I was never a big Wayne fan, and I think a lot of people who are fans of his older work need to relisten to his older music without the nostalgia glasses on. Technically, he raps well on much of this, switching up his flows, and even sounding influenced by Lil Dicky on a couple of verses, like on 'Loki’s Theme', but as usual, it's the lyrics, overall focus, and some production choices, that drag the songs down. He rhymes "nigger" with "nigger" for bars on bars on both 'Hip Hop' and 'Written History', something he’s done before, and it just comes off as lazy writing that weakens the tracks that are otherwise a couple of the better ones on the album. There are a few samples used with mixed results. 'Island Holiday' being the worst of them. The flip of LL’s 'Rock the Bells' on 'Bells' doesn’t hit hard enough to really work. It needed a bit more bite in the drums and Wayne isn't saying anything. He mumbles through 'Flex Up', which is a shame as the production is likeable, and while the metaphor-heavy 'If I Played Guitar' might work with a strong R&B or pop vocalist, it doesn't too well with Wayne drowning it in autotune. 'Mula Komin In' is just awful with poor vocals all round. 'Rari' has a poor hook and is another bad moment. 'Ave Maria' is such an amazing song that I can't hate 'Maria' as much as most are. 'Alone in the Studio with My Gun' isn't terrible either. People just have a hate boner for MGK. All in all, it's a mixed bag, with some straight skips, and nothing to add to a best of Wayne mix, but there are some good moments. Beats: ★★★ Rapping/Bars: ★★☆ Hooks: ★★☆ Best Tracks: Welcome to Tha Carter, Hip Hop, Written History

I don’t hate this, but tracks like 'Preacher Man' and 'Damn' feel undercooked. There’s just not enough weight behind the vocals. 'Beauty and the Beast' stands out as the highlight; it hints at real potential and could be something if expanded into something longer. Best Tracks: Beauty and the Beast

Nothing here really sticks for me. He kind of comes off as preachy, and the lyrics lack any real sense of fun. On tracks like 'Pass It Out/House Calls', he seems to be reaching for a Kendrick-style delivery. The production is serviceable but there’s little energy or bounce to lift things up. Beats: ★★★ Rapping/Bars: ★★★ Hooks: ★★ Best Tracks: Unforgettable, No Apologies, Product Dealer User

After the initial shock from the lyrics (just look at the song titles...need I say more), the impact fades. While the production holds its own and a few bars grab your attention, the hooks are lacking and the overall experience lacks lasting appeal. It’s a raw listen, but not one you’re likely to revisit often. Beats: ★★★☆ Rapping/Bars: ★★★ Hooks: ★★ Best Tracks: Fuck School, Penitentiary Blues

11 11 is an unusual collaboration between techno producer Guy Gerber and Diddy, and somehow, it works more often than not. The album blends deep house beats with dark, moody vibes, while Diddy's gravel-voiced spoken word musings go over some tracks. There is no rapping, and it sounds like a strange mix, but it works more often than not. Some tracks really stand out, like 'I Hear Her Calling Me' and 'My Heart.' Gerber’s production is smooth and hypnotic, giving the album a late-night feel. Puff Daddy adds a bit of mystery and attitude, but he seems like a bit player here. Not every track is memorable, and a few kind of fade into the background, but overall there’s a consistent feel. It’s not a typical dance album and definitely not a straight hip-hop project either. Still, it’s interesting and has a unique mood. It’s not a must-hear, but it’s worth checking out if you want something a little different. Best Tracks: Angels, Floating Messiah, I Hear Her Calling Me, My Heart