There’s a mix of topics here, ranging from the thoughtful to the downright ratchet. Willie comes out hard at the start, then the wild sex tracks kick in, before switching gears with a song, 'Little People With Burdens', advocating for victims of abuse (“She finally got the courage to tell her mom/And her mom went off, started fussing like it was all her fault/Told to respect our elders but when our elders act filthy/And you protect them, you JUST as guilty!”). There are tracks reflecting on the state of hip hop and mourning those lost on 'Gone Too Soon' that even carries a bit of a Tupac vibe. He also thanks the fans and those who continue to show him love on the feel-good 'Keep Giving Me Love'. Topically, there’s a clear effort to switch things up. Nothing here is truly amazing, but the consistency is solid, and the variety keeps it from getting too dull. Willie isn't a technically amazing rapper but has an original voice, always brings energy (apart from 'Inmates Song') and style. I think most listeners would think the production sounds a little dated-more like a late '90s release than 2003. It does though get fresher towards the end with the run from track 14-16 being the best on offer as the production gets some more soul and funk. The final song, an instrumental, 'The Aftermath', sounds more modern than much else. *Chopped & Skrewed disc not included in the rating. Beats: ★★★ Rapping/Bars: ★★★☆ Hooks: ★★★ Best Tracks: Unbreakable, Willie D, The One That You Can't Forget, Gone Too Soon, Keep Giving Me Love 1 Unbreakable 74 2 Coldblooded 70 3 Once Upon a Time 60 4 Falling Out the Sky 64 5 Knock'm Out 60 6 Hell or High Water 70 7 So What 60 8 Little People With Burdens 63 9 Never See Me Sweat 67 10 Willie D 71 11 Inmates Song 40 12 Young Warrior 50 13 P.W.A. (The Climax) 50 14 The One That You Can't Forget 75 15 Gone Too Soon 75 16 Keep Giving Me Love 80 17 The Aftermath

This starts off well. R-Mean proves he can spit, even if Nas renegaded him on ‘Candle of the Devil’. Unfortunately, ‘TBS’ couldn’t be more generic if it tried. The trap production is standard, the hook vocals are uninspired, and yes, there’s even a “skrrt” ad-lib. ‘Downfall’ is an improvement, but again, both the beat and hook feel bland, with R-Mean’s verses being the only real saving grace. ‘Circus’ pays tribute to countless rap legends, though Method Man’s verse doesn’t quite stick to the same theme. Overall, R-Mean’s skills are clear, and I get that it’s not the mid-2000s anymore, but back then Storch had a distinctive sound, but here, too much of it just blends in with today’s generic trap production as does some of Mean's writing. There are some good moments, but in its totality there is too much I don't enjoy. Beats: ★★☆ Rapping/Bars: ★★★ Hooks: ★★☆ Best Tracks: Candle of the Devil, The Rising Son, Lonely Day

I can understand why people enjoy this. It has some creativity, originality, and I can see thinking it has a fun vibe. But the constant interludes drag the album down, much of it starts to sound the same, and some parts just get irritating. ‘Humrush’ is a good example. The sampling (I think it is), especially of the old-fashioned vocal snippets, quickly become overused. Overall, it’s not something I really enjoy. Just not for me. Beats: ★★★ Rapping/Bars: ★★☆ Hooks: ★★ Best Tracks: Peachfuzz, Soulflexin'

This one comes close to being called a “hit or miss.” Years later, I can still enjoy the standouts I’ve replayed countless times, but while the overall quality never drops too far, much of the rest is forgettable. The album loses momentum toward the end, especially when it drifts into more traditional slow R&B that never really builds to anything worthwhile after ‘Do What It Do’. Still, at its best, the production feels fresh, and the strongest tracks hold up really well. Best Tracks: Unpredictable, DJ Play a Love Song, Extravaganza, Do What It Do

I enjoyed this but I expected slightly more excitement. The twists work well though and the suspicion whipsaws around just enough to keep you engaged. The pacing feels deliberate (almost too measured) but that slow-burn tone does pay off to enough of a degree. The acting is strong across the board and the way the film plays with paranoia and identity is clever, even if some of the mid–movie sequences could have used a bit more urgency. Overall, a solid 60s thriller that’s worth a look, but not quite the pulse–pounder I was hoping for.