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The second section of reviews of the latest and hottest album!
Coming Soon:
Obie Trice - Cheers
Outkast - Speakerboxxx/The Love Below
Cap.One - Theory of Life
Newly Posted:
Yukmouth - Godzilla
Bubba Sparxxx - Deliverance
Joe Budden - Joe Budden
Real Audio
To listen to a clip from each of the albums, please click on the album covers. To listen you will need Real Player, AOL users already have one built-in.
This weeks clips are:
Bubba Sparxxx - Deliverance
Joe Budden - Focus
Royce da 5'9 - Let's Grow
Yukmouth w/ Tech N9ne, Fatal & Benjilino - Somebody Gone Die 2nite
Talib Kweli - Get By
Lil Kim w/ Twista - Thug Luv
E-40 - Automatic
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Bubba Sparxxx - Deliverance
White rappers now have a lot to live up to. Eminem opened up a path for white people to legibly claim a place as rappers with skills after the corny work of Vanilla Ice almost damn near destroyed it. In 2001, a white boy from Georgia exploded on to the scene courtesy of one of Timbaland's finest beats in the form of 'Ugly'. Bubba Sparxxx had landed. A stella album in the shape of 'Dark Dayz and Bright Nights' along with another Timbaland banger follow-up single with 'Lovely', Bubba certainly showed the potential to show Eminem was not the only white boy with skill.Bubba more than held his own alongside Jadakiss on 'They Ain't Ready' off Ruff Ryders Vol 3, but then seemed to go quiet. Whispers began than 'Ugly' was fluke, could it be true. Then something started appearing on mixtapes... "A lot of y'all was thinkin that Bubba would disappear, get some money from Ugly, but a keg of beer." The track was 'Disappear', whilst nothing near to the spectacular 'Ugly', the track showed Bubba was set to return with a sophomore effort.
A look at the art work inside 'Deliverance' shows a disturbin side to Bubba, posing at various angles with single barrel shotguns and a 16-inch blade. The pictures alone speak a thousand words...Bubba is serious about his! The opening track 'Jimmy Mathis' sets the tone for he album. As a harmonica plays out over Timbaland handclaps, Bubba has returned from the clubs "to the cows home, and the dogs barking". But if you thought that was country, nothing will prepare you for 'Comin Round', Timbaland kicks the countryiest beat you will ever hear in your life, and that ol' Bubba talk feels more at home here than it ever did. I couldn't picture any other emcee spitting over this beat, but this Georgia boy was probably sat in his rocking chair whilst rapping out these verses he's that comfortable on it.
'She Tried' is one of the albums highlights. The beat is similar in veign to 'Comin Round' but is this time the track is much more sombre effort about losing a woman from cheating on her with her cousin. Ryan Tedder sings the heartfelt hook as a fiddle draws out the pain as though being played on heart strings, with a unmistakable Timbaland bass line hitting away in the background.
Timbaland doesn't control the entire production of the album. Organized Noise are called up on for the bringing off nu-world order on 'New South' featuring Duddy Ken, and on the funky soundscape of 'Like It Or Not' featuring Sleepy Brown. The latter however reminds me too much 'All The Same' from Bubba's debut and neither tracks really register. But Just as i was thinking perhaps Bubba should just permanently stick with Timmy Mosley, the Dungeon Family in-house producers hit us with what should become a classic anthem for the South with 'Back In The Mud'. Furious drums, record scratches and an electric guitar create a rocky feel to the quick-paced track as Bubba switches up his slow drawl to a rapid-fire spit. It's the hook that really creates the song for me though. Sleepy Brown yells triumphantly "Back in the mud now baby, i confess i'm so happy here, nothing you can say can make me stay away, away, away!". For anyone who has ever lived in the country, this is for them. This track just hit me with wave of nostalgia from growing up "In the mud", and this has become my first massive record of 2004. This joyous record is exactly how hip hop should be!
Despite that marvellous attempt, admittedly, Bubba does pair up better with Timbo. 'Nowhere' opens up with haunting female vocals, and then explodes into Timbaland beat-boxes, those frog noises first heard on 'Pony' and melodic strings. This provides a perfect setting for Bubba's slow flow as Kiley Dean emotionally stirs up the hook. The track that's got everyone talking though is the title track. Guitars and hand claps open up the track and immediately you can tell Timbaland's got something now fo' yo' ass! The track in an introspective look at finding yourself, and once again as Timbo creates a masterpiece most emcee's would struggle to cope with, Bubba rises to occasion and spits his tale of finding his 'Deliverance'. Even Timbaland's computer-enhanced voice manages to sound heartfelt on this track.
