Snoop Lion - Reincarnated

You can pinpoint the exact moment Snoop Dogg stopped being dangerous. In November 2006, Tha Blue Carpet Treatment was released, with lead single 'Vato' being an unquestionable standout (run motherfucka run!). Then, it all stopped. Snoop decided to become a family man, with reality shows and a string of other endorsements turning him into an 'Uncle Snoopy' figure, unrecognisable from the menacing, whip-smart youth that dominated the hip hop world through the 1990's.
As one of hip hop's elder statesmen he did, however, continue to release music. Ego Trippin' was a slightly bizarre, if ultimately disappointing follow up while, the less said about Malice n Wonderland the better. If these were poor, it was nothing compared to the disastrous Doggumentary. Snoop even had the nerve to bill it as the sequel to first classic album Doggystyle, an appalling comparison that did the project no favours at all. Somehow, the magic had gone.
In July 2012, Snoop Dogg threw a curveball. Announcing he was changing his stage name to 'Snoop Lion', and was embracing the Rastafarian faith, the eccentric rapper declared his next album would be an exclusively reggae affair. Assuaging all doubts about the validity and even existence of the project, Snoop Lion has delivered Reincarnated on schedule to a fan base he has yet to convince about his change of direction.

Early signs were not good. Lead single 'La La La' did nothing to soothe fears the Doggfather had finally lost his marbles. It was with trepidation that I downloaded and began to listen to album, bracing myself for a car crash in musical form. It wasn't the first time I have done this with a new Snoop Dogg LP...

My fears were almost instantly dissipated. Opener 'Rebel Way' has Mr Lion crooning over a relaxed Major Lazer beat. The first surprise is the fact that Snoop can actually sing a little. Not especially well, but it isn't painful in the same way as listening to some of his peers (I'm looking at Diddy especially). He's Kid Cudi good if you're looking for a point of reference.
With his mildly weak vocals seemingly in mind, Snoop enlists a variety of reggae singers to assist with many of the hooks. Angela Hunte assists on the ludicrously catchy 'Here Comes the King', and pops up again on 'So Long'. Both tracks are perfect reggae-pop, as deep as a puddle but suitably party-ready. Backed up by the aforementioned Major Lazer production team, Reinarnated is rarely allowed to slide into boring territory. Just when it appears certain tracks are about to sag, Diplo throws in a random horn section or thumping bass line to keep things ticking over. The project works better if you don't think about it too hard and allow the music to wash over you, Major Lazer working effectively to give the album a sense of continuity.

The technique of not taking things too seriously is useful when exposed to some of Snoop's unorthodox subject matter. While it is refreshing to hear him avoid profanity and explicit material, the fact he chooses to replace it with lyrics about fruit juice and the healing powers of nature do raise the eyebrows slightly. It is his sketchy grip on the Rastafarian religion that amuses most, something forgivable if you regard the album as the oddity that it is.

There is, however, the odd note of sincerity. 'No Guns Allowed' is particularly resonant given the recent tragedies that have occurred in the USA recently, while Drake provides an affecting verse about the problems across the border in Canada. In a similar vein, 'Tired of Running' finds Snoop ruminating on the impact his music may have had on relations between the public and the police.

The perceived vocal weakness occasionally gives way to unnecessary guest spots. Akon drops by for absolutely no reason on the aforementioned 'Tired of Running', adding nothing to a song Snoop is quite able to handle on his own, while the decision to allow Chris Brown to appear on 'Remedy' is baffling on an album exclusively about peace and love. The track is, however, notable for a fired up, Jamaican-mode Busta Rhymes (WADADANG, WADADADANGDANG?) The featured artists seem to reflect an anxious Snoop Lion, needlessly worried about being unable to carry his own album and instead flooding the project with needless guests.

