It happens all the time. One thinks something will be great just because it
looks dope on paper. In the end, the outcome isn’t as good as the prediction.
Take the 2003-2004 Los Angeles Lakers as an example of this. With four future
Hall of Famers in the line-up, most (if not everyone) expected a championship
ring. However, the crew failed to perform when the time came and they lost,
only to dismantle that summer.
As DJ Khaled embarks on his second effort with We the
Best, many believed the year’s best could come from the Dade County
representative. The players were enlisted. Rick Ross, T.I., The Game,
Lil’ Wayne, Young Jeezy, Juelz Santana, Fat Joe, Bun B, T-Pain, Trick Daddy,
Beanie Sigel, Paul Wall, and Bone Thugs & Harmony
are only some of the acts on the LP’s 12 tracks. With production from
proven hit makers like The Runners, Beat
Novocain, Danja, Cool & Dre and others, it seems like it
would be a grand album. Sound promising, right? In the end, something is lost
in the LP.
Let’s not deviate from their efforts too much. The tracks that bang are
catchy, street-influenced songs, with a slew of guests representing themselves,
their wealth and their stature in the rap game. While that becomes a bit trite
near the end, it serves up heat for those simply seeking bangers for the whip.
Lyrically, expect many punch lines dealing with drugs, dangerous lifestyles and
economic prosperity. Much like the smash single “We Takin’ Over,” “I’m So Hood”
featuring Trick Daddy, Plies, Rick Ross and T-Pain
bangs like crazy with serious mass appeal. The same goes for “Hit’em Up”
with Texas’ own Bun B and Paul Wall showing
nicely.
Although the tracks do bump, they are also cluttered at times as virtually
every track is a posse cut. Some folks can get away with it (“We Takin’ Over” is
an example of it done well) but some just need to stop. “Bitch, I’m from Dade
County” features at least 7 people, and after about four people you
just don’t care who is rapping next.
Other times, the rappers show no focus. Lil’ Wayne displays
no motivation on some tracks, serving up embarrassing lines like’ “Women-I’s
adore. I’m a whore/You know that I’m a whore.” C’mon now. ” ‘S’ On My Chest”
isn’t Weezy‘s best performance either (nor close to his
worst), but damn that beat is thunderous.
Later, Beanie Sigel uses one of Khaled’s
songs as a commercial for his own new album The Solution. He
spends all this time speaking about how he isn’t going to say anything until
his album comes out and tells his fans to be patient until it drops. Did we
really need a whole song about that?
“I’m from the
Ghetto” is a good track, but even that is weighed down by Game’s
monotonous Compton boasting-tattoo on face line-Dre reference
formula and a horrible, horrible hook (which we have quite a few of here).
There are other deterrents. DJ Khaled himself offers up one
of the biggest turn offs. His incessant yelling, along with his constant use of
the n-word seems incredibly out of place. Yes, it’s his album (even though he
doesn’t produce most of the tracks) but we don’t really need to hear him scream
“We the Best” before and after every other track. He is entering DJ
Clue levels of irritating here. We know what album this is and do not
need such annoying reminders. It wouldn’t annoy if it didn’t take away from the
tracks he is showcasing.
The result is as promised in the first paragraph. While capable of doing so,
it didn’t manage to provide the luster it should have. It’s a good album, but
it just doesn’t live up to the billing. Too many guests and too little focus.
Khaled’s bold title claims it to be “the best,” but this
album shows little indication of that. I guess “We the Average”
doesn’t have that great of a ring to it.
Listen to the full album now! HipHopDX
and Koch Records are letting you listen for free. CLICK
HERE for the online listening.
