. City Spud) // 6. Batter Up [Jay E Remix] (feat. Murphy Lee, Chocolate Tai, King Jacob, Prentiss Church & Jung Tru) // 7. If // 8. Hot In Herre [Basement Beats Remix] // 9. Dilemma [Jermaine Dupri Remix] (feat. Ali & Kelly Rowland) // 10. King’s Highway // 11. Groovin’ Tonight (St. Lunatics feat. Brian McKnight) // 12. Air Force Ones [David Banner Remix] (feat. David Banner & 8ball) // 13. Work It [Scott Storch Remix] (feat. Justin Timberlake) // 14. #1 [Remix] (feat. Postaboy & Clipse) // 15. Pimp Juice [Jay E Remix] (feat. Ron Isley) // 16. Tip Drill [Remix] (E.I.) (St. Lunatics)

Back when people still bought cds remix-albums were an easy way for record labels of juicing any particular artist’s fanbase for some cash whenever that artist didn’t have a proper album to promote. Da Derrty Versions: The Reinvention is such an album, bridging the gap between Nelly’s 2002 blockbuster Nellyville and his 2004 double whammy Sweat and Suit. On this album you will find amended versions of hit songs from Nellyville and his debut Country Grammar of varying quality, all tied together by Nelly commenting on his ‘creative process’ in a sort of fake interview type of setting brought to us in skits. Did you know E-40 invented slang? Yeah, me neither…

On to the content: Everything labeled a ‘Jay E Remix’, which is is the absolute majority of the songs, can be automatically dismissed as a remix. Not because the beats suck, Jay E is a terrific producer and arguably half of the reason of Nelly’s success, but rather because the guy produced most of the original incarnations of these songs which were mostly not broke and therefore not in need of fixing.
Apparently he agreed with that assessment because the changes to his instrumentals are minimal to nonexistent. All that’s really added are newly recorded guest appearances which vary from entertaining enough such as the Ron Isley-featuring version of Pimp Juice and the Clipse on #1, to meh such as the blink-and-you’ll-miss-it E-40 verse on Country Grammar, to godawful such as the new version of Batter Up which replaces B-team weedcarriers with Z-team weedcarriers. But the fact that Jay doesn’t go rampant creatively with altering his own shit might actually be for the better because the one time Jay E does actually change something substantial about a song the result is a version of Ride With Me that poorly attempts to fit the original hook into the melody of John Mayer’s No Such Thing for no other reason than that Nelly likes John and wanted to pay ‘tribute’ to him, which is very questionable reasoning at best. Nelly could‘ve called the guy up for a collabo and Mayer would probably have said yes, and that might’ve made for an entertaining collabo if Nelly’s later collabo with Tim McGraw Over and Over is any indication. In stead we’re left with this stupid shit that also does a terrible job at incorporating City Spud’s not-that-great-to-begin-with verse off the original version.
The remix of Hot In Herre which is credited to ‘Basemenent Beats’, a production team consisting of Jay E, Koko and Wally Beaming (and City Spud who is m.i.a. here because of a ten year prison stint) is pretty fucking awesome with what sounds like a recreation of the Neptunes’ bleepy, bloopy original beat with live instrumentation. I guess he did have something to ad here because he didn’t have a hand in creating the original instrumental.

Mississippi rapper and producer David Banner remixes E.I. into something much more scandalously entertaining than the original, although there wasn’t much need to tack on a second version of this remix on the end of the album with his boys from the St. Lunatics featuring but substituting verses with catchphrases (This version does however work really well as a floor-filler at parties, so perhaps it is the Nelly-solo version that is the redundant track out of the two.) His rock version of Air Force Ones however a fairly lame deal, which is a shame because new guest verses by himself and southern legend 8ball are a lot better than what the ‘Tics had come up with for the original.

Jermaine Dupri’s new version of Dilemma exposes the song for having been very reliant for its effect on its sappy original production as this stripped down version sounds dry and superficial. Scott Storch transforms Work It into an altogether more slinky affair that probably would’ve sounded better if Nelly hadn’t decided to re-record his vocals after popping a shitload of ritalin. It is what it is and it is mystifying.