Track by Track:

1. Rebel Way (7/10)
2. Here Comes the King (Feat. Angela Hunte) (7/10)
3. Lighters Up (Feat. Mavado & Popcaan) (7/10)
4. So Long (Feat. Angela Hunte) (8/10)
5. Get Away (Feat. Angela Hunte) (7/10)
6. No Guns Allowed (Feat Drake & Cori B) (7/10)
7. Fruit Juice (Feat. Mr. Vegas) (7/10)
8. Smoke the Weed (Feat. Collie Budz) (5/10)
9. Tired of Running (Feat. Akon) (7/10)
10. The Good Good (Feat. Iza) (7/10)
11. Torn Apart (Feat. Rita Ora) (7/10)
12. Ashtrays & Heartbreaks (Feat. Miley Cyrus) (6/10)
13. Boulevard (Feat. Jahdan Blakkamoore) (6/10)
14. Remedy (Feat. Busta Rhymes & Chris Brown) (6/10)
15. La La La (5/10)
16. Harder Times (Feat. Jahdan Blakkamoore) (7/10)

The Verdict

A pleasant surprise, Snoop Lion has delivered an album full of charm and personality, albeit with a skewed Rastafarian vision and a loose grip on what reggae music actually entails. Enlisting the services of Major Lazer for the majority of the production proves to be a masterstroke, giving Reincarnated a pleasingly cohesive feel. Against all expectations, Snoop Dogg has delivered his best album since 2006.

7/10

Pick of the XXLFreshman '13 Class

Thank God for the Freshman editions of XXL magazine. The last time I ventured on to Hip Hop DX, the most popular single was a new Tyga track featuring 2Pac. It was so bad that I had to clean my teeth afterwards. Lil Wayne has a new album out. The lead single is charmingly titled 'Rich as Fuck' and it is simply lamentable, as has been virtually all of Wayne's output since   Tha Carter III. Mainstream hip hop is currently in a terrible state, with an ever expanding pool of mediocrity and copy-cat content destroying all semblance of originality.
It is a desperate situation, but then the Freshman awards come and make everything bearable again. Though there are often missteps (Future?), the list always provides a decent selection of new artists to explore. Here are my top 3 picks of this year's contestants:

1. Action Bronson

A New York native of Albanian descent, Action Bronson has been steadily gaining a mixtape buzz over the last few years. His voice and flow is eerily similar to Ghostface Killah, something Bronson both acknowledges and embraces. Scratch below the surface, however, and clear differences can be found between the two artists. Influenced by the fact he is a professional chef, his rhymes frequently feature metaphors and imagery based around food, utilising soulful and melodious instrumentals to lull the eardrums. Conversely  the relaxing backdrop frequently gives way to dark and perverse imagery, a grimy contrast that creates a unique impression on the listener.

With a steady catalogue of releases behind him, it is unlikely that Action Bronson will remain a hidden gem for much longer.

Download: Action Bronson - Blue Chips

2. Angel Haze

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In a hip hop world sorely lacking female talent, Angel Haze stands out as an entirely different proposition to the pop drenched output of Nikki Minaj and her contemporaries. An abusive, extremely religious upbringing gives Haze's music an entirely different perspective, her brutally frank remix of Eminem's 'Cleanin' Out My Closet' being a case in point. Mixtape Reservation showcases a range of styles and subject matter; close introspection often giving way to an unflinching, ferocious flow.
Gracing the XXL cover as the 'People's Choice' Freshman is a timely award, giving the young MC the exposure that she clearly deserves.

Download: Angel Haze - Reservation

3. Joey Bada$$

Acclaimed mixtape 1999 has meant Joey has had a meteoric year. The project is notable for introducing both the confident rhymesmith and his Pro Era rap crew, founder member Capital Steez tragically committing suicide in December 2012. Trading complex, thought provoking bars over intricate instrumentals, 1999 is reminiscent in parts of Illmatic, heady praise for an artist finding his voice in the turbulent arena of modern hip hop. Taking listeners back to the golden era, Bada$$ has stated that his debut album is almost finished for release. With his music picking up critical and commercial attention, Joey is a decent bet to be the most successful of this year's freshmen.

Download: Joey Bada$$ - 1999

The 10 Best Hip Hop Tracks of 2012!

