Like others, I cant give this a higher rating because of its unoriginality, however, Fashawn's lyrics are more original and his own than other reviewers would have you think. With the beats, you know what are getting - some of the best of '94 that still sound great these days, and Fashawn is a good rapper so overall it's a good listen if you are a fan of Illmatic, even if it is weird not hearing Nas over the classic beats.

He can't rap like Rakim (not many can) but I seem to be one of the few who like this. Good heavy sampled production, with most fitting into the pop rap category. Apart from 'Love' everything works to some degree. A feel good album. Some catchy stuff. Best Tracks: I Can't Let You, You're My Painted Picture, Good Bye, Get It On

Be it Jay-Z or going all the way back to the Beastie Boys, there are a number of well renowned rappers/duos/groups I don't understand the fuss with, but Cam'ron and his crew have to take the cake by a mile. Many beats sound cheap throughout their discographies, are boring coming from one of the weaker periods of the genre, and the rappers are weak. Cam'ron particularly is just someone I cannot get my head around. There are times listening to him rap when I get incensed. 'Real Niggas' ain't terrible until he comes along with his nonsensical punchlines and annoying flow. If anyone rates this guy highly they must prefer comedy to music. Take 'I Really Mean It' as another example. The Kanye West like beat with the repetitive highly pitched sample goes alright, but Cam is just so boring. He also gets drowned out by the beat sometimes that I've noticed on other releases from him as well as on this album. There are some okay songs due to some beats being good, and DMX adds some much needed energy to the album on 'What's Really Good' towards its conclusion, but damn, if anyone shouldn't release a double disc album almost 110 minutes long, it's these guys. Best Tracks: Who I Am, More than Music, The First, What's Really Good

As this was released, throughout his solo career, Daz had basically released albums like clockwork, year after year after year. With this one, while he has named it after the popular rap sub-genre at the time of crunk, apart from having a bit more bite to some of the beats, I wouldn't classify it as belonging to that genre of music. Lyrically there is some very generic content including 'Can I Bounce Dat' and 'Big O' Butt' being about big round booty, but Daz makes them as enjoyable as possible with his great flow and mic presence. Overall, it's a bit hit or miss. The standouts are listed below and are a mix of bangers and slower west coast beats, particularly the final two songs, but there are a handful of lacklustre songs as well. Daz fans may enjoy a few tracks like I do, but otherwise check for his other material. Pretty hit or miss but I love the best of them. Best Tracks: We Mean Bizniz, I'm Lookin for Dat Gangsta Bit**, Can I Bounce Dat, It's Time to Ride on 'Em, License To Kill

For some reason, probably because of the name Daddy-O, I expected some kind of pop rap album, and while this isn't hardcore hip hop, and there is a bit of a pop feel, the message and feel is quite the opposite, with Daddy-O preferring that ol' school boom bap with a bit of funk. Daddy doesn't have anything special by way of rapping, but he does the job. At times he is laid back, and then there are songs like 'Swung It, Blunted, Brung It', where he sounds like one of the Onyx rappers. It goes okay, but you'll probably feel that you've heard a lot of similar stuff before. Best Tracks: Brooklyn Bounce, Kid Capri, Come for Mine, You Can Be a Daddy, But Never a Daddy-O