If it wasn't for the mis-steps of 'Hootnanny', Bubba could have had a 5-mic classic under his belt here. Nevertheless, if you thought hip hop was becoming stale, this album will change your entire outlook. I have never heard anything like 'Comin Round' or 'She Tried', and whilst a lot of that is down to Timbaland's vision, no one could have handled the tracks like Bubba did, and it's thanks to him they are as excellent as they are. For anyone who thought Eminem is just a gimmicky pretty-boy act, Bubba Sparxxx shows talent does transcend all boundaries. |
Joe Budden - Joe Budden
When 50 Cent's "Get Rich or Die Tryin" dropped, it wasn't just the coming of one of hip hop's newest megastars, but it also signalled a totally new way to market artists. Joe Budden is a perfect example of that. Following in the footsteps of 50, Joe Budden spread a buzz almost paralelling 50's through constant freestyles, and exclusives on mixtapes and radio shows. Soon everyone was tryna get hold of something by the New Jersey native, and the jump off single "Pump It Up" exceeded expectation, but created unwanted pressure for his debut lp to live up to.
The self-titled album opens with "#1", the typical hip hop bragadoccio accompanied with a bouncing sampled trip back to the old school courtesy of newcomer White Boy behind the boards, who produces the majority of the album. White Boy is notably responsible for keeping the album steady. Joe's nasal flow after a while can become nausious, but thanks to masterpiece beats such as "Focus", Joe merely has to turn up to turn the record into the mixtape favourite it has become.
Joe does shine himself though on the more haunting tracks such as "Walk With Me". The steady head-nodder urges listeners to feel what Joe has been through and is going through. Talking us on a journey through the darkest aspects of the emcee's life, such tracks show Joe living upto the potential which was built up by the hype. The equally emotive "Calm Down" is the pinnacle of Joe's ability on the album. A dedication to his mum, Joe gives a tear-filled account of how he never listened when his mother urged him to "stop messing with the streets". Rather than an apology to how he lived his life, the track gives a new twist by blaming his mother. In a world where rappers are usually first to say how much they love their mothers, Joe's version creates sympathy towards the artists for not having the same for his mother that others do.
The majority of the album however is filled with the typical club-bangers that got Joe noticed in the first place. The Just Blaze produced "Give Me A Reason" bounces along nicely until the dreary well worn chorus of "I don't need a reason to bust my gun/ You give me a reason to bust my gun" comes in. Joe does bring some originality to the club scene however on the Busta Rhymes accompanied "Fire". The song has an almost jokey feel to it at first, and who perfect to clown around on a track than Busta? The calls of "There some hoes in this house" are guaranteed to get any party started with one of the most fun tracks hip hop has heard in a while.
With his self-titled debut, Joe Budden has built himself a steady platform to build on. When he hits the studio to work on his sophomore effort, aslong as he can keep the clubs jumping to the quality of "Pump It Up" and wax lyrical to the level of the 10 minute cypher "10 mins", Joe should have no problem solidifying his place in hip hop. |
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Royce da 5'9 - Build & Destroy
On any internet hip hop message board, the topic of "Most Underrated Rapper" is a common favourite, and one name that is pretty much always thrown up is that of Royce da 5'9. As everyone knows, Royce came into the game with fellow Detroit native Eminem. Going back to their Bad Meets Evil days, it's difficult to decide which of the two is the better. For some reason however, one turned out to be hip hop's biggest ever star and one of music's biggest since The Beatles, an icon to millions, and hated by even more. The other however remained freestyling on the underground and put out his first full-length solo lp in 2001. Guess which one is Royce?
'Build and Destroy' rather than being a sophomore album, is a collection of new and unreleased joints along with some of his hottest freestyles. Some tracks on here most Royce fans will already be familiar with, such as 'What The Beat' featuring Eminem and Method Man, 'Nuttin To Do' featuring Eminem and 'Let's Grow' originally on Lyricist Lounge Vol 2. There are also some tracks which were taken from the final second released version of Rock City, namely 'We're Live (Danger)' and 'Take His Life'. There are however plenty of heavy-hitting new joints though to keep all you 5'9'ers out there happy.
