It’s already been said that the Ladies Love Cool
James. But this “living legend” has more lives than Keanu Reeves’ movie career. James
Todd Smith has only slightly reinvented his persona over the two-plus
decades that he’s been under the watchful eye of Hip Hop. Hell, he’s been an
establishment unto himself for the duration of Hip Hop’s mainstream history. LL
is the one of the few artists who can attest to being before and after all the
rest. Able to prosper in the time frame of the Beastie Boys, Big
Daddy Kane, Kool Moe Dee and the Juice Crew
to holding his own amongst Young Jeezy, T.I.,
50 Cent and G-Unit. The epitome of what Hip Hop
was founded on, “long lasting” James Todd Smith drops his
twelfth album, Todd Smith in hopes on staying within his respected
playing space.
The pairing of Juelz Santana and Uncle L for
the lackluster, “It’s
LL and Santana” seems as if the “future of the funk” is trying to
not fall behind the times. Understandably, the point is comprehended – a
bridging of the gap between young and old. Since no one is really “old” in Hip Hop,
this doesn’t have the impact factor like Cool J’s earlier collaborations on
songs such as “I Shot Ya” (Remix) with Fat Joe, Foxy
Brown, Keith Murray, and Prodigy or “4, 3, 2, 1”
with Method Man, Redman, DMX,
and Canibus.
Another stumbling point for Mr. Smith is one for a lot of
artists nowadays – production. The bulk of the production duties falls under
the watchful eye of the infamous Trakmaster team. The album,
in itself, doesn’t have any relevance to the current sound of the culture. With
producers such as Nitty,
Bangladesh,
Mr. Collipark, and the Runners currently
making the sounds that come out of the radio – it doesn’t seem as if LL
Cool J needs it anymore. With an album featuring Lyfe Jennings
and Mary J. Blige, you would think that the blending of
soulful sounds and “lengthy lyrics” would equal to Billboard gold (or
platinum), but the evolution isn’t there. “Freeze,” which is the song
featuring R&B Ohio-native, Lyfe Jennings – is
unenthusiastic. The melody is too slow and doesn’t emphasize anything that
would make anyone want to remember that it even existed on the CD.
The James Todd Smith of old defined trends. From the Kangol
hats to the FUBU collection, his influence cannot be denied. But it seems as if
he’s learned a thing or two from the ones in the game that he has probably
inspired. One of those moments of inspiration comes from the eye opening and
strongly delivered “I’ve Changed.” Featured artist, Ryan Toby
is a soulful newcomer whose voice is easily identifiable and instantly
memorable. His performance drives home the story of lost love. LL,
who hasn’t lost his knack for storytelling emphasizes his desperation with
passion and conviction. Other standout songs on this album include “What You Want”
(featuring Freeway), “We’re Gonna Make It” (featuring Mary
Mary) and the spicy, Latin-flavored “#1 Fan.”
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For those who just bought the album on the strength of the “Planet Rock”
sampled, Jermaine Dupri-produced first single, “Control Myself”
(featuring J-Lo) or have heard the “So Sick (Remix)”
are in for a rude awakening when they see that Uncle L is
still hanging with the big boys.
LL Cool J very rarely deviates from his lane – sugary pop
songs or club bangers that he’s been fortunate enough to craft out for
twenty-one years. The man whom all the ladies love is still going strong with
his baby face, charisma, and wit all in tack. No longer the 16-year-old rapping
phenom, Cool J is a welcomed change in the midst of all of the
moral decay and misogynistic rhymes present in the current Hip Hop scene.
Nevertheless, his increasingly syrupy music has seen better days.
