Jan 24, 2016

I'm a writer for the blog now so this is going to turn into the place where I review "old" albums and do user requests from readers like you; I'm probably going to review unknown albums and new albums on the blog. If you have a request, place it here but don't overwhelm me. Music takes me 20-60 minutes to listen to depending on length.

http://hiphop-n-more.com/wp-content/uploads/2015/03/kendrick-lamar-pick-next-single-from-to-p-----a-butterfly.jpg
Kendrick Lamar - To p---- a Butterfly
Released by Top Dawg/Aftermath Interscope on March 15, 2015.​

I've been wanting to review this for a while mainly because of it's polarizing appeal. I've read alot of things about how people think it's unlistenable and pretentious, how people think it's the GOAT album, how people don't appreciate this album and how people think this album influences a new generation to listen to jazz... Quite frankly it's the most interesting aspect of this album.

I have a theory, I think everything about this album is designed to provoke discussion. For one, the title; To p---- a Butterfly has many meanings, it doesn't refer to the album in general but to the concept... A butterfly is a metaphorical animal that flies and pollinates everything while pimping is to make something better through support (people say that pimping is excess oftenly though...) so my theory is that Kendrick is the metaphorical butterfly and because of the experiences he's gone through, he's becomed pimped out. Another is the album cover, this shows Africans rising up to power with success to the point of being recognized by Washington and it's a provocative statement. It's something that can only be theorized on, the difference between eras and racial treatment, the long process of acceptance, it could even mean anything... The title and cover alone should combine to make it art but here's the third part...

The jazzy atmosphere.

While Snoop and Common have often touched the surface of Jazz and Funk, the two blackest genres known to man; Kendrick fully embraces it and the production on this is amazing. It's like a mixture of Good Kid with Section.80 except with complexion, it's atmospheric but hectic at the same time as tons of horns and guitars populate the albums soundscapes; the best part about it is that it's subjective. For one person, it might remind them of the 90s, it might remind them of a certain moment in life, it might even be the soundscape of Kendrick's life. This is what good production is all about, making people think and making people feel something unique to them; it also provides to the argument, does the hate of the album subject people's resistance to the unknown, the unfamiliar, the barrier on this is large and the only way to find out which side you're on is by listening to the album. It's like "Knocked Up" or "The 40 Year Old Virgin", you can read up about it but you'll never find out unless you listen to it. I'm not going to go into a history lesson here.

The lyrics are socioconscious and self-referential at the same time. Kendrick declared in an XXL interview that he was "the chosen one", and because he's the chosen one, he has the ability to talk down to an audience. Many of these lyrics contain references to history and references to abuse/shunning to different races along the ongoing flow of time, including now; his lyrics contain complex subverbs, metaphors and entendres that are different, even if you've listened to Kendrick's previous work. People are going to draw up distinct viewspoints about it including what Kendrick truly feels about the world he lives in and whether or not he'd be able to find peace in a world full of hate as examples. Each viewpoint is going to be unique and you're probably going to be finding him rapping about something common or enjoying every one of his words.

I can see why people hate and love this album at the same time but the point is clear; the entire album is a provocation for discussion that doubles as entertainment. Even though the album seems like a mainstream hip-hop on the outside, it's really underground; like Bandcamp underground; it forces people to chose a side on each subject, including the album as a whole. Issues that aren't normally brought up are brought up through this album and frankly I consider it to be a social experiment to see how people tick mentally; brains are a complex thing you know. But as a cohesive piece of music, this is exceptional. Kendrick placed faith in the right guests/producers and even if it is shrouded in controversy, this is a good album to listen to. Exception include "u" but that's only because it was designed to be uncomfortable to fit the sociological experiment. If Kendrick the chosen one, probably so.

Rating: 9.5/10
​

Begin discussion now.