It's that time of the year again! My annual, slightly late run down of my 10 best tracks of the year is written in no particular order, so here goes...

1. Loco-Motive - Nas feat. Large Professor: Nas had a blistering 2012, dropping his almost perfect return to form right in the middle of summer. In truth, he could have had over half of this list with one album, but it is Loco-Motive that really stands out. The steadily clattering train anchoring the beat complements the grimy, cinematic atmosphere of a late night subway ride through Queensbridge. Almost 20 years since his debut, Nas hasn't lost a step.

2. Bury Me a G - Rick Ross feat. T.I: The highlight of an otherwise disappointing group LP from MMG, Ross embodies the gangsta don persona he has made his own, his wheezing voice lending a sense of urgency  rarely found on his other work. It is T.I however, who steals the show, his menacingly unhinged, slack jawed delivery bringing the song firmly back to the Dirty South.

3. Something More - Xzibit feat. Prodigy: A drowsy West Coast funk almost renders the listener inert as Xzibit triumphantly retains his place as one of his regions most consistent voices. Prodigy lends able support, a rare 2012 return to the style that made Mobb Deep such a distinct act in the late 90's.

4. Getting By - Lloyd Banks feat. Schoolboy Q: A stoner anthem that is actually listenable, Lloyd Banks released this gem in what proved to be a quiet year for 50's right hand man. Schoolboy Q demonstrates exactly why Black Hippy are so highly tipped for a successful 2013.

5. Hammer Dance - Slaughterhouse: Aside from the baffling decision to deny Royce da 5'9 a chance to rhyme, the lead single for Welcome to Our House was an underrated Araab MUSIK laced banger. Bringing together the remaining talent of the crew under the hook supplied by Royce, the track continues the chemistry first brought to prominence at the 2011 BET Awards.

6. Mercy - G.O.O.D Music: Granted, it has a lamentable middle section that cannot sustain Kanye's ego. That being said, Mercy unquestionably had the most hypnotic beat of the year, as well as a stunning video. Those wondering what all the fuss about this 2 Chainz chap is would be well advised to view this work.

7. Backseat Freestyle - Kendrick Lamar: Kendrick has been the debut star of the year, achieving critical acclaim and gold status for Good Kid, m.A.A.d City without a smash single in sight. The concept album is virtually flawless, but Backseat Freestyle is simple introduction that can be listened aside from the main narrative, reminding listeners that it is no accident that Kendrick is considered as the potential hip hop voice of his generation.

8. Pull the Cars Out - Ghostface Killah & Sheek Louch feat. Method Man: Though Wu-Block wasn't quite the melding together of two legendary crews we hoped it would be, gritty banger Pull the Cars Out showcases three artists comfortable in their own skins, sticking close to the format that brought them such success in the 90's. Method's verse in particular is ice cool in conception, dipping in and out of the beat flawlessly.

9. Love Sosa - Chief Keef: Hip Hop's version of Mario Balotelli continues to battle legal troubles, just about squeezing out his debut album before casually cancelling his entire U.S tour. Finally Rich is pretty dreadful, but single Love Sosa is Keef at his demented, spaced out best, an ode to himself that only fellow Chicago alumni Kanye West could rival. It is also tear-inducingly catchy.

10. Pyramids - Frank Ocean: Not technically a hip hop track in the traditional sense, Frank qualifies due his association with Odd Future. Pyramids is an 8 minute mini epic, Ocean's fabulous voice melting from the up tempo first half into the most beautiful musical moment of the year as the song reaches its conclusion.

No Country For Old Men?

On October 5th Xzibit released Napalm, his first album since 2006. The LP is a solid collection, featuring a laid back sound awash with West Coast swagger. The veteran rhymer returned to the formula that made him an important cog in the Loud Records wheel in the early 2000's, making Napalm a welcome addition to X's extensive catalog. It was, however, was a commercial failure, selling just over 3,000 copies in the first week of general release.