'Knuckle Up' featuring Hush is a furious head-banger, and 'Life Goes On' is a wondefully composed track - beat courtesy of Jay Dee. The Rock City representatives blend like Em and Royce used to for one of the album's highlights. 'War' shows Royce's ability to switch flows, as he spits furiously paced lyrics over a string-orchestrated beat. Their are also some of hip hop's biggest names in production here too, Kanye West produces the moving 'Heartbeat' and the Neptunes produce 'She's The One', 'Feel Good' and 'Make This Run'.
What will grab most listeners ears however is the diss tracks at D12. A beef that originally started between certain members of the Dirty Dozen spills out here into an all out war against Shady Records...including Eminem. As if the Shady one didn't have enough to deal with, with his well-documented beefs with Benzino and Murder Inc showing no signs of slowing up, he now has to battle one of his best friends, and if these tracks are anything to go by, Em has his work cut out. 'Malcom X' proves to be one of the albums highlights as Royce lyrically murders select members of D12, Bizarre in particular. And singles out the chubbier member on 'Shit On U'. Royce's ability to induce laughter really shines here, and even he hardest Shady Records fan will be hard-pressed not to laugh at some of Royce's one liners. He then jacks the 'In Da Club' beat and flips it on 'Death Day', and 'We Riding' then takes subtler shots at Eminem. But the fact that the back cover reads in brackets "Eminem Dis" proves that Da 5'9 wants the whole world to know exactly what he feels about the white one.
This is a double disc CD that actually holds the listener for the full length. Some of the tracks aren't Royce's best work, but there's more than enough positives on here to cancel out any negatives. I just can't wait to here the response from the Shady Records camp. But until then, Royce da 5'9 has given us what can be contested as one of the best albums of the year so far. |
Yukmouth - Godzilla
Anyone who heard Yukmouth's sophomore effort, 'Thug Lord' will have been lucky to hear one of the hardest hitting albums of all time. Yuk brought pure bay gangsta lyrics in is gruff voiced flow over some of the tightest production to come out of the West. Definitely not one to fall victim to the sophomore album curse. The problem then however is how do you follow up what many who heard feel to be a classic? Well, going for even bbigger and better certainly won't hurt. And as the title of his third solo effort proves, Yukmouth is going for Godzilla big!
The title track opens the album tellin all listeners how big Godzilla is. A slow beat accompanied by gentle keys and occasional dinosaur roars provides the backdrop for Yuk to tell all haters "remember i'm Godzilla, i'll crush ya legs like a truck". It is only on 'Stuntastic' however that Smoke-A-Lot truly gets big! A bass heavy, neck-snappin Dame Grease beat begs to be bumped in every car system from Oakland to Okasama. The likes of Fabolous and Nelly may brag about getting the exclusive kicks and shirts before they hit he stores, but Yuk is kickin them out the way on this track. He sounds more like he'd hold up Footlokcer to get the throwbacks rather than have them handed to them. The track was originally set to feature Jadakiss which would have taken this monster-smash to an even bigger level, but due to label politics the Jada ppearance never materialised. Tracks like 'Stuntastic' and the club ready 'I Want Ya Body' are perfect for bumpin in the summer, but they're a new direction for Yuk, and at times can sound forced. The more prominent half of the Luniz is much more at home when he's spittin pure thug shit with his Thug Lordz and Regime clicks.
For those who prefer the harder than hardcore Yukmouth will therefore be glad of tracks such as "Regime Mobstaz" and "Go Hard". On the former, Nan Dogg creates a cineramic orchestral piece that is perfect for Regime Mobsta Tech N9ne who sings the hook as well as stealing the show with his open verse. Switching up between his gothic yells, backwards rapping and Chewbaka impersonations, Tech raps "I'm a Regime original, my flows aqua/ so give me your snatch she gives mo' claps than an opera." Tecca Nina again appears on the equally hard "Somebody Gone Die 2nite". Nan Dogg again handles the production which features a George Clinton-esque dum beat to snap your neck to, and once again, Tech almost steals the shows with his machine-gun flow again. Yuk however shows who's album it is though with his verse which goes all out dissing Master P, "Fuck Percy, a put him in a hearse where the dirt be...i bust 30 in your P.Miller derby jersey/ Mine me nigga want to be somebody else/ rappin like you 2pac can't be yourself/that'll get you shot better be somebody else/ everybody on No Limit sound like somebody else/ You got a nigga that sound like Juv', a nigga like Mystikal/ a white boy like Eminem the bitin is critical/ your son wanna be Bow Wow the shit is pitiful". Ouch!