 

Jan 12, 2016

Future - DS2
Released July 17th, 2015 by Epic Records​

You'll be surprised if you're one of the ones who read the "Monster" review. I actually fell in love with this album; I know, it's trap but wow... the production on this is magical, polished, professional and unexpected, all at once. Trap has become very boring and very generic but this is like a wake up call to all of the trappers out there; what has become monotonous is turned on it's heals and made fresh again, 9 of the tracks are absolute bangers with it's atmospheric production and creativeness. "Where Ya At" is my personal favorite in that Future uses the track to resonate with listeners who wonder where people were during their downpoints and even though Drake outshines him, Future still comes out the winner.

In fact, having him as the only guest is smart because this album shows his songwriting talents. Much of this album is him playing the character while at the same time showing his true side; it's escapism but at the same time it relates to the listener. You can feel his pain in many of the tracks as he talks about being addicted, selling drugs, trying to survive, having a good time and of course, Ciara. These remind me of the songs in the 70's that talked about love as well as social issues and getting down. Sure they sounded the same but the soul was there, it's evident that Future has soul.

I'm sorry but I'm really surprised by how good this album is, while 3 of the songs in the beginning are clunkers with plodding production (not Future's verses), the rest of this album is a trap&b masterpiece. In fact since it hit the pop world, it (along with The Weeknd) also ushers in a new era of pop, one where explicitness is the norm and crazy s--- like this (though censored) gets a pass because it's just so fresh and unique. Pop is loving Future's perspective right now and I'm pretty sure other pop artists are copying him as we speak. Future doesn't go pop on this album but the fact that it broke into the mainstream says something about the quality of the album.

It still depends on whether you like trap or not because if you don't then the only song you'll find yourself listening to is "Where Ya At" and that's a big if. In fact if you listened to "Groupies" then well, you might think that the album will sound like that; plodding and generic. Trust me, it's not.

I have to say, this is a wonderful turnaround; I don't know how they did it but they did it. Metro Boomin, Southside, Future, those are the ones you should thank. If it weren't for those 3 then Future wouldn't have the stature he has now and if it weren't for this album than he wouldn't be as big as he was; in fact it inspired me to listen to Dirty Sprite in it's entirety. Regardless this works as a standalone product and could be the retail professional version of Dirty Sprite with edgier beats, polished flow and confidence.

Rating: 9.0/10​

 

May 25, 2016

Drake - If You're Reading This It's Too Late
Released February 13th, 2015 by Cash Money/Republic​

Drake whether you like it or not is a centerpiece of modern hip-hop; I'm not saying a centerpiece as in highly acclaimed or best rapper alive, I'm just saying he's there. When Views dropped, everybody let out a shrug of non-importance as what was the most anticipated project alive turned out to be a dud. While Views was in it's brewing stages however he made this, "If You're Reading This It's Too Late". A mixtape that should of been "Views From The 6". In fact it shouldn't even be considered a mixtape.

Let me just say that Drake does better on his Mixtapes than his studio albums (with the exception of NWTS) as evident by "So Far Gone" which was released during the hipster era of Hip-Hop and had a distinctive electronic lo-fi sound with lyrics about girls and romance. The album after that "Thank Me Later" was less impressive due to the fact that something was missing in the formula. Maybe it's the fact that Drake is insecure in his studio albums, maybe he thinks the world needs pop-rap music but then again, this exists for some reason; maybe he had some steam to let off, maybe he had demons haunting him, who knows? All I know is this Drake is what Views should of been.

There's a sense of aggression and braggacio that has never been seen before from Drake, ever. Upon first listen, the project will weird you out but listen after listen, it makes sense... Insecure Drake is the Drake that earns him money but aggressive Drake is the one hip-hop heads will respect, especially "Energy". This is the song that'll define Drake; though the lyrics may be simplistic sometimes, his flow, energy and punchlines are on-point and hard plus the beat is unlike anything Drake has ever experienced. This song is what I wanted Views to be like, straight aggressive rap. Not this "Take Care 2" stuff.

The energy from "Energy" spreads to all of the other songs and the result is something that sounds like a distinct mix of East coast rap, Down south rap and Canadian rap; every song is polished with perfect sounding grooves and unpolished with gritty flows and singing. Drake is known as a singer and rapper but never has he not given a s--- about anything in his life; this is him not giving a s--- but in a good way. You can definitely feel his rap persona on many songs like "Madonna" where he basically plays the polar opposite of what he portrays himself to be and "Star67" which has got to be one of Drake's best songs yet. Then there's "6PM in New York" where he spits one long verse and manages to show off the best qualities of him, something he has been unable to do with his albums.