That leaves a three original songs. Iz U is a pretty cool trunk-rattler that wouldn’t have sounded out of place on Nellyville, that goes for Kings Highway and the Neptunes-produced If as well. Perhaps he was cleaning out the vaults or something. Anyway these songs are probably the only real reason for owners of Country Grammar and Nellyville to pick up The Reinvention.
In 2003 that might’ve cut it as an incentive for purchasing this album. In 2014 however you can just buy the individual songs off iTunes or Amazon and you’ll have all the added value of this album to Nelly’s catalogue for a lot less money than you would spend on the entire disc. That’s not to say Da Derrty Versions sounds bad. It’s a fairly decent Nelly-playlist, and with the exception of Air Force Ones and Ride With Me these remixes don’t actually sound any worse than they do in their original versions. Props for culling the only good song Groovin’ Tonight off that godawful St. Lunatics album, even if it was only to get incarcerated Lunatic City Spud some commisary (That would also explain why Spud is on that strange and shitty Ride With Me-John Mayer mashup). But if you’re a fan of Nelly’s you could probably make a much better Nelly-playlist yourself with the technology being available and manageable to everyone and their grandmother, making The Reinvention a dinosaur from a bygone era.

Best tracks
Iz U
If
Hot In Herre [Basement Beats Remix]
King’s Highway
Groovin’ Tonight
Pimp Juice [Jay E Remix]

Recommendations
Buy the above tracks off iTunes or Amazon, or pick this out of the used CD bin you find it for under six dollars.

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Nelly – Nellyville

Nelly
Nellyville
June 25, 2002
Derrty EntertainmentUMG
068/100
Nelly - Nellyville
1. Nellyville // 2. Gettin’ It Started [Skit] (performed by Cedric the Entertainer & La La) // 3. Hot In Herre // 4. Dem Boyz (feat. St. Lunatics) // 5. Oh Nelly (feat. Murphy Lee) // 6. Pimp Juice // 7. Air Force Ones (feat. St. Lunatics) // 8. In the Store [Skit] (performed by Cedric the Entertainer & La La) // 9. On the Grind (feat. King Jacob) // 10. Dilemma (feat. Kelly Rowland) // 11. Splurge // 12. Work It (feat. Justin Timberlake) // 13. Roc the Mic [Remix] (State Property feat. Murphy Lee & Nelly) // 14. The Gank // 15. 5000 [Skit] // 16. #1 // 17. CG 2 (feat. St. Lunatics) // 18. Say Now // 19. Fuck It Then [Skit] (performed by Cedric the Entertainer & La La)
bonus track
20. Girlfriend [Neptunes Remix] (*NSYNC feat. Nelly)

Nelly -the man, the myth, the band-aid abuser- really was the early 2000s Lil Wayne, although longtime Weezy-fans know that Lil Wayne himself was also a thing in that day and age. But what I mean to say by that is that Nelly was as succesful in 2002 as Lil Tunechi was in say 2010. There was nary a radio station one could turn on without hearing the man’s heavily accented words and sing-songy voice. Most of these hits are concentrated on Nellyville.

Nellyville showcases everything that was right and everything that was wrong with hip-hop in the early naughties. The Neptunes sound, continuous celebration of excess, an expanding assortiment of regional flavours of hip-hop hitting the mainstream, having each and every one of your friends come over to the studio to drop a verse for your album, R&B/pop-rap collaborations, singing your own hooks when no R&B singer was around without the aid of vocal effects, silly skits and really long tracklists and running times, keeping it gangsta with nary a hipster in sight. It was the best of times, it was the worst of times.

This album sold a tonne of copies too. Some seven million in the U.S.A. alone on the strength of it’s smash hit singles like Hot In HerreDillema and Work It. I’m sure even the Lunatics ate better off their three apearances than they did off the Free City and the Heavy Starch albums combined. The pre-iTunes era had some perks for weed carriers. These days they would’ve been forced to find a day job to support their “rap career” because people would just buy all the songs they like off iTunes and back then you had to cop the whole cd. In 2002 people did cop the cd because of Cornell Haynes, jr.’s punchy flows and catchy hooks that were delivered in a oddly intoxicating blend of shouting and velvetty crooning about being a gangsta and a hustler and a player and what not but mostly about having too much fun, over Jason “JE” Epperson’s dirty but poppy beats, with a couple of instruments by others including Pharrell Williams and Chad Hugo thrown in for variety’s sake.