Xzibit is not alone in falling victim to the curse of a disappointing comeback. 2012 has been a year of veteran rappers returning to the mic:

Ja Rule Pain Is Love 2 3,000 sold (first week)
Prodigy H.N.I.C 3 4,000 
DMX Undisputed 17,000
Xzibit Napalm 3,000
Total: 27,000

Collectively, the four artists mentioned have sold over 50 million records over the course of their careers. If we estimate the final sales totals to be around 50,000 units, the first week sales of the new albums represent around 0.1% of the total albums the rappers have pushed in their entire careers. Part of the reason for this could be poor critical reception, as was the case with H.N.I.C 3 and Undisputed as it was generally accepted that the two rappers in question had lost a lot of ground in their separate prison bids The respective efforts of Ja Rule and Xzibit, however, were mainly seen in a positive light, resulting in mystifyingly low sales. It appears that in the extended hiatus, listeners simply forgot their former idols. There were 8 years between Ja's R.U.L.E and PIL2, while there were 6 between X's Full Circle (itself a commercial failure) and Napalm.

On the other side of the coin is Nas. The thinking man's favourite released Life is Good in July after 4 absent years, achieving 150,000 first week sales and being hailed as one of the best albums of the year by critics. This proves that there is still an appetite for old school hip hop from the late 90's golden era  (if you allow the discussed artists under those particular terms), but the numbers still reveal a worrying trend. Adding the 300,000 total sales to our 50,000 gives us a healthier looking 350,000, but putting Nas' total of 13 million units onto our 50 million hardly improves the percentages. Even the spectre of illegal downloads struggles to explain such a drastic fall. The hip hop world is in danger of losing the elder statesman that helped establish the mainstream art form.

Taking all this into account, is it any wonder that Dr Dre continually pushes back the now almost mythic Detox?

Putting those concerns aside, this week some rare good news came from the Soundscan totals. Kendrick Lamar has achieved the highest hip hop first week sales of the year with good kid, m.A.A.d city, beating off his competition with an astonishing 242,000. It is also the highest selling debut by a male artist this year. All this was attained without a smash single, instead being a response from a loyal fan base steadily attained through stellar output over the last few years and bolstered by relentless critical praise.

Dr Dre is one of the contributors on good kid. It now seems to be the veteran producer riding on the coat tails of the young gunner. Are we now seeing a power shift?

G.O.O.D. Music - Cruel Summer

Kanye Wests' G.O.O.D. Music label has been steadily gaining momentum over the past few years. Astute signings such as Kid Cudi, Big Sean and Pusha T, as well as forging close relationships with artists as diverse as Common and 2 Chainz has seen the Def Jam subsidiary appeal to a broad audience, chiefly through the 'G.O.O.D. Friday' scheme, a constant flow of new music that has effectively maintained the attention of fans. Though originally scheduled for a Spring 2012 release, West has just about managed to prevent his album title becoming redundant by releasing Cruel Summer just before the official close of the season.

Album opener 'To The World' is a bombastic, auto-tuned tour de force, R Kelly dominating the song as he screeches through a fantastically overwrought chorus, Kanye hardly needed as he offers a token verse towards the conclusion of the track. The collection kicks into gear properly on 'Clique', Jay Z dropping by to assist his protege with mature, sophisticated rhymes. Kanye strikes the characteristically confident pose that will carry him throughout the rest of the album, boldly proclaiming divine help for the second time in only two songs. The only negative is in the weak Big Sean-provided hook, his voice failing to command the beat in the same way as his two more experienced collaborators.

Perhaps unwisely, the same artist is immediately back in the fray, given the task of kicking off lead single 'Mercy'. Kanye is on top production form, the unsettling, ice cool beat overwhelming Sean as he spits some poorly thought out, corny punchlines. The track is saved by some intense work from Pusha T and finished off expertly by the charismatic 2 Chainz. The two rappers have received a similar career boost in aligning themselves with G.O.O.D. and both are utilised well in posse cut 'The Morning'. Enlisting Raekwon proves to be a masterstroke, his cinematic montage complemented with shorter, sharp vignettes from the other features, Cyhi The Prynce attempting to rectify his status as the forgotten man of the label with an entertaining appearance.