If given the path between stardom and being a mixtape rapper, I think he should of been a mixtape rapper. The mixtape Drake is awesome in how he presents himself and I love this Drake more than all the other Drake's combined. It's the Drake that brought us "Back to Back", it's the Drake that brought us "Summer Sixteen", it's the Drake that should be famous. It's also unfortunate that this album got brought up in the ghostwriter conversations because 15 of these songs are entertaining, there's only 2 weak songs on the album. And even then, Drake is not trying to make hits or present a false image; ghostwriting is for people who have no real skill or creativity and with me saying that, this is the only time we get real skill or creativity from Drake as a solo artist. Bonus shoutout to "You and the 6"; that song defines all of Drake's family problems, reflection and experience all in one song. He didn't need 5 albums to tell his life story, he could do it with one song.

I'm going to get a lot of flak for saying this but "If You're Reading This It's Too Late", is Drake's best project ever. This is a seminal moment in Drake's life where he not only focuses on himself, but the allegories of fame and the downsides of living a life like his. Canadian rap has never seen such an accomplishment like this. May be overrating it, who knows but all I know is that I can see quality where I see it and this album is quality. Name it "Views" and you would of got yourself a classic.

Rating: 10/10
Get the album on iTunes.​

 

Jan 18, 2016

Kanye West (ft. Kendrick Lamar) - No More Parties in LA
Released on Soundcloud January 18th, 2016
​

You know how hip-hop has evolved from samples to electronic from samples back to the electronic sound? Well there's always a pioneering force that pushes Hip-Hop in different direct directions from The Sugarhill g--- to LL Cool J to Timbaland to Jay-Z and Kanye West and back to Kanye West. Why is Kanye listed twice, because he went from soul to electronica and surprisingly back to soul with this track.

I don't know what it is but when I first heard it, I instantly felt the old Kanye come back to life and I had the feeling that sampled underground music would make a comeback; this seriously feels like 90's New York rap except made in the modern times. There's a certain agressiveness to the beat but there's also a mellowness to the beat and that's courtesy of the two producers working together. Madlib and Kanye West. I'm guessing this is the first time those two have worked together and man is it magical.

The two rappers on the track trade fresh and inspired verses. Kendrick delivers yet another top 10 verse that his fans will go into but there's something in Kanye we haven't seen before (or in his spur-of-the-moment recording "FACTS"). I don't know if it's the presidential campaign or the fact that he's focusing on the thing that made him famous (his music) but he sounds really inspired. We have never seen Kanye this hungry since The College Dropout and Late Registration; this is not the Kanye obsessed with art, this is the Kanye who is obsessed with the Roc, with rap, with performing and it shows with lines so quotable you can't stop saying them.

If this is what SWISH is going to sound like than I'm instantly anticipating it. Only insignificant problem is that the song is a bit long but hey, if it contains a lot of good verses than I'm willing to give it a pass. Kendrick x Kanye x Madlib = pure fire. Nuff' said.

Rating: 10/10
​

 

Jan 15, 2016

@Cyreides - Autumn Storm
Self-released November 28th, 2015​

I was going to get to member-created albums eventually, might as well make this the first one. Now this album I became interested in when I saw a screenshot of it in production; the complexity it has but the simplisticy it beholds, never have I seen so many things get used; I thought, this guy is a pro or something.

Then it turns out, this guy is a pro or something.

Much of this album is instrumental with very few lyrics littered throughout, which makes for an interesting listen as much of the time you'll be listening to what appears to be a mix of atmosphere, electronica and dubstep; professionally produced, mastered and sealed. The variety here is amazing, with one song you get melodic symphonies and with another you get harsh pleasing sounds that make their mark. It's almost ecliptic in it's moods and the moods work together to paint a story that truly represents the album title.