The album kicks off with the title track which describes a city that is Nelly’s utopia in which the weather is democratically decided upon, in which he is the mayor (or muhr as he pronounces it) and everything is gumdrops and ice cream. Only Nelly could make a song like this without sounding completely flaky. I’m sure everyone has heard Hot In Herre and Dilemma, two of the archetypical commercial rap songs of the era. The former is probably the most memorable Neptunes-produced club number ever with a feverish beat and Nelly’s blissfully ignorant raps and jokes that are so bad they’re good (“Stop pacin’, time wastin’, I got a friend with a pole in the basement” “What?” “I’m just Kidding like Jason!” “Oh.” “Unless you gon’ do it.”). The latter is something out of the Ja Rule playbook with our host and Destiny’s Child’s Kelly Rowland affectionately singing and sing-rapping come-ons at one another over a cheese fondue of an instrumental that blends philly soul with music box twinkling. You’d have to be a hardball cynic to hate these wide eyed optimistic and incredibly catchy jams.
Justin Timberlake, then of *NSYNC, gets to sing the hook of Work It which was good for him since appearing on this strip club anthem made him insteresting to slightly orlder teenagers than those who bought Celebrity, which was very necessary for the solo-album he was releasing later in 2002 to become succesful. The song still sounds really good today with it’s beat that’s simultaneously groovy and crunchy but it does give away how much Nelly relies on his superior flow and charisma to get his message across and not so much his lyrics which can be a bit off. (“She’s got me hypnotised, just like that Biggie guy.” and still P. Daddy invited him over to work on the second postumous Notorious B.I.G. album!?)
Air Force Ones is quite pleasant for a shoe commercial mostly pieced together by b-teamers due to it’s throbbing bounce-beat that harks back to Batter Up and Pimp Juice is the best shitty falsetto performed by a rapper ever, Jeffrey Atkins be damned.
#1 has our host proclaiming his dominance over the rap game and answering a KRS-One diss with gusto over a gloriously tangy instrumental.
Another highlight is Roc the Mic [Remix], an amended version of State Property’s debut single which has Sigel and Freeway copy the flow each other used on their respective verses the original version and Nelly and Murphy Lee managing to fit in pretty good with this significantly more gangsta, less frivolous duo. The edition of Nellyville I have finishes with the Neptunes remix to the *NSYNC-song girlfriend on which Nelly appeared, on here gets as clean as Justin gets dirty on Work It, so that’s a fair trade I guess. If you’re going to pick up Nellyville pick up this edition because it’s like an added bonus to what is essentially a nostalgia value pack. Besides the only other way of picking up this song is buying NSYNC’s Celebrity or stealing it off the internet off course.

The rest of the songs don’t really suck but don’t exactly warrant an honourable mention either. The biggest flaw about the album is that it’s twenty tracks (eighty miniutes) long, which leads me to believe that the man All Eyez on Me‘d this album, which means he recorded everything he could come up with in one go and without hearing it back for quality control purposes released everything he could fit onto a cd. If this were ten tracks long it woud be much better and much conciser. Still as it is Nellyville is more hit than miss and -dare I say it- a bit of a pop-rap classic that works as a time machine to the early Bush-era (your appreciation of this album may depend on your experience of those years.) and for that I salute it and Nelly himself.

Best tracks
Nellyville
Hot In Herre
Pimp Juice
Air Force Ones
Dilemma
Work It
Roc the Mic [Remix]
#1
Girlfriend [Remix]

Recommendations
Pick this one up. The good song are hella fun and Nellyville can’t be too expensive to come by.


Fabolous – Ghetto Fabolous

Fabolous
Ghetto Fabolous
September 11, 2001
Desert Storm Records/ Elektra Records/ WMG
050/100
Fabolous - Ghetto Fabolous
1. Click & Spark // 2. Keepin’ It Gangsta // 3. Young’n (Holla Back) // 4. Get Right // 5. Ride For This (feat. Ja Rule) // 6. One Day // 7. Trade It All (feat. Jagged Edge) // 8. Right Now & Later On // 9. Take You Home (feat. Lil’ Mo) // 10. Get Smart // 11. Can’t Deny It (feat. Nate Dogg) // 12. Ma’ Be Easy // 13. We Don’t Give a Fuck // 14. Bad Guy (feat. Pain in Da Ass) // 15. Gotta Be a Thug // 16. If They Want It

Another rap album that dropped on that uneventful date (september 11, 2001) was Roc-a-Fella Records’ house DJ, DJ Clue?’s protégé Fabolous’ Ghetto Fabolous, although the fact that this shit actually came out may have done more damage than the 9/11 attacks. Fabolous’ debut is anything but fab, although I’ll be the first to admit that the man himself is almost entirely blameless.