Second single 'Cold' becomes the crux on which the listener will decide how to respond to the album. West has always been known for his gargantuan ego, his meteoric career rise accompanied by an inflated sense of self worth he does little to hide. The song features a chorus jabbing at Kris Humphries:
"Want to talk about clothes I motherfuckin' embarrass you/ Want to talk about hoes I motherfuckin' embarrass you..." along with suggesting he will get "Jay to drop him from the team" (unlikely as Jay Z owns less than 1% of New York Nets). Catchy, offensive and braggadocios, the track encapsulates the best and worse of Kanye West. The listener can either accept it or deride the flamboyant eccentricities of a flawed genius.

Taking a break from West, the album then moves into smoother R&B territory. The Dream croons over relaxing production as 'Higher' slows the pace. A surprising verse from Mase captures the mood of the track perfectly, the slick, soothing rhymes becoming another entry in the incremental, steady career revival of the former Bad Boy. A triumphant, powerful hook from Marsha Ambrosius lifts 'The One' as Kanye recites his most hilarious lines on the LP:
"Everything around me got me underwhelmed/ Best way to describe my position is at the helm/ Best way to describe my new whip... NYAOOOOOW"

Kid Cudi is mystifyingly absent for much of the album, a tiny appearance on 'The Morning' and a whirling, dervish-like appearance on the 'Mercy' video being his only contributions to the project until the tenth track. His solo spot on 'Creepers', however, is worth waiting for. Evidently still in Wzrd mode, Cudi infuses catchy production with his trademark lonely, spaced out yearnings. John Legend and new signee Teyana Taylor collaborate less successfully on 'Bliss', the track seeming better suited to another collection.
'I Don't Like (Remix)' also seems out of place, a strange decision to use another's work for a figurehead usually noted for his individuality.

Track By Track:

01. Kanye West and R. Kelly - "To the World" (8/10)
02. Kanye West, Jay-Z and Big Sean - "Clique" (8/10)
03. Kanye West, Big Sean, Pusha-T and 2 Chainz - "Mercy" (8/10)
04. Kanye West, Pusha-T - "New God Flow" (8/10)
05. Raekwon, Pusha-T, Common, 2 Chainz, Cyhi the Prynce, Kid Cudi, D'Banj - "The Morning" (8/10)
06. DJ Khaled - "Cold" (8/10)
07. The-Dream, Pusha-T and Ma$e - "Higher" (8/10)
08. John Legend, Travi$ Scott, Teyana Taylor, Cyhi the Prynce and Malik Yusef - "Sin City" (7/10)
09. Kanye West, Big Sean, 2 Chainz and Marsha Ambrosius - "The One" (8/10)
10. Kid Cudi - "Creepers" (9/10)
11. John Legend and Teyana Taylor- "Bliss" (6/10)
12. Kanye West, Chief Keef, Pusha-T, Big Sean and Jadakiss - "Don't Like" (7/10)

The Verdict:

Kanye West has thrown the gaudy excesses of hip hop into sharp relief, embodying the urgent, captivating style that is missing from much of mainstream chart rap music. Much critical response to Cruel Summer will focus on personal opinion of the figure of West, but this would be to miss the point of the LP. At different times raucous, boastful, sophisticated and sultry, Cruel Summer ranks as one of the year's best albums.

8/10

DMX - Undisputed

Few musicians have had a career trajectory quite as extreme as DMX. A string of number one albums in the late 90's (including 2 in the same year) put X at the forefront of mainstream rap, a success story that stretched into the new millennium as the gruff New Yorker amassed over 20 million in sales. In addition to musical success, the rapper also branched out into acting, taking on a variety of well received roles.
Post 2003, however, everything went wrong. Frequent, well publicised legal woes were briefly staved off with 2006's disappointing Year of the Dog... Again, but the familiar personal problems seemingly overwhelmed him as the decade came to a close. Now, fresh from his latest stint in prison, DMX is at risk of being forgotten by the rap world. 6 years after his last album, Undisputed marks a return for one of hip hop's most perplexing, yet enduring figures.