At one point you get aggression and yet at another you get contemplation; as if the music had a sense of manicness to it, which again makes for an interesting listen. At some points it's as clear as the rain and yet at some points there's grit and distortion; it would get boring if it were the same thing over and over again but here's the thing; it's not the same old thing. There's even sound effects littered throughout to give it a cinematic feel which it deserves since this is technically a concept album with a story, a story you fill in the blanks to but a story nonetheless.

Many producers feel intimidated to create an instrumental album, Cyreides does not. In fact due to his numerous skills in the game, he knows how to do effects normal human beings do not know how to do. I'm still trying to figure out how to do this myself so to see a producer up the game for the rest of the people is pleasing in that it shows there's still a sense of competition out there. It'll take 2, no 5 or more listens in order for you to full understand what is going on here. Is it a straightforward story, is there more to the story or is there more to the sound.

That's what makes the album so amazing, it's replayable to no end. This makes for good studying material if you're looking to be a producer because there's just so many sounds, so many tricks, so much mastering that went into this album and to get them all at one sitting, it's just really impossible to do. Cyreides, you have created an album that is possibly the best out there, congrats.

Rating: 10/10​

 

Jan 12, 2016

oh s--- this worth featuring

rly good write up

will queue this

 

Jan 12, 2016

Future - Monster
Self-released October 28th, 2014.​

First time I've heard of Future is when I listened to "Where Ya At" on repeat; that and much of "What a Time to Be Alive" (which I will review soon.) I have been interested in listening further since "Where Ya At" is the epitany of next-level trap but from the snippets I've listened to, I didn't get what the hype was all about.

Maybe I was missing something.

Trap is definitely not my style but I like to try new things so I listened to this mixtape in full. Now as a rule I generally don't allow mixtapes in my discography. For one the songs could be freestyles or remixes or even other songs which don't fit in with a cohesiveness of an album, two it doesn't have the polish or officialness of an official release which I can be sure will fit in with the rest of my collection and three, I want to have real music in my collection. That's why I only collect albums.

However, this mixtape sounds cohesive and is apparently part of the ongoing hunger fueled by his breakup with Ciara. This mixtape is not for everyone though, for one the beats don't flow properly (again, mixtape) or mesh together with each other creating a sense of isolation for each track and Future's voice can be grating for some plus if you're not into trap then you're going to hate every minute of it. It's all based on your tastes and this is the ultimate in taste; the drums have that 808 kick and those hats which have 8-time as is atypical in trap music. The snares also have that bounce and the Atlanta flavor is there. The synths are there and present and that feeling of majesticy is also there which is unusual for a trap album.

I've listened to Young Jeezy before so I'm no stranger to trap, however in it's early stages trap was more or less a subject matter thing and didn't have the distinctive style that it has now. It was mostly about rapping about d--- dealing and using catchy punchlines in order to deliver emphasis and hook the listener. In 2005 it sounded like a subset of southern music, in 2014 however it sounds like it's taken a road for it's own. In comparison with Young Jeezy. Young Jeezy is better in that he has a worldview that's ever maturing and lyricism that's above average, however Future is sort of like a hybrid trap&b rapper/singer in that his verses have no flow but manage to be clear and concise without missing a beat; his lyrics are much like blues in that he raps about his down and out life, his addictions, his pain and you can definitely feel his pain. While his use of autotune may be gimmicky, his grit shows through the autotune.

Trap can be tough to listen to (much like EDM/dubstep) as it requires a discerning like for the genre and a discerning taste; I know, I don't listen to the first half of "The Recession" because it's tough listening, all of the beats have to appeal to you or else it doesn't work. The beats here have a certain Atlanta grit to them and some of them do manage to be distinctive, "f--- Up Some Commas" and "Wesley Presley" do mange to stand out in terms of that but still, taste. Still there is a bright side, Future's voice and lyrics are clearly the star here as he manages to rip up tracks as if it were nothing; his lyrics though simplistic have meaning and soul and he knows how to utilize a beat to his advantage. He knows which producers to work with and he knows what he sounds good on and in Monster, he uses that. Metro Boomin' may not be my favorite producer (same goes for the others on the tracks) but when they work magic, they definitely work magic which is evidence by the song "Where Ya At" being a superhit on the radio and of course, "Jumpman".

