Xzibit used to have some seriously banging production behind him—but none of that is here. The beats on this album fall flat, and the whole motivational and introspective angle he's going for kind of feels forced. The introduction of the opening track is a prime example—it comes off corny and sounds like something we've all heard a hundred times before. As for other vets on the album, it might be time for Dre to hang up the mic. Whoever’s writing for him keeps recycling the same tired material. Ice Cube—who I still have a lot of love for—drops a verse on 'For the Love' that feels recycled too; about 60% of it sounds like something he's already said elsewhere. 'Everywhere I Go' brings a bit more of that classic, fun Xzibit energy, with a bounce that the rest of the album sorely lacks. Symba's feature on 'American Idols' is a standout—his verse is sharp and confident, and includes a line that seems to defend Ye: “Kanye dropped some Jews and now he too anti-semitic (Shh).” 'Success' switches the vibe a bit with some jazz poetry, which is a refreshing change of pace and works well. Overall, there’s not much here that’s catchy. The hooks are missing, and Xzibit's usually commanding delivery just starts to wear thin. Most of this is just forgettable. Not what you want from a comeback album. Beats: ★★ Rapping/Bars: ★★★ Hooks: ★★ Best Tracks: Play This At My Funeral, Everywhere I Go, American Idols, Success

"Did you know that if you took two steps that way and then turn left, you can get the fuck out my face?" Snoop is back not long after his recent collaboration with Dr. Dre. While some listeners have criticised the number of tracks, the album itself isn't overly long—clocking in at just under an hour, so run-time isn't an issue. It kicks off strong with the title track, where Snoop drops wisdom over a dark and soulful thumping beat. Though there are a few laid-back, vibey moments scattered throughout, the album shines more so when the energy ramps up and the bangers hit. Unfortunately, the slower tracks like 'Can’t Get Enough' don’t quite land. On the flip side, the closing track stands out as one of the album’s strongest moments, sampling K-Ci & JoJo’s 'Life', which was written and produced by R. Kelly. Some guest appearances don’t do the tracks any favours. LaRussell’s verse on 'Can’t Wait' detracts from an otherwise standout track that cleverly samples Five Star’s 'Can’t Wait Another Minute'. Akeem Ali also makes an appearance, but his voice sounds like bad Lil Wayne when he raps. Other tracks, like 'What’s Hattnin?', feel undercooked in content and could’ve been left on the cutting room floor—and the same could be said for several others. The album starts strong, but loses momentum midway, struggling to maintain the same impact. It didn’t need to be this many tracks. And I can't believe many think 'Me N OG Snoop' with Sexyy Red is the best song. That says a lot. Still, for what is Snoop’s 21st album, this is a solid, fairly consistent listen with a few tracks to save for later. There is more here that instantly caught my attention than on 'Missionary'. He is rapping extremely well, has his charisma and isn't just writing track after track of gangsta rap. There are plenty of head-nodding moments and quotable lines—some of which are due to Snoop reusing some famous bars. Beats: ★★★☆ Rapping/Bars: ★★★☆ Hooks: ★★★☆ Best Tracks: Iz It a Crime?, Joy, Sophisticated Crippin’, West Up, Live Life 1. Intro 2. Iz It a Crime? 90 3. Joy 81 4. Unsung Heroes 74 5. Sophisticated Crippin’ 84 6. Can't Wait 72 7. Can’t Get Enough 40 8. Keep It Moving 70 9. Just the Way It Iz 64 10. You Want My All 60 11. What’s Hattnin? 54 12. Spot 60 13. ShutYoBitchAssUp 70 14. Cold Summer 54 15. Snoop Will Make You Dance 60 16. Life’s Journey 70 17. Me N OG Snoop 50 18. Let Me Love You 64 19. West Up 90 20. My Friend 62 21. Live Life 86

One of the more lackluster Statham action flicks. The action scenes are quite short and apart from some gore, aren't noteworthy. It's pretty predictable and ends in a way that exists to either set up a sequel or in a lazy fashion.

This lacks energy and the crescendos of the best mob films. As do the efforts to bring more tension to the movie that seems more forced. The story itself kept me into it for two hours as I think it would for those who are into the genre.

In a world of copy-cats, WC has always had his own style. Here he comes with his first solo after previously being in three groups, (Low Profile, WC and the Maad Circle and Westside Connection). From the jump, the production is bouncy and Dub-C wrote some catchy bars with memorable moments such as the "Dis the season to be jankin'" on the hook of the title track where he partners with CJ Mac, who dropped one of the most underappreciated hip hop albums of all time with True Game in '95. Then 'Can't Hold Back' samples 'Ain't No Half-Steppin'' by Big Daddy Kane that is instantly recognisable. It ends strongly with the hardest song on the album, 'It's All Bad', followed by the most chill with 'Better Days' that grew on me with each listen and is my pick from the disc. There is no amazing song here, but the consistency is its strength being more than solid from front to back. Beats: ★★★☆ Rapping/Bars: ★★★★ Hooks: ★★★☆ Best Tracks: The Shadiest One, Can't Hold Back, Keep Hustlin', Like That, It's All Bad, Better Days 1 Hog 64 2 Where Y'All From (Skit) 3 Fuckin' Wit Uh House Party 70 4 The Shadiest One 71 5 Can't Hold Back 75 6 Keep Hustlin' 75 7 Just Clownin' 70 8 The Autobiography 65 9 Worldwide Gunnin' 60 10 Like That 75 11 Call It What You Want 54 12 Rich Rollin' 68 13 Cheddar 62 14 Bank Lick 15 It's All Bad 80 16 Better Days 82 17 The Outcome