Die hard Yukmouth fans will be pleased to see 'Thug Lordz' which is the first track offically released by The Thug Lordz aka Yukmouth and C-Bo. With a collaboration album due for release in March 2004, this will certainly serve as an appetiser to the sort of hard-hitting Bay rap we can expect. The next track 'Be Easy' is a new direction for Yuk however. A C Note production, the beat is sick! Using an Indian vocal sample, along with various Indian instruments, this was one of the tightest beats of last year and Yuk rides it perfectly. Unfortunately, the track falls down due to it's slack hook which just doesn't fit in with the song at all and makes it difficult to listen to. Rather than just letting the vocal sample ride, Ray J's gruff female vocals make the track sound disjointed.
The album isn't all hardcore truck ready gangsta shit (i know, shame ain't it?) Yuk does take a break linking up with the talented Z-Ro on the more heartfelt 'Hard Tymez'. The track still remains in the same veign as the rest of the album in bringing murderous lyrics over a hard beat, the vocals of Tonya Herron however bring a melody to the track allowing the Bay emcee's to open up for a minute. Perhaps the album's downfall is that Yuk tried to go too big. He messed around with his proven formula too much. Where as 'Thug Lord' stuck to instrumentals which just begged for bloody murder to be screamed over the top, some of he beats on 'Godzilla' are a little too generic. The album is again another monster from one of the West Coast's finest, but perhaps for his next album he should have a look at what made 'Ooh Ooh' bigger than Godzilla big on his last album.
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Talib Kweli - Quality
Hip Hop is a world filled with bragadoccio; who's got the most money; who's got all the woman and then there's the titles really worth claiming; the greatest rapper and the greatest flow. The list of artists claiming to own each of these titles is endless, very few however can actually be seriously considered. Talib Kweli Greene is one of these artists who can say "i'm the hottest rapper" and people will listen. And the reason for this is, Mr Greene doesn't liquidify his lyrics with such bragging statements, instead he concentratest on spitting real, raw, witty, retrospectiove, introspective, emotional, passionate hop hop.
the moment the beat to "Rush" kicks in, the trip has started, literally. The Brooklyn native originally wanted to title the track Heroin, and with the furious Megahertz beat perfectly straddled by Kweli's flow, it isn't hard to see just why this hip hop is enough to get your adrenaline flowing. When Kweli announced he wouldn't be working with Hi-Tek on this album after the highlgy successful Reflection Eternal, there were a fair share of skeptics. It meant however that the emcee with the hardest to pronounce name turned to Kanye West for his beats, and the results are breathtaking. "Get By" and "Good To You" are two contenders for the hottest track on the album, both laced by the beatsmith best known for his work with the Roc-a-Fella camp. Kanye's soulful trademark style perfectly accompanies Kweli's flow, and it doesn't hurt that these are possibly two of the Chi-Town producer's best beats. "Get By" deals with how people live their life just to get by, rather than striving to achieve all they can. The Nina Simone sample accentuates the track perfectly and the hook is spilling with positivism, "This morning, i woke up/ feeling brand new, i jumped up/ feeling my highs, and my lows/ and my soul, and my goals/ just to stop smoking, and stop drinking/ i been thinking i got my reasons/ just to get by". If that doesn't get your marching brimming wigh confidence for the day ahead, nothing will.
Reading down the track listing, one title that will jump out to all Kweli fans and start ringing alarm bells is "Gun Music", especially with WWIII just around the corner, surely our favourtie postive rapper isn't turning to negative music? Thankfully, no, we should really no better, Kweli is of course promoting exactly the opposite. Maybe we shoudl gift-wrap a copy of the track and send it to Mr Hussein and Mr Bin-Laden. Hopefully the music will speak to them in a much more legible way than either Bush or Blair can do. I would have liked to hear Pharoahe Monch on the track as i think it is perfect for his flow, Cocoa Brovaz however hold their own, and Pharoahe puts in a typically brilliant appearance on the hard-hitting "Guerilla Monsoon Rap". The title couldn't have been more apt, as Talib Kweli, Black Thought and Pharoahe Monch all battle it out across another excellently composed Kanye West beat. This track is bound to be kept on repeast as you try to pick your winner of the battle, personally i think Black Thought just edges it.
