"Many people tried to say I fell off/He went r&b, now his rap is all soft/But if you say that on stage, I'll prove you wrong/And wax that ass, rappin off a love song/Cause with the street in all battles I'm still hard" - 'Looks Like a Job For...' After the more polished, pop-leaning previous album failed to make an impact, BDK returned to 'real hip-hop' with this one. It kicks off with the title track, produced by Trackmasters, which stands among his best work. In an interview, BDK admitted that this album didn’t meet his expectations either. Listening to artists like Nas and Method Man at the time, he realised he hadn’t evolved his flow enough. But his delivery here is as sharp as ever, and that’s not a complaint I have—this is rock-solid boom bap from start to finish, with just one R&B-leaning track, 'Very Special,' in the middle, as he often liked to do. Small details elevate certain tracks: the hook on 'Here Comes Kane, Scoob and Scrap' is infectious, adding a darker contrast to the verses, while 'Give It to Me' keeps things fresh with an engaging switch-up about 80 seconds in, incorporating samples and scratching. Though 'Looks Like a Job For...' didn’t achieve the success Kane had hoped for, it stands as a testament to his consistency and skill. Up until this point in his discography, for someone who doesn't generally adore '80s beats, it’s his most cohesive album, delivering solid production and sharp lyricism throughout. As was often the case in ’93, the producers—Kane included—did their thing, crafting a sound that kept the album grounded in classic boom bap. I revisited this album to write the review and I had originally underrated it. Beats: ★★★★ Rapping/Bars: ★★★★ Hooks: ★★★☆ Best Tracks: Looks Like a Job For..., How U Get a Record Deal, Stop Shammin', Here Comes Kane, Scoob and Scrap, 'Nuff Respect (Remix) 1. Looks Like a Job For... 93 2. How U Get a Record Deal 90 3. Chocolate City 74 4. Prelude 5. The Beef Is On 73 6. Stop Shammin' 90 7. Brother Man, Brother Man 64 8. Rest in Peace 74 9. Very Special 60 10. Here Comes Kane, Scoob and Scrap 80 11. Niggaz Never Learn 72 12. Give It to Me 70 13. 'Nuff Respect (Remix) 84 14. Finale

This album was seen as the point where BDK sold out, with a poppier sound that had been gradually increasing since his debut. Lyrically, there are more tracks aimed at the ladies, while the brag rap was beginning to wear thin. That said, the production isn’t bad for the most part, and he’s still spitting. There’s still some solid boom bap, like 'Brother, Brother' and 'Come on Down'. The biggest issue for me is that there’s nothing truly great here. All of his other album shave higher highs. Beats: ★★★ Rapping/Bars: ★★★☆ Hooks: ★★☆ Best Tracks: Prince of Darkness, The Lover in You, Brother Brother, Come on Down

After revisiting BDK's first two albums, hitting play on this one feels like a breath of fresh air. The shift into the '90s definitely works in its favour. The best moments in the first half remind me of my favourite BDK album, 'Daddy’s Home'. The first six tracks all stand out, each bringing a distinct vibe. However, Gamilah Shabazz, daughter of Malcolm X, should have stayed off the mic on 'Who Am I'. The song itself is solid, but her weak performance does it no favours. From 'All of Me' onward, the album takes a different turn. I love Barry White and have gone deep into his vast discography, but 'All of Me'—released as a single—just sounds like a weaker-than-average Barry White track. And BDK doesn’t even rap on it; instead, he tries to out-Barry White Barry White. That said, it’s not bad and still an improvement over the slow love songs from his previous albums. 'Put Your Weight on It' brings it back to the old-school, with BDK spitting over nothing but three drum breaks in succession. Then there’s 'Big Daddy Vs. Dolemite', where the two titular figures go head-to-head in a battle of rhymes. If you’re unfamiliar, Dolemite was a comedian and actor known for the kind of wordplay that drives this track. All in all, the album is solid, but it dips after the first half. It starts off feeling very much of its era before shifting back toward the '80s, with the production becoming less engaging as it progresses. Beats: ★★★☆ Rapping/Bars: ★★★★ Hooks: ★★★ Best Tracks: Cause I Can Do It Right, It's Hard Being the Kane, No Damn Good

BDK expands his range here with more conscious themes than on his debut. However, the ending of one of those conscious moments, 'Children R the Future', comes off as corny. DMX would later use the sample better, but 'Young, Gifted and Black' remains a standout. Some of the crooning on 'To Be Your Man' feels awkward, and Kane doesn’t quite excel at the slower tracks. 'Smooth Operator' is solid, but not as exceptional as some make it out to be. The storytelling on 'Calling Mr. Welfare' is a highlight, critiquing individuals who misuse government assistance due to poor choices. 'Wrath of Kane', a track that didn’t make his first album, appears here in a live version. Kane’s heavy breathing on it, though, is a reminder of why some tracks are better suited for studio recordings. Teddy Riley contributes production to 'I Get the Job Done', and if you know his style, it’s easy to spot. The track works well, bringing a fresh vibe. 'The House That Cee Built' dives into hip-house territory and hits hard. Overall, while in some ways this album benefits from a slightly more modern production style—courtesy of Kane, Marley Marl, Mister Cee, Prince Paul, Easy Mo Bee, and Teddy Riley on the boards—it lacks tracks as impactful as 'Set It Off' or 'Ain’t No Half Steppin’' from his debut. Though more well-rounded, it never reaches amazing heights for me, making his first album the stronger effort. Beats: ★★★ Rapping/Bars: ★★★★ Hooks: ★★☆ Best Tracks: It's a Big Daddy Thing, Young Gifted and Black

For those who missed this in 1988, you’ve got to give credit where it’s due—BDK’s rapping was a game-changer in terms of originality and impact. Personally, I’m not a big fan of ’80s hip-hop production, and a lot of these tracks reinforce why. The corny love songs, like 'The Day You’re Mine', and some cringeworthy bars—mostly from Biz Markie on 'Just Rhymin’ With Biz'—don’t hold up well. Speaking of that track, I assume it’s a live recording, but while Biz’s mic sounds fine, BDK’s is distorted and rough limited the appeal of the song. The content is almost entirely battle/brag rap, but there are still standout moments that I’d gladly replay even in 2025. 'Set It Off' (Kane's favourite song of his) and 'Ain’t No Half-Steppin’' are the standout tracks, bursting with energy and aging better than the rest. Beats: ★★☆ Rapping/Bars: ★★★★ Hooks: ★★☆ Best Tracks: Set It Off, Ain't No Half-Steppin', Word to the Mother (Land)