This mixtape was good in unleashing the raw energy that Future has; he's not a rapper in a traditional sense but a songwriter/singer who has basically invented the genre of trap&b. If you were expecting something traditional you might be disappointed but take a listen, it's basically magical really. It's not for everyone though, much of it isn't for me but it could be for you. It has good production values, good singing, good energy but a lack of consistency and quality holds it back; ultimately it's up to you whether to treat it as background music or not but you will appreciate Future's vocals, efforts and work ethic.

Rating: 6.5/10​

If I offended anybody, I'm sorry. Just saying this in advance. DS2 up next.

 

Jan 21, 2016

Danny Brown - Old
Released by Fool's Gold on October 8th, 2013
​

Well... First in a long line of user requests but I finally got around to it. I've heard of Danny Brown from reading the hip-hop news but due to the amount of music I had to listen to, I never got around to it until now.

From first listen, it's clear Danny Brown is aiming for one audience only; the underground. The rhymes are very hard hitting for example; it's clear Danny Brown isn't dumbing down for anyone with his dark grimy rhymes filled with clever metaphors, drug references and well... smart gangsta rap. His lyrics are bravado at it's finest and braggadocio at it's peak and the voice he utilizes suits his soundscapes well. It's clear that he's not going to appeal to the mainstream as many of his lyrics require prior street knowledge or an admiration for the game at hand, he isn't out to party; he's out to get high and he's not out to have relationships, he's here to have straight sex. This is a very good thing as it shows integrity in it's purest form.

While the album may not be produced by him, it's very consistent and mixes 3 types of styles well. Underground boom bap, trap and electro-hop. It's very underground per say and takes a natural understanding of the genre to appreciate; if you're not the one who collects underground records that only sold 500 copies or less then it's going to take some time to adjust as these sonic soundscapes are unforgiving in nature and brooding encompassing all types of feelings from aggression, contemplation to (though very rarely) even happiness. The drums, snares and hi-hats all snap and the backgrounds are amazing in their detail and appreciation towards the culture.

Best part about it is that the songs are short, he just spits 1 or 2 verses and then it's on their way. There's no hooks and if you were expecting song structure than only one song has it. This is hip-hop at it's rawest, purest and finest and there's no time to linger on bad decisions with songs, if there isn't a song you don't like; don't worry, it'll be on to the next one in 2-3 minutes. I appreciate him for doing this as it allows him to include more songs without losing the attention of the listener, there are so many things Danny has to say and though it may be 19 songs long, the album's timeframe is only 40 minutes.

Only downside is that there are a few weak tracks in there where he goes too underground or too long. Not to say they're not polished but I just couldn't get into them, it was like he was trying too hard when previously he wasn't trying as hard. I get the need to include some selling points but this album was supposed to force Danny in the spotlight and showcase integrity. While it does have a lot of integrity, the weakness in some of it makes me question that.

So what do I think. This is good stuff, listening to it makes you feel like you're at a dive bar listening to hip-hop music and that's the intended feel. It's almost like a live album except without the live part, it's one concert that's disquised to be an album and it's Danny Brown's shining moment. For that, I commend him.

Rating: 8.5/10
​

 

Jan 12, 2016

I'm bored so I decided to make this. Any comments/conversation would be appreciated.

First off...

The Bucketheads (Kenny Dope) - All in the Mind
Released August 8th, 1995 by Atlantic Records.
​

During one of KDAY's holloween mixes back in 2012, I first took a hit of These Sounds (Fall Into My Mind) and I got hooked. I decided to do some research and found out that this was a side project of Kenny Dope's. One that combined hip-hop with tropical sounds and electronica. What you're seeing above is the US artwork. The UK version has different artwork that I don't really like and I feel like this album artwork fits the album perfectly.

