This is a great representation of how not every track needs every member of the group. With 50 Cent missing for every track but one that doesn’t have the other members on it, the rest of the group do great to show they can step out form behind that shadow.
The production is good with plenty of variation in pace and boldness. There are plenty of beats that provide a great atmosphere without becoming the centre of attention, leaving lots of scope for the artists. Maybe some backings aimed further from underground street music would open up more avenues for the members, but the production selection here is all effective.
The lyricism is good from everyone and shows how cohesive the members can be. Each puts in good verses and energy that really improves this project with its level of entertainment. Some less street themed songs and some more mainstream music may help to raise the profile of the members, but they all do a great job.
Overall, this is an enjoyable listen to remind people that G-Unit is more than just 50’s backup. Each shows they have the skills to be great artists and can work well without the head honcho.
While this is almost a deluxe release of 50 Cent’s previous mixtape, the choice to include work from Young Buck and Lloyd Banks does add another dimension to the project. An odd choice but not necessarily a bad one.
The production is good with plenty of the gritty sounds that made 50 a success in the first place. The additional tracks all have the signature patterns that built up Young Buck and Lloyd Banks in the first place. All together this helps to make a cohesive project that could have done with a touch more refinement.
The lyricism is good with 50 returning to his grittier roots while keeping the angle of having too much money. The other main artists step up their delivery and complexity to show what they are capable of off the back of this tape. Some more changes in flow could create some more interesting moments, but what they rhyme on this is still great to listen to.
The features all help to make this more cohesive as a project by adding more voices to the view points. Each has a good verse that actually helps to show how G-Unit can work with newer talent as well as each other. Some more singers could help give more variety on this project but 50 takes the brunt of this talent himself with his ability on the hooks.
Overall, this project is definitely made up of three acts. there is 50 cents original Kanan Tape, followed by Young Bucks showing, finished with Lloyd Banks lyrical ability. The next G-Unit project will have all the members on it and they will all show ability like this.
This album is ruined by all the references to how successful he currently feels he is. However the arrogance displayed does not reflect his position in Hip Hop and this project may well have brought him down a stage.
The production is good and opens a variety of avenues for song content. Troy does try his hand at a variety of track types, but doesnt get into the groove of each beat to make the connections cohesive. While variety is good, he needs to limit it down to a beat selection he really gels with.
The lyricism is alright but the lack of substantial content really takes from the performance. Troy Ave does have some good things wrapped into his rhymes but the delivery and obsession with wealth take away from what could be some great songs. Troy needs to look into some new things to rap about if he wants to be an actual success.
The features are a mixture of cohesive guests to big name rappers who all do well on the tracks they feature on. All of them put in good effort and, while some do better than others, each shows they can be big in Hip Hop. Some features that dont fit the rap profile so much could have expanded the audiance for this project, but the guests on this are a good selection.
Overall, this could have been an enjoyable album but Troy Ave does not seem to care about how good the songs are as long as he can rap about money. He has a lot of work to do.
This is an enjoyable effort and should be seen as the other half of thier album when put together with thier previous EP “The Beauty of Independance”. It is still a cohesive listen but is of a more street level, much like thier debut album.
The production is great and comes across as very polished while being energetic and somewhat menacing in places. The sounds used combined with the nature of the songs help to make a set of songs that show each of the members showcasing thier rap style and how well they can rap over production of this quality.
The lyricism is great by some members but not so by others. However they all have powerful delivery and this helps make up for any lyrical shortcomings that may be found on this EP. It is possible that some more lyrical devices would improve this project but not by much as it is only six songs that all combine together well without too much lyrical input.
There aren’t any features which is good because there are five members of G-Unit and only six track on this EP. Any guests would have taken away valuable time from one of the members which would have made this project much less cohesive to listen to.
Overall, this is a good effort from G-Unit, but these batches of six songs need to be part of a longer project forthe world ton see that the group can consistently churn out good music and can structure it into a full length release. It also couldn’t hurt to try a feature or two to see if the members can work with others outside the group.
This is a collection of songs where Tyga and Chris both cruise along in auto pilot and don’t tend to really try and excel in any given area. They should take into consideration the falling of both of thier album sales in thier careers and really try to break new ground to maintain thier place amoung the pop/Hip Hop world.
The production is actually very good and works well with the party culture both Tyga and Chris seem to be involved in. While there is not a lot of range there are also more sombre offerings that open up the duo to a more complete project rather than a party mix. Some more emotional tracks would make this a more well rounded album, but if you like the formula for thier hits, this could be an enjoyable album for you.
The lyricism is alright but nothing that will break down barriers and allow them into the lyrical elite. There is some wordplay and schemes involved but it is all rather basic and is relying on the beat and energy to pull it through. This is part of both Tyga and Chris’ general song etiquette and should not come as a surprise, simply a disappointment.
The features do well to be distinct on the song they are on and bring a good amount of diversity to the album. Each brings a good verse to the album and helps raise the level of intellect overall. Maybe some more features that are a bit more out of thier comfort zone would help create more of an atmosphere of attempting something new but as features go, these do a great job.
Overall, this is an entertaining listen if you like the music Tyga and Chris Brown put out individually as this is basically a mash up of the two. However if you are looking for something more encapsulating, this is not the album for you.
The first disc is a well crafted showcase of how the Shady Records roster is prepared to make more hits and the second is a track back at the past records that helped build it up to the powerhouse it is today. Eminem started it up and has kept it rolling through some tough times and a total reboot, but it is in a strong place now and this set of records is a signal that the label is as strong, or stronger than it has ever been.
The production is great, but being a protégé of Dr Dre you pick up an ear for beats. There is a good range of beat type from country to heavy and everything in-between. Each one compliments the message and tone of the track and helps to show the range of songs and backings that the Shady Crew can work with.
The lyricism is clear and present on every track. It becomes even clearer than before that these are some of the top lyricists in the rap game and that they are not to be trifled with. These guys have come to play hardball and they are annihilating almost all other rappers out there. If your a fan of lyricism and wordplay, you have to get this project.
The features are good and show that the group can work well together with an outside influence. As well as working together with them, they also seem to gain a competitive edge and work harder to outdo the feature which creates a sense of the pure nature of Hip Hop as well as creating a great track for the listener.
Overall, this is a fantastic project for both listeners and the performers on it and we can only hope they continue to create tracks of this magnitude. Whether it’s Yelawolf, any member of Slaughterhouse or Eminem, the rest of the Hip Hop world should take heed of whatever they are doing because it is bound to be a success.
This album is a collection of tracks about how rich 50 Cent is and how he can still make street tracks. However, surely if you are as rich as he claims to be then you don’t need to be doing that street stuff right? On this basis this album is not believable or cohesive as 50 should want it to be.
The production on the album is good and fits individually with each track, but after 11 tracks of fairly repetitive tracks of the same message over and over, it can become stale. If there was more of a variation in the atmosphere and feel of each track, then the production would stand out more than it does currently.
50 still has his unique rap style, but his lyrics come across as bland and meaningless when you listen to all the tracks together as they are all more than a bit similar. If you take one track out of the whole set, then seems to be a much better track than when it is played with the rest of the album.
Overall, it is clear why 50 released almost every track as a single, because they play better by themselves. When they are put together they come across as a collection of tracks about being rich and being street while being rich, and it does not come across well.