Fab had been making a name for himself ever since he first appeared on a major label realease (DJ Clue?’s own major label debut the Professional) with his lackadasical, monotone flow (which got him compared to blingy cuddly-gangsta turned preacher Ma$e) and his funny/corny punchlines (which got him compared, a lot more flatteringly, to the likes of Big L)
The album had two songs that were moderately succesful on the U.S. charts back in 2001 (Can’t Deny It and Young’n (Holla Back)) but there’s really only one single sort of, kind of related to this album that people occasionally still listen to, which is the glossy Puff Diddy-featuring remix of Trade It All released on the soundtrack to the Ice Cube movie Barbershop.

Still this album could be considered a commercial success since it had moved over a million units by 2003, which was the time Fabby started having some real charts success with singles off his sophomore album, on which he emulated Ja Rule (who makes an appearance on Ghetto Fabolous), romantically dueting female R&B singers Lil’ Mo and Tamia over bootylicious beats.
Except unlike Jeffrey Fab brought his punchlines with him to these radio songs and knew better than to sing the refrains on his own material and in stead let the hired help do that. This is probably what saved him from the sort of riducule Ja would endure as soon as the hit songs stopped coming.
But I digress, suffice to say that this album earned its platinum plaque probably not because of its own merits, but rather because his 2003 album Street Dreams hit the jackpot and people in record stores (yes people bought actual physical copies of music they liked in stores, as late as 2003) picked this one up since they were there and expected Ghetto Fabolous to be another album of Into Yous and Can’t Let You Gos. I’m sure the people who bought Ghetto Fabolous for this reason women were pissed when they actually listened to it. (Street Dreams itself was hardly all acoustic guitars and Commodores-interpolations either, but we’ll get to that soon enough.)

Clue? and his cohort DURO, his colleague mixtape jackass DJ Envy, as well as relative unknowns Rush da Spyda, Omen, Armando Colon produce most of Ghetto Fabolous, and they don’t do a particularly good job, serving up overly glossy store brand imitations of what East Coast hip-hop tended to sound like at the time, that are too clean to be hard and too incomplete to be poppy (somewhat sketchy beats are what marred the first two installments of Clue?’s the Professional series. And it’s no different here.)
Surprisingly the Neptunes contribution and second single Youngn (Holla Back) is boring as hell too. I’m quite confident Pharrell and Chad don’t remember having ever made it. Maybe Clue? stole it out of their reject-bin while the guys were having an argument.
Get RightMa’ Be Easy and Right Now and Later On‘s beats were made on sleep walking strolls too, except this time by Rockwilder, Just Blaze and Timbaland respectively.
Can’t Deny It has Rick Rock selling Fab the exact same boring-ass beat he reused several times on most of his Dynasty contributions (I bet he charged full price too) while the usually reliable Nate Dogg jacks an old 2pac hook over it to meh results.

The other guests don’t add much either, Ja Rule gives Ride For This a DMX-esque overly shouty hook.
Lil’ Mo does that early naughties thing where an R&B singer jacks an old hook of a soul song (In this case I Wonder If I Take You Home by Lisa Lisa & Cult Jam and Full Force) and goes out of his/her way to gangsta it’s lyrics up (In this case by unnaturally jamming the word “thug” into it). Yuck.
Speaking of uninspired, unneccesary gangstaness; Bad Guy has Roc-a-Fella skit-personality getting his bullshit Scarface on between Fab’s verses. It wasn’t funny on Reasonable Doubt and it still wasn’t on Ghetto Fabolous.

The only exception to this is Jagged Edge who give Fabby’s ode to a special lady a sunny hook over an uncharacteristically nice Clue?/DURO beat. It’s not quite as groovy as the Barbershop version, but it comes close and it compensates by not having that wack P. Daddy verse. Regardless it’s Ghetto Fabolous best song, hands down, it’s also the most pop (coincidence?)