Most of you will have heard of this project through the single. However, the core lies within the album's other 11 tracks. These Sounds is only a piece of the painting that just happened to be popular; it is good in it's own right with it's horns and it's tropical flavor but it's just the appetizer. Something to get you hooked for the main course much like Daft Punk's singles like "One More Time" and "Around the World" The real meat lies further down...

The samples are smooth, funky, frenetic and interesting at the same time creating an atmosphere that calms you yet makes you dance. It varies from track to track to. "Time & Space" contains samples that range from the shout-outs to yesterday to the soothing sonics of unexpected vocals that fit in with the track perfectly. So much so in fact that it makes that original track which the sample came from pale in comparison. "Sunset (New At)" is a calypso of xylophones and tropical instruments combined with low-pass filters so perfectly timed that it makes you feel energized and alive.

It's more than just tropical sounds, the horns on "You're a Runaway" and "I Wanna Know" are jazzy, old-fashioned and modern at the same time giving an atmosphere unheard of in today's times. It's Caribbean in a sense but it also appeals to modern jazz fans at the same time by including Wurleys and Rhodes to even things out. It's melodic but at the same time has a dance feel to it. There are instances where the two worlds collide. In "Jus' Plain Funky", the Caribbean influences mix with the jazzy influences to create something unique and genre-defining in Electronica.

I could go on about the songs but I'm going to detour here, if you actually know the samples being used by heart then you'lll have a greater appreciation for the album. If you listened to DJ Jazzy Jeff & The Fresh Prince then you know where the sample on the 2nd track came from; alot of times you can't tell what's original and what's sampled which makes for a fun listen every time. It's an intriguing puzzle for producers who want to replicate that style and what Kenny Dope does here is forward-thinking. Much of the album is lightning in a bottle combined with cohesiveness. I say much because 1 song doesn't exactly match up with the rest. The outro could be better and yet it is still considered a good song nonetheless cause it wraps the package up nicely with a bowtie.

This album may be known for one song but it should be known for 12; people who work on Electronica are known for making very cohesive works and this is no exception. Though Kenny Dope is known more as a hip-hop producer, his steps into Electronica are ultimately successful and it's a shame more people don't know about it. It's tropical, it's jazzy, it's groovy, it's dancable and best of all, it has replayability. Even though this came out in 1995, it still has the toes to stand in 2015 and it has aged admirably much like Daft Punk/Prodigy/Aphex Twin albums. In short, this one is a must have for electronica fans and music lovers alike.

Rating: 10/10

Want an album reviewed by me? (including your own), just post your request below.​

 

May 3, 2016

Drake - Views
Released April 22nd, 2016 by Cash Money/Republic​

Well... First review in a long time but I had to do it; for the culture and to compete with @Narsh you know... Anyways, the buildup to Views (which was known as Views From The 6) has been long and tenseful with nobody knowing what the album would be like. We even got a commercially released mixtape out of it which I promise I will review later. Tensions were high, was it going to be a Drake album with IYRTITL rapping or was it going to be a unique Drake album. The classic which everybody was expecting.

Unfortunately, what we got was another Drake record.

From the getgo, this feels like a mixture of Take Care and Nothing Was the Same with some modern tendencies; except it starts off with singing instead of rapping. Many of the songs here are not representative of Canada (specifically Toronto) but specifically himself with the usual songs talking about his family and of course, how clever and big he is on the mic. It's not to be expected, Drake is the biggest thing out there right now (with guests like Future on the mic which tries to replicate the magic of WATTBA but falls way short) and what he does works for him but in an album that was promised to be Drake's "Blueprint", we expect more.

If you've taken a listen to Drake's previous albums, you'll notice that this one sounds a lot more east coast. I will say that I like this change because it gives the album a unique sound. One that is unlike Drake albums of the past... Of course, it's polished and it at times feels like a P. Diddy album rather than a Drake album; if you're one of the ones who expected Views to sound like IYRTITL and I mean raw than you're in for a disappointment because this was designed for the pop charts, not for the streets.

