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)

Although this is a No Limit album, it predates the Beats by the Pound era, so it has a distinct sound from much of the label’s catalog. The production is handled by Master P, J.T. The Bigga Figga, Larry D, and Lil Ric himself, bringing a bouncier feel to the instrumentation compared to typical No Limit releases. At just 50 minutes, it avoids the bloated runtime that many of the label’s albums became known for. The result is a consistently solid blend of funky mobb music. Beats: ★★★☆ Rapping/Bars: ★★★ Hooks: ★★★☆ Best Tracks: Ride Wid Me, Rivalry, Real 2 Reel, Fuck a Bitch, Peace 2 Dem Bustas