As for Fab’s rapping, he is obviously a more than competent punchline rapper, one not devoid of pop appeal either, which is something Canibus or Big L can’t say about themselves. That’s not to say he doesn’t make any beginners mistakes. For instance he all but reuses the same outdated (it wasn’t even fresh in ’01 when Ghetto Fabolous dropped) New Jack City punchline on the album’s first two songs. Also the guy uses the same “swallow my babies” line on two of this album’s songs. This kind of fuckery makes Clue? come across as a sloppy executive producer and Fab as an uninspired rapper. Keeping in line with the corny movies-references; Leathal Weapon gets namedropped on Keeping It Gangsta as well. Not that referencing old movies is a major offence in and by itself (Although rappers, including Fab on this album, definitely overdid it with the Scarface-enacting. And the next rapper who goes and pulls that shit on his album needs to get his recording contract torn-up. One could quote the entire movie verbatim without having ever seen it if one has heard enough rap albums from the ’95-’05 timespan.), but as a running theme it makes it seem as though Fabby hadn’t entered a cinema in the decade prior to relesing his debut album, in which case movie-references may not be a good idea at all.
While he stays on beat and doesn’t fuckup majorly that often besides the minor offences dropping the occasional cheesy clunker of a punchline and tired gangsta’ism, but over these shitty beats he sounds like a complete tool, even if he simultaneously does show his ability to write actual songs as opposed to srings of bad jokes while keeping his style consistent, which isn’t exactly a given with rappers, especially punchline rappers.

Despite Fab having considerable talents there is absolutely no reason to revisit Ghetto Fabolous, an album that gives off a promise of a pretty decent sequel on the condition that the guy cops some proficient production, but has absoloutely nothing else going for it.

Best track
Trade It All

Recommendations
Don’t bother.


Jay-Z – The Dynasty: ROC la Familia

Jay-Z
ROC la Familia: The Dynasty
October 30, 2000
Roc-a-Fella RecordsDef Jam RecordingsUMG
060/100
Jay-Z - Roc la Familia The Dynasty

1. Intro // 2. Change the Game (feat. Beanie Sigel, Memphis Bleek & Static Major) // 3. I Just Wanna Love U (Give It 2 Me) (feat. Pharrell & Omillio Sparks) // 4. Streets Is Talking (feat. Beanie Sigel) // 5. This Can’t Be Life (feat. Beanie Sigel & Scarface) // 6. Get Your Mind Right Mami (feat. Memphis Bleek, Snoop Dogg & Rell) // 7. Stick 2 the Script (feat. Beanie Sigel & DJ Clue?) // 8. You, Me, Him, Her (feat. Memphis Bleek, Beanie Sigel & Amil) // 9. Guilty Until Proven Innocent (feat. R. Kelly) // 10. Parking Lot Pimpin’ (feat. Beanie Sigel, Memphis Bleek & Lil’ Mo) // 11. Holla (performed by Memphis Bleek) // 12. 1-900-Hustler (feat. Beanie Sigel, Memphis Bleek & Freeway) // 13. The R.O.C. (performed by Beanie Sigel & Memphis Bleek) // 14. Soon You’ll Understand // 15. Squeeze First // 16. Where Have You Been (feat. Beanie Sigel)

Because Bleek, Sigel and Jigga each had gold to platinum albums under their belts (one shouldn’t put Sigel and Bleek in the same league as Hova outside of this context) and because they were all signed to the same record label a group album made sense. That way Beans and Memph could ride Hova’s coattails towards a higher status of celebrity and hopefully even higher album sales, and Hova could play the record label executive he always fancied himself as being, while at the same time helping his boys out.

Amil’s album had gone halfway copper, and therefore she gets but a bunch of namechecks (but not paycheques) as though she were still around (it is entirely possible that she used to actually be on most of these songs but was removed last minute, though not the references to her existence, since that would require a whole lot of re-recording), as well as no more than one verse on this project by a group she was supposed to be an integral part of, which is less than the work she got to put in on the last two Jay-Z solo-albums. Oh well, it’s not like she had anything substantial to offer to the proceedings (although one could argue that neither did Bleek.) Question is: Why not replace her with a more talented rapper, such as for instance Sauce Money?

Anyway, that was the bit about how the actual musical content came into existence. Then someone at Def Jam thought it unlikely that people would give a fuck about a hip-hop supergroup (a group made-up of members who already had careers prior to the group’s existence) mostly because of how well The Firm: the Album did four years prior (I’m just guessing here…) and decided to release the album anyway, but with Jay-Z’s name stamped in an obscenely large font onto the album cover to lure people into believing that this was a Jigga solo-release so that Hova’s fans could find it, in record stores near them. Not only does this album almost exclusively consist of ROC posse cuts (Not counting the intro there are but three songs on here that don’t feature Bleek or Sigel) but two tracks don’t feature the Jiggaman at all, making this the worst case of false advertising since DJ Clue? Presents Backstage Mixtape: A Hard Knock Life. Especially since two out of the three singles released off this project didn’t feature Sigel or Bleek but just Jay-Z and some supporting R&B vocals.