Opener 'What They Don't Know' is an attempt to pick up where Year of the Dog... left off. Enlisting frequent collaborator Swizz Beatz finds the rapper in familiar guttural territory, flanked by the bombastic production Swizz is famed for. Fully embracing the 'if it 'aint broke' mantra, the track comes off sounding like a discarded effort from a previous LP. In trying to recapture the spirit of previous club bangers, however, 'I Don't Dance' is a slightly more successful effort. Obviously gunning for radio play, a surprisingly euro-pop looping beat is used to catch the ear of listeners. While some might find the syrupy backing a little offensive for an MC noted for his violent subject matter, X still manages to infuse the track with his signature menace with some darkly humorous wordplay:
"Y'all niggas whisper X is a crackhead../ Aight then, fuck it, Imma just crack heads!"
MGK is a smart guest addition, matching the veteran in the cartoonish intensity of the club friendly song.

Indeed, Undisputed is most successful when DMX brings his brash, rough edged schizophrenic flow to the fore. 'I'm Back' has infectious horns bouncing across a soulful backing, allowing X to utilise his harsh, barking delivery to its full potential. It is somewhat baffling that the track isn't used to introduce the album, both suiting the overarching theme of the LP and at the same time arguably the strongest offering to be found in the collection. In a similar vein, 'Get Your Money Up' and 'Already' effectively showcase the talents of a man who has been away from the spotlight for too long.

Trash talking and violence are not the only topics on X's mind, however. A large part of the album is devoted to introspection and recrimination over his criminal past. 'I Get Scared' finds the MC exploring a softer side to his public persona, even singing over the chorus while being assisted capably by Adreena Mills. 'Slippin Again' borrows a title from one of his classic tracks, and again features more singing. While this marks a surprising departure from what fans may be used to, the transition is a triumph, especially when combined with thoughtful, attention grabbing lines:
"You think having money is the answer?/ Money aint nothing but another form of cancer."

There are, however, a number of weak moments spread out through the album. The deeply misogynistic 'Sucka For Love' is unpleasant hip hop buffoonery of the highest order, the title misleading in the extreme as X describes his disgust for women who sleep around (presumably it is still perfectly alright for him to do the same). Some tracks, while much less offensive, struggle with either weak production or poor lyrics. While a loose, halting style has always been a hallmark of his flow, at times on the album the rapper seems to have lost confidence in his own ability. Certain songs simply become tiresome, 'Cold World', 'Have You Eva' and 'I Got Your Back' being particularly guilty of this trait.
As described earlier, some simple editing may have made Undisputed a more cohesive listen. Soulful, heartfelt tracks are followed by rambunctious, braggadocios efforts, the album then immediately switching back to another softer side of the rapper. Grouping the different tones together could have made an already confusing character that little bit easier to understand.

Track by Track:

1. Look Without Seein’ (Intro)
2. What They Don't Know (6/10)
3. Cold World (6/10)
4. I Don't Dance (7/10)
5. Sucka For Love (3/10)
6. I Get Scared (7/10)
7. Slippin' Again (8/10)
8. Prayer (Skit) 
9. I'm Back (8/10)
10. Have You Eva (6/10)
11. Get Your Money Up (7/10)
12. Head Up (6/10)
13. Frankenstein (6/10)
14. Ya'll Don't Really Know (7/10)
15. I Got Your Back (5/10)
16. No Love (6/10)
17. Already (7/10)

The Verdict:

The majority of Undisputed showcases an artist that is past his captivating best. While it is to be applauded that a seemingly more mature and focused rapper has returned to the mic, the album struggles at times to remind listeners why the world once fell in love with the Yonkers born MC. A welcome return, then, but one that needs to be built upon if DMX is to retain his spot at the hip hop table.

