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New Album G-Unit Released
| 17-08-2008 10:05 | 0 reaction(s) | add reaction | add news |
 With only 102,000 copies of their latest album sold in its first week, some might say that it’s the end of the line for 50 Cent’s G-Unit crew. But while the numbers might not be there as they once were – the group’s debut offering ‘Beg For Mercy’ sold over 2 million copies, the music that they’re making still sounds good. Now while you’d be stupid to measure the quality of an album by its sales, especially when artists like Talib Kweli and Royce Da 5’ 9” rarely set a foot wrong but still sell ridiculously low amounts, it’s been drilled in to the heads of the music buying public that a small sales figure equals a dud.
Behind the cutthroat boardroom player that is 50 Cent there’s an artist who likes to have a bit of fun when he wants to. ‘T*O*S’ is an outlet in which he can achieve that certain level of satisfaction and enjoyment. Who wouldn’t like to hang out with their friends in a studio recording an album, especially when your friends include punchline King Lloyd Banks and loudmouth street hustler Tony Yayo? And admittedly, while ‘T*O*S’ isn’t the genre shattering LP that 50’s ‘Get Rich Or Die Tryin’’ was, it still displays a certain level of maturity that many of today’s albums just can’t reach.
Knocking beats and hardcore gangsta tales are again what you can expect on the menu. The album’s first single, ‘I Like The Way She Do It’, stands up as a pretty solid track and would eat any other record for breakfast when played in the clubs. Its electronic rhythm and thumping beat does a good job of giving the females something to strut their stuff to. It also allows the fellas to let loose and nod their head along to it. ‘Rider Pt.2’, which blew up and picked up a lot of spins on the mixtape circuit, is another cut that appeals to both the male and female listeners. 50’s been in the industry too long not to know what works and what doesn’t when it comes to grabbing a listener’s attention. Other standout moments include the diversely strange ‘Piano Man’, ‘No Days Off’ and ‘I Don’t Wanna Talk About It.
One set back that does hinder the album’s appeal is the lack of wordplay from 50’s right hand man Tony Yayo. He works well on the occasional track but his talent lies in shit talking and hyping up audiences. Some of his included verses sound like readings from the little book of bling. They easily bore you with the same talk of, ‘my ice this’ and ‘my girl does that’. There’s even a version of the album floating around the internet where all of Yayo’s lyrics have been removed so you can enjoy the album without him. Picking up the slack however is Blue Hefner, known to his fans as Lloyd Banks. After going through a bad patch musically, due mainly in part to having to look after his sick mother, the man with more words than the English Dictionary drops some of his hottest lines yet. On the album’s title track he spits rapidly, “Everything was slow motion but I think I got the potion/ ‘Cos now that they overdosing all my doors are back open, and my Cadillac toting/ Nigga play with me I smoke ‘em/ Murder, what what! 434 is where I’m from.” His flow just sounds ridiculous. Even when he raps with no major subject matter in hand he still manages to impress you. 50 drops some killer bars here and there, as does, the now ex-member of G-Unit, Young Buck, but it’s Banks who steals the limelight on this one.
Loyalty is a trait a lot of music fans find hard to stick with, especially if their favourite artist makes one bad album. In this day and age fans are fickle. When 50, Banks, The Game, Buck, Whoo Kid and Yayo first dropped back in the early part of the millennium everybody and their Grandmother were fixated with them, but as soon as a new artist, who they deem to be more gangsta or more hood, comes along all love is lost. While G-Unit might have lost the spark they originally started with, they’re still the same guys that dropped ‘Stunt 101’, ‘In Da Club’ and ‘Warrior’. They’re still the same guys that Dr. Dre, one of the greatest producers of all time, and Eminem, one of the greatest lyricists of all time, took a chance on. No one can deny that times change, it’s a natural process. But stop hating and start appreciating. ‘T*O*S’ is a street album for those who just want to nod their head to some knocking beats and listen to some thuggish words of wisdom.
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