Flo Rida – R.O.O.T.S.

    Flo Rida may have mastered the art of staying in his lane. Charge it to
    geographical location, but his spouting philosophies of the workingman
    sweating on a dance floor on the weekends in flashy clothes is a market
    in and of itself. His latest effort R.O.O.T.S doesn’t necessarily bring
    anything new to the table (dancey rap tracks with a handful of cameos),
    but it doesn’t bring anything less than Mail On Sunday
    [click to read] did either.

    Considering
    the Flo Ridian rapper spent his early days touring with 2 Live Crew
    [click to read],
    the party concept (with some lewdness shaved off) must have stuck with
    him as he started his own career. R.O.O.T.S aka Route Of Overcoming The
    Struggle
    holds true to its acronymic title. Once again Flo Rida is
    working for the weekend, waiting to shake his bulbous physique at a
    club and take a PYT home. The album opens with “Finally Here,”
    reminiscent of Big Pun‘s “100 Percent” in its ideal of finally reaching
    that lucky day where money problems disappear. It follows with “Jump,”
    welcoming the return of Nelly Furtado on a high-energy track that’s
    begging to be a single.

    The theme of the entire album rests
    upon Flo Rida being poised for greatness in the world of Hip-Pop. He
    isn’t claiming to be the G.O.A.T; he’s just here to have fun. The irony
    is that the original self-proclaimed G.O.A.T, LL Cool J, attempted to
    reinvent himself as something of a Flo Rida (see The DEFinition) and a
    not a single person was left headsprung. Flo Rida entered the game as a
    bulky party starter and it’s helped him bypass the sophomore jinx.

    Flo
    Rida
    enlists some obscure cameos this time around, with the exception
    of Ne-Yo
    [click to read]
    on the Ne-Yo sounding “Be On You” and Akon
    [click to read]
    on the Akon-sounding “Available.” The lead single “Right Round”
    features newcomer Ke$ha, and while the sample works perfectly, a simple
    substitution of Keri Hilson would have given this song more leverage.
    Oddly the most random cameos happen to be the singles (“Right Round” f/
    Ke$ha, “Shone” featuring Pleasure P, and “Sugar” featuring Wynter
    Gordon
    ). Only time will tell if Flo Rida can carry these songs through
    the mainstream.

    There are some misses in R.O.O.T.S, primarily
    on the title track where Flo Rida attempts to insert some “real talk.”
    This is the only point where being known as lighthearted poses a gift
    and a curse, and while Flo Rida may have felt this track added
    substance, it definitely didn’t. The album closes with the
    Wyclef-assisted
    [click to read]
    “Rewind,” and that’s exactly what you’ll do – just to avoid hearing the
    track.

    R.O.O.T.S in many ways is the album that should have
    preceded Mail On Sunday – songs packed with newer talent and dance
    floor money woes. Regardless of his catalogue’s order, Flo Rida has
    cornered the market of crafting songs with enough momentum to make you
    kill a rabbit.

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