One of the album's highlights is the lead-off single, "Waitin' For the DJ". The funk drenched vocals of Bilal perfectly harmonizes Talib's lyrics and the bass-heavy beat produced by newcomer Dahoud Darien which resembles the work of Dr Dre. I'm not sure you can get a higher accolade than a comparison to the Good Doc, certainly look out for that name on future albums. The feel-good flavour of this track continues on "Joy". Ayatollah laces a disco-esque beat, over which Kweli is joined by fellow Blackstar, Mos Def whom both rejoice becoming fathers. As each echo the joy which leaves you "feeling on top of the world".
"Put It In The Air" is the runaway highlight joint. The unlikely collaboration of Brooklyn inspirationalist Kweli and Compton gangsta DJ Quik has to be heard to be believed (and you probably all have) but none of us could have predicted the results. A fantastically funkdafied beat courtesy of guitar licks and hi-hats allows Kweli to let rip with knock-out lines such as "cats look more like dicks than the Washington monument".
The dictionary defintion of Quality is: High degree of excellence, skill, accomplishment. And Talib Kweli's first solo album is a skillful accomplishment at the highest degree of excellence. Quite simply, it is sheer quality. Don't believe me? Ask the Dictionary.
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Lil Kim - La Bella Mafia
These days, it seems being a female emcee is the hardest job in the world. Contrary to popular belief, the more flesh female emcee's tend to show, the more records they sell. But as soon as a titty or ass comes into view, the critics are out with knives sharpened. This has never deterred Lil Kim however. Ever since Frank White's Queen dropped with her classic debut "Hardcore", people the world over it would seem have been gunning for Kim. After her sophomore "Notorious K.I.M." flopped, everyone presumed Kim's time was up, Her thrid installment, "La Bella Mafia" therefore was make or break. And as Timbaland's blaring horns on the lead single first hit your speaker or tv screen, it seemed they were signalling a triumphant return for the Queen Bee to her throne. Even the most hard pressed critic couldn't hold odding his head to the marching band inspired Timbaland beat. But what of the album?
Looking down the guest list, Kim brought on board some of hip hop's heavy hitters including Missy Elliot, 50 Cent and Styles P. And had enough fire power nehidn the boards to blow up a small nation courtesy of Havoc, Swizz Beatz and Kanye West. The album opens with the Havoc produced "Paul Reverre" sampled "Hold It Now". The tracks marks a return for Queen to satsifying the thugs, both through her hard-hitting flow and provocative rhymes. Lil Kim has always been proud of the fact that she is an originator for female emcee's, particularly when it comes to a Ms Foxy Brown, whether that's true or not is certainly debatable. On "This Is A Warning", Kim covers R Kelly's "A Woman's Threat" and turns it into a more cold blooded track, threating to blow the brains out of any female who carries on copying her style. The topic certainly isn't original, the way the track is delivered however is a rare treat.
The album shows all of Kim's sides. Whether it's showing she's the perfect ride or die chick on "Thug Luv", bragging about being the best emcee on "Get In Touch With Us", or just being the best lay of your life on "Magic Stick", Kim makes room to show a new side. On "Shake Ya Bum Bum", Kim enroles the help of teenage proetege Lil Shanice for the oriental styled party track which is strictly about having clean fun. As harmless as the track is, the Queen Bee is always at her best when she comes hard.
The album's stand is the aforementioned "Thug Luv", on which Twista and Lil Kim trade verses like they actually mean the words they're saying to each other. Scott Storch does a brilliant job on the beat, laying down a machine gun paced guitar lick for the self-proclaimed duke Twista to weave his unmistakable flow through. Whilst the duchess Lil Kim retaliates in remarkably fine form. If "The Jump Off" was the joyful signal of he return, "Thug Luv" is the track that solidifies Kim's longevity. The equally impressive "Magic Stick" looks set to be the second single, and enlists the help of hip hop's current biggest name, 50 Cent. The track's soulful sampling immediately had me reaching for the cover expected to read a Kanye West production credit, only to find the name of previously unheard of Phantom of the Beats. If this is the kind of production we can expect, it may not be too long before the Phantom's true identity is revealed.
