Debut for DJ Khaled. It'll be the skeleton of his future albums. Most of the production is credited to other producers. It's not a valid excuse for the album to suck so much, but it's right not to discredit those who do not deserve it. On a triumphalist rhythm, DJ Khaled announces his numerous and fabulous guests.
It starts with "Born-N-Raised": rhythm of the Runners, heavy and confused boom bap, extremely annoying, Khaled announces himself and then gives way to Trick Daddy, Rick Ross and Pitbull, one of the worst trios you can put together. The rhythm is fat, simplistic, cheap, horribly mixed, with synths perhaps, I'm not understanding anything, but really nothing, when Pitbull arrives for the second verse after a hook that simply isn't there. Syncopated delivery, rhythm that has the a southern / trap influence; now, only Rick Ross remains — I neglected Trick Daddy because, luckily, he left quickly; I don't mind Rick Ross, but here he offers a ridiculous, cumbersome, syncopated, meaningless delivery.
The second choice has a slow, less indecent rhythm than usual, inside Young Jeezy, ultra-slow, ultra-gooey, cumbersome, rough, senseless delivery; Bun B... well, is that Bun B? I don't think so, no. He's not worse than the others, but isn't too much better; this rhythm is interpreted by everyone with a slower delivery than can be acceptable, in the end Slick Pulla (WHO?) seems to be better than the others, meh! "Grammy Family" is a rare decent track within these seventeen random ones: decent rhythm of Kanye West, aggressive boom bap that doesn't let other elements breathe, Kanye himself drops a discreet and flowing verse, well Consequence, John Legend on the soul hook. "Problem" is the second and final decent track of this first edition of DJ Khaled: in one of his rare beats here (3 out of 17, intro included), he brings together Roc La Familia and LOX at a time when there were also the aftermath of the feud between these two factions, puts them on top of a hardcore and senseless boom bap fat, staggering, simplistic. Well Sigel hardcore, Jadakiss better, the rhythm sucks, so much so that you don't notice that Jada has slowly delivered the best verse of the album, incredible.
"Holla at Me" sees the mystical presence of Lil Wayne, the only one worthy of note in this joint: senseless boom bap made by the commercial foxes of Cool & Dre, but Lil Wayne is at the top in his career and is unstoppable, dominates everything, is phenomenal. Paul Wall, Joe, Rick Ross and Pitbull are also inside, so a mediocre posse comes out; the hook is quite trivial, and the simplistic and absurdly heavy production of the duo doesn't help; Paul Wall isn't up to Weezy, he deserves the treacherous rhythm of the producers. Joe is your generic rapper who after a half golden certification in fifteen years believes himself to be the boss of the city when he can't even regulate his condominium; Rick Ross ehhh, on Khaled's records seems dully. Pitbull closes...
We move on to the solo choice of the Dipset Juelz Santana, following a heavy, simplistic and economic rhythm of Streetrunner: boom bap on the loose, the delivery of Santana is one of the worst and laziest on the album. This song seems endless, exhausting. "Watch Out" also has a meaningless rhythm: Styles P is decent, then Akon's R&B hook, poor deliveries of Joe and Ross, also present here; as in many of the Cool & Dre tracks, the simplistic and heavy boom bap doesn't make sense. Too fat, it ruins everything with those bad synths in the background; the verses of the last two aren't good, but even if they had been, there would have been really a minimal difference.
Cool & Dre also bury the next one, despite choosing a lighter beat than the previous ones: Twista goes as fast as usual, even on the hook, Krayzie Bone offers a mediocre performance as usual, the boom bap chosen by the producers isