This project shows that Lloyd Banks can still write absolute bars and that people should respect his name. This themed project doesn’t do the man justice, but is still a great listen.
The production is different, while the more horror-core influence to fit with the Halloween name. The use of darker sounds makes a great atmosphere but sounds like there could be something missing as it doesn’t have the high impact that makes it resonate with the listener. Maybe with a different or no theme, Banks could make some tracks to land harder with the listener.
The lyricism is gold with Banks showing why some call him the Punch Line King. His rhymes are all complex and full of top level wordplay that leaves the audience wanting more. His delivery can come across as monotone and his hooks need a little spicing up, but he is definitely one of the best writers out there right now.
Overall this is a great themed listen for Halloween, but much like Halloween it wont be around very long. However with no features it should show any rap fan that Lloyd Banks should be remembered for how well he writes rather than as simply a member of G-unit.
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 is a confusing debut. Banks fills the project with club beats and catchy rhythms, but her actual vocals seem to spend a lot of the time in the background and not at the forefront of the song. She is talented when you can hear her, but it can be a struggle sometimes.
The production is very good if you want to hear beats designed for the club or parties, but there it becomes repetitive and a struggle to listen to the project the whole way through. Some tracks, “212” for example, stand out as the better ones to take out and put in your own playlists, for you to listen to, but on the whole they tend to blend together a lot.
The lyricism, when you can hear it, is good, but not fantastic. That’s not to say it isn’t enjoyable.Banks flows easily over the backing beat, blending into it a lot of the time, and is very much in her comfort zone on these tracks. It would be good for the project if she had diversified and showed she had more than one set style with very little flexibility.
The features are good but used up early on, leaving Azealia doing her particularly rigid rhyme style for the rest of the album. One good thing that arises from the project is that Azealia has used it to really show her singing ability. That is one of the high points of the album, however it does show the flaws in her rapping and ability to put a song together.
Overall, this is an album of songs that you need to choose your favorites from and leave the rest because as a project, its not cohesive as much as it is one really long mediocre club mix that I hope Banks learns from.
This is a good sampler for what’s to come ahead, hopefully. The groups shows a lot of chemistry on every track and each member brings their own unique style to their verses. 50 cent is prominent on every track as the G-Unit head honcho probably should be, especially with his ability to “sing” as well as rap. Young Buck also sounds hungry for success and that translates into great performances. Kidd Kidd, the new addition to the group, also showcases his talents and abilities on his verses and has shown to be an asset to the group. Lloyd Banks brings his style and lyricism to his verses as well, while Tony Yayo sounds distinctive and brings another unique voice to the G-Unit roster.
The production is good on the project. The producers on the album may not be the biggest names but they each bring a beat that works well with what G-Unit are trying to do on each track. While the project is only 6 tracks long they explore a variation of topics and styles to help create some diversity on such a short project.
With A group of 5 on a 6 track long EP, there are no features but this helps to create a cohesive project that has plenty of replay value. The tracks fit together very well and flow into one another which helps even more to build this EP up to new heights.
In conclusion, this is a good sample of whats to come from future projects and G-Unit should take their attitude and abilities from this EP forward onto longer projects. They should take their determination and drive on to keep up this high quality of music.