Kanye West does however produce one of the album's highlights, the closing track "Came Back For You". Making a bid for one of Kanye's best beats to date, the track bounces along as Kim proclaims the album was made all for the fans, no corporate bullshit, strictly for the fans. After the 16 track journey is complete, you can't help but have to agree the Queen Bee has made a solid album to state her place as hip hop's most gifted lady. So now it's down to the likes of Eve, Rah Digga and Foxy to respond. We're eagerly waiting....
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E-40 - Grit & Grind
Before i start this review, i just want you take a moment out to think of some hip hop slang you know. Thought of one? Good, well the chances are whatever word you're thinking of E-40 started it. Before Snoop Dogg fa shizzle'd his way through Doggystyle, or before everything was all gravy with Mack 10, E-40 had laid the diction for an entire coast, and effecivly changing the words that pass through our ear drums.E-40 is now considered a veteran in the game, but on listen to "Grit and Grind", you'd think he was a newcomer by his fresh sound.
The moment the boucne of the Rick Rock produced "Why They Don't Fuck Wit Us" kicks in, 40 starts up his legendary flow and peculiar rhyme pattern to make your brain work almost to heard to enjoy the track. 40 has his haters in flocks due to his flow, but if you want to be subjected to the same ol' same ol' day in day out, then fine, you're loss. "The Slap" follows, giving us yet another word to add to our increasing vocab due to the bay Area spitter. For the song to make sense, you really need to have a drivers liscense. "The Slap" basically means the latest hot shit, and just as the bridge states "The beat keeps knoockin through my rear view mirror", this track begs to played at full volume to allow the heavy bass driven beat to rumble along the road.
The lead-off single teamed E-40 with Fabolous which will probably be the point where any virgins listerns to 40's music will give up. As the self-proclaimed 'Ballatician' keeps up his almost indecipherable flow at quick pace, Fabolous hits us with the qitty one-liners which took his debut to platinum sales. As i said, this will probably be too much brain activity for virgin ears, but there of course is always the head-nodding beat courtesy again of Rick Rock and Kokane inspired hook to make this track enjoyable for all.
40 steps away from his weat coast sound on "Rep Yo City" where the bay veteran joins up with ATL rhyme spitters Petey Pablo, Bun B, Eightball and the typically furious Lil Jon & The Eastside Boyz. 40 however holds his own on this rowdy tear-da-club-up track which is doing big thangs in the South. Compared to the artists on the track, it's the relative newby Petey Pablo who stands out. His unmistakable hollerings and addictive southern drawl shine on a track where he's competing with artists who have been in the game decades before him. "Roll On" also offers a different style to the album, but in a totally unique style. Just the mention of Afroman these days makes people giddy at the thought of his comical weed-induced music, and this track is now exception. E-40 teams up with B-Legit for the umpteenth time along with Afroman for a song which can't be aken seriously but isn't meant to be. This is one purely for the smokers amongst the listeners.
As previously stated, 40 coined the phrases It's All Good and It's Gravy, and so with everyone using them these days, we needed a new phrase. As heads turned to the Bay, without failure we were given "It's All Gravity". Rick Rock once agains blesses us with a bumping beat to help 40 start off this new phrase, along with one of the highlights of the album. "Mustard & Mayonnaise" then serves the purpose of a walking E-40 Dictionary over a steel drum and whistles. If you don't understand a word said in the track, don't worry, the track is composed of E-40's own slang, and "Mustard & Mayonnaise" are two of his newest words to describe his tyres.
The majority of E-40's rhymes are just about having fun, but the bay area emcee shows he can get serious on "Fallin Rain". Rick Rock is again responsible for the beat, but swiches up he trembling bassline for a much more soulful sound, usinfg a sample of THe Dramatics "Love Birds", the beat could easily be mistaken for one of Kanye West's. The insrumental provides E-40 with the perfect setting to get serious for a minute and tell tales of his hardship. The format of the record might be generic, but E-40's flow could make a nursery rhyme interesting to listen to.
"Grit & Grind" is a solid offering, and will keep his core fan base happy, and should gain new fans on the strength of his lead-off single and the variety provided here. And just remember, before judging E-40, he's not rappin to fast, y'all just listenin too slow.
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