Not to say there aren't some good tracks and with 19 tracks, it's definitely more than Drake's last album. There's definately something here for everybody, if you like aggressive moody rap, there's "Pop Style" (which of course is home to the Chainin' Taitum' line.), if you like pop songs, there's "One Dance" (which of course is up there with the best of views) and if you like reggae (ish), there's Controlla. I can't believe how good Controlla is, I initially disliked it but upon second listen; wow, it's such an enjoyable track, probably the best of Views.

However, if you've listened to Take Care. You've listened to Views. If you listened to NWTS, you've listened to Views. If you've listened to IYRTITL then you'll probably want to check out Views and this is the problem because this album will likely gain critical reception for simply being slightly better than the rest. It's simply not worth the hype that was built upon it, it's a good sounding record but will I remember it 5 years down the road or will I listen to IYRTITL and enjoy every minute of it? I think you know the answer.

Rating: 6.5/10
Get the album on iTunes.​

 

Jan 15, 2016

Keep up with this thread!

You raise to decent points about Future - Monster but I can't agree with rating, especially if WATTBA is rated higher.

 

Jan 15, 2016

Thanks for listening to it, wasn't sure if you did after you posted in the thread. And thanks for reviewing it haha, felt like I was reading through what is sometimes my ego tho lol

 

Jan 13, 2016

Sauce Money - Middle Finger U
Released May 23, 2000 on Priority Records​

Sauce Money has always been one of the underrated gems of our time. He was a part of the Roc-A-Fella empire during it's early days, he was a writer (and still is) for Diddy and others and he put out this album which really showcases his talent.

From the first song onward, you can definitely feel Sauce Money's energy as he runs through what he knows. Marcy, his constantly ongoing life, backstabbers, money, living the high-life and of course, boastful lines. The lines here are hard-hitting and sometimes funny; he paints the larger than life image of the titular character in an effortless way, and since he's writing the product himself, you know that he is certain about what he wants. The lack of guest appearences enhance his certainty, as he doesn't need anybody to show him how great he is; he can do it himself. Of course with greats like Jay Z backing him up, who needs anybody else? The only downside is Memphis Bleek which people will either hate or love.

His ability to take a boastful instrumental and take it into a street anthem almost instantly is also in play here as many songs have that bravado similar to rap albums at the time but taken to a whole other level. Every line comes at you without giving you a chance to breathe and if you have this on repeat then you will remember the lines. Of course, that doesn't mean there isn't a somber song, "Section 53, Row 78" is amazing in that he's able to transcend the production and tell a story about his mother behind bars and how much he appreciates her during his life. It's a sweet moment that manages to stand out as one of the album's best tracks.

Sauce Money's voice is relatable in that listeners can connect to it almost instantly; it's low tremor helping matters beautifully. Though many of the songs are boasts, his advice comes through loud and clear and can actually help you in life; it's that sort of thing that transcends a persona, very few people are actually able to do that and to see Sauce Money doing it will possibly inspire you to do it yourself. That's why Sauce Money himself is underrated, because he himself has to be truly appreciated by the people who are listening to him not because of Jay-Z or Diddy; but because they're lovers/appreciaters of the culture as a whole.

The only thing missing is the production which while fitting Sauce Money like a glove, could be better. Many of the songs here feel like they don't stand out from each other; it sounds like generic 2000's era rap which may have been the reason the album didn't sell as well. Don't get me wrong, I like the production and Sauce Money uses the production to massive effect but it seems like they were trying too hard to get on the radio and make this a success, which is a shame since much of this could of reached a wider audience. Also it has the feeling of not being up-to-date enough; it was fine if it were released in 1996 but by 1999, the rap game had changed so much that it wasn't even funny. Other people will mind, other people won't but it does present a problem.

Sauce Money is one of the greatest of all time and with this underrated release it shows. His persona is relatable yet larger than life at the same time and the lyrics on here are fire, especially "Pre-Game". Though the production may be missing a bit, Sauce Money rocks like no other out there and it's a shame that this is his only release because he should be making another album, he should be showing these cats how it's done but instead he's in hiding which is a shame because Sauce Money is a real talent. Go show your support by buying this album.

Rating: 8.5/10​