Since this wasn’t actually a Jay-Z solo-album even though it was explicitly marketed as such, Jay decided to not call up Timbaland and Swizz Beatz to produce this album so he could save money on beats fuck around with some new sounds to push the hip-hop genre forward. Fortunately for Hov, Bleek and Mac (and Amil, but not really) the up-and-comers that were hired in stead were the Neptunes, Kanye West and Just Blaze, who would become the genre’s production superstars before long. San Francisco Bay based production veteran Rick Rock also got some play. Hova called in favors from the likes of R. Kelly, Snoop Dogg, Static Major, Lil’ Mo. Sigel snuck two of his State Property boys into the studio and the resulting album would be the worst Jay-Z solo album so-far, if it counted that is.

It’s not all bad though, as usual Jay is good for a couple of catchy singles, most notably the blingy Neptunes helmed come on-number Give It to Me (I Just Wanna Love Ya) featuring Pharrell in an amateur Curtis Mayfield capacity and State Property-member Omillio Sparks in the most useless cameo appearance in recent memory…
Um… But the beat is an okay example of the archetypical Neptunes sound and Jay sleepwalks over it in a pleasant-enough manner, which is all you can expect from radio fodder such as this.

Things get a little more substantial on Guilty Until Proven Innocent on which Hov talk about his (then) recent legal troubles (Hova had allegedly stabbed record executive Lance Rivera for leaking songs ment for Vol. 3)  over a boisterous Rockwilder beat. It is sort of amusing to hear Robert rant about being not guilty on the hook, with his upcoming legal troubles in mind.

Change the Game, the only released single that actually had the rest of the “Dynasty” on it, sucks balls what with its repetetive, bland Rick Rock beat, everybody rapping just coasting along and Static Major’s hook which makes it apparent that the man was bored out of his mind when he recorded it. The same goes for all of Rock’s contributions from the needlessly sparkly Snoop Dogg-assisted Get Your Mind Right to the Lil’ Mo-featuring Parking Lot Pimpin’ to the Hova solo-shot Squeeze 1st.

Just Blaze and Kanye West fare a lot better with their soul-sampling beats that layed the Blueprint for what rap was going to sound like for the years to come (pun intended). Especially Kanye’s sole contribution, the Scarface-featuring This Can’t Be Life is dope, easily the best track on here. Streets Is Talking the sequel of sorts to 1997’s Streets Is Watching isn’t quite as good as its prequel, but it comes close nevertheless. And the Shawn Carter-solo Soon You’ll Understand is a precursor to what greatness was to come on the Blueprint.

The Bink!-produced 1-900 Hustler has all of the Dynasty (well, except Amil off course) plus Freeway, answer called-in questions about gangsta life on a fictitious radio show of the titular name. In spite of, or maybe because of its corny concept and its hilariously graphic execution it works and it is one of the few moments on this album where Roc La Familia shines as a group, as opposed Bleek getting out-rapped by Sigel and Sigel getting out-rapped by Hov. Another point where this supergroup thing actually works is the album closer Where Have You Been on which Jigga and Mac diss the shit out of their absentee father both sounding legitimately emotional, never moreso than the moment where Sigel almost throws up.

Besides these instances of brilliance, as well as the previously mentioned This Can’t Be Life there isn’t much in the form of chemistry to be found amongst the group members. Which is not to say that the Memphis Bleek solo-song is actually good (It is telling that most of what does work doesn’t actually feature Bleek), but yeah this is a serious problem for the success rate which lies comfortably beneath 50%. It is a testamant to how good the good songs are that this got the rating it did get.

Best tracks
I Just Wanna Love U (Give It 2 Me)
Streets Is Talking
This Can’t Be Life
Guilty Until Proven Innocent
1-900-Hustler
Soon You’ll Understand
Where Have You Been

Recommendations
would tell you to pick up the above songs individually off iTunes, Amazon or Spotify if I weren’t convinced that this would cost you more money than to simply buy the album. And the above tracks are certainly worth owning. So I’m going to say: Buy it but just don’t spend over five bucks on it and don’t put it on top of your to do list.