During his last HBO special, comedian Chris Rock went on an extended rant regarding the difficulty of defending much of the current rap music scene. Now, that’s probably not the best way to start a review of David (Young Buck) Brown’s solo debut, so instead, let’s focus on something other than his music for a minute.
On November 15, 2004, during an altercation backstage at the Vibe Awards, Buck allegedly stabbed a man. At press time, he has surrendered to police and been charged with one count of attempted murder and one count of assault with a deadly weapon. He was released on bail and expected back in court on December 20 for his arraignment.
Buck has now joined the list of rappers whose rap sheets (sorry) seem to coincide with their album release. In this case, Buck’s Straight Outta Ca$hville has been on the shelves for a minute, but several news outlets report renewed interest and sales in the wake of this little “knife piercing flesh” unpleasantness.
Those of you who missed it the first time around should know that Young Buck isn’t all that new to the game. He’s done his thing on the underground scene, was briefly affiliated with the Cash Money label and has now hooked up with 50 Cent and his G-Unit clique.
In fact, 50 gets an Executive Producer credit here, which isn’t all that surprising considering his smudgy little fingerprints can be found on almost every track, including the generic I’m A Soldier opener. One of these days, someone needs to do an independent study on the single most overused rap song title. I’ll be stunned if this one isn’t in the Top 3.
This one has a pretentious, tries-too-hard beat featuring strings and synths, along with a played out reference to the hood-classic movie Juice and the line:
“I’ll put this four-five in your mouth like a toothpick”¦”
Quick question: Why does 50 Cent continue to put himself on the hook of so many tracks? His monotone, mealy-mouthed MC act just doesn’t work as a means of connecting one verse to another, whether it’s on I’m a Soldier or the equally inane Bonafide Hustler. 50 drops this gem on ’em for the hook:
“I’m a bonafide hustler”¦n*gga get outta line and I’ll gut ya.”
Anyone want to hazard a guess as to how quickly this whole album becomes “Exhibit A” at a certain trial next year? And Buck doesn’t exactly do his defense any favors with lines like:
“But, understand”¦if you start it”¦I’m gonna pop.”
That’s from Prices on My Head, which also features Lloyd Banks. They tell us how rich they are and how everyone hates them for it. You know the routine”¦there’s got to be at least one song for the haters. Hey, and how about drug themes? Who amongst us can’t relate to slinging rocks and uses for baking soda that don’t appear on any box of Arm & Hammer.
Do It Like Me is a limp-wristed warning to all those Young Buck imitators out there. And if the mosquito-sounding “scratches” don’t reel you in, then his insufferable shout out to all the children in Somalia “with nothing to eat” will make you a believer. Buck love the kids, too, y’know.
And the corny continues on cuts like Look At Me Now with its pseudo inspirational concept compromised by the poor production and Buck’s extended run-on sentence of a third verse. Oh, and make sure you give a listen to Bang Bang. It’s equally awful, but it’s not everyday that Sonny Bono and Nancy Sinatra are found on the liner notes to anyone’s rap album. This one sounds like a bad Tupac outtake, as if there’s not enough of those out there.
Lil’ Flip and David Banner show up to rep Houston and Mississippi, respectively, on Welcome to the South. Flip might not know much about geography (South? Texas?), but he’s got the best verse here. Although, that’s mostly because he’s not the one who rhymes “Tennessee” with “Hennessy”. Lil’ Jon produces the current club banger Shorty Wanna Ride. The stripped down beat is actually a decent change of pace from Jon’s cookie-cutter crunk approach.
But, the highlight of the album is Stomp. DJ Paul of Three-6 Mafia fame laces the beat here, while guest star Ludacris absolutely blows away everything else on this CD with one verse. Here’s a sampling:
I’m a monster in this game, similar to the Loch Ness
My rhymes are nappy rooted, some verses got a process
The truth in this booth, ain’t no doubts when I’m rappin’
If I say it, I’ve either done it, or it’s ’bout to happen
My deals never get screwed, my contracts practice abstinence
I’m masterin’ this program, hazin’ these undergraduates
The verse actually made the mixtape rounds for Luda before being used here, with a nicely placed diss at the end.