6/10

2 Chainz - Based On A T.R.U Story

It has been a good year for 2 Chainz. Musically active since the mid 90's, his previous 'Tity Boi' stage name proved to be a hindrance as his Playaz Circle group attained middling success through the early 2000's. A quick change of moniker and Tauheed Epps has suddenly become one of the most prolific featured artists of 2012. Mixtape acclaim has been followed by feverish anticipation for his debut solo album. It's all going so well that, if his frequent boasts are to be believed, Chainz is now charging $100,000 for each guest verse. With the backing of veteran label Def Jam, fans are now able to see for themselves whether Based On A T.R.U Story is able to maintain his stratospheric rise to the top.

Things do not get off to a great start. Album opener 'Yuck' is patchy, with an unpleasant, entirely unnecessary chorus from Lil Wayne. Thankfully, following efforts 'Crack' and 'Dope Peddler' find the Georgia resident in comfortingly familiar territory. The simplistic, bouncy rhyme schemes that have brought Chainz such success are present and correct, with bombastic production from Southside and Bangladesh respectively. 'Money Machine' and 'Wut We Doin' follow the same pattern, not exactly reinventing the wheel but sure to delight fans looking thumping, raucous beats.

Lead single 'No Lie' is next up. The Drake assisted track is well chosen, becoming easily the strongest cut on the project. It is important to note that the song belongs entirely to Drake, bringing the energy and charisma that has been sorely lacking since his mixtape days. 2 Chainz effectively becomes a featured artist on his own song, but it is no less enjoyable because of it. A second high profile guest follows immediately after, Kanye West handling production duties on 'Birthday Song' while also dropping by to spit a verse. The track is fun, if a little repetitive, the two artists failing to recreate the chemistry found on recent collaborations such as 'Mercy'. The slinky 'I'm Different' is perhaps the most ironically titled song in hip hop history, but has catchy, subversive piano keys for the MC to push forward his shit talking agenda.

To his credit, Chainz does risk breaking from the formula that has reaped so many rewards. 'Extremely Blessed' featuring The Dream is a nice change of pace, though including R&B tracks catering for females seems slightly absurd for an album that constantly extols the virtues of strippers and hoes. 'In Town' is similarly relaxing, but the Chris Brown featured 'Countdown' becomes a little turgid.

'I Luve Dem Strippers' is by far the poorest offering on the LP. Derivative to the point of inertia, the repetitive, misogynistic content is hardly enlightened by an irritating verse from Nicki Minaj. Though a more serious approach can be found on 'Ghetto Dreams', there are still some severe limitations on show.  The track is predominantly an examination of the problems facing the poor neighborhoods the rapper grew up in, but he simply cannot resist throwing in some trite rhymes:
"Used to dream about a bigger couch, woke up in a bigger house/ Commas in my bank account/ So much money, I had to let the banker count."
The refusal to take the subject seriously comes off poorly when compared to an earnest Scarface guest spot. The track demonstrates how, by pushing himself out of his comfort zone, Chainz often comes up short.

Track By Track:

01. Yuck! (feat. Lil Wayne) (6/10)
02. Crack (7/10)
03. Dope Peddler (7/10)
04. No Lie (feat. Drake) (8/10)
05. Birthday Song (feat. Kanye West) (7/10)
06. I’m Different (8/10)
07. Extremely Blessed (feat. The-Dream) (7/10)
08. I Luv Dem Strippers (feat. Nicki Minaj) (4/10)
09. Stop Me Now (feat. Dolla Boy) (610)
10. Money Machine (7/10)
11. In Town (feat. Mike Posner) (6/10)
12. Ghetto Dreams (feat. Scarface & John Legend) (6/10)
13. Wut We Doin? (feat. Cap1) (7/10)
14. Countdown (feat. Chris Brown) (5/10)

The Verdict:

2 Chainz isn't going to win any new fans with Based on a T.R.U Story. This is not necessarily a bad thing, the former Playaz Circle member providing a fun, trunk rattling album for the late summer. Though he has charisma in abundance, his limitations as an MC come to the fore a little too often for his solo debut album to be recommended to those who are yet to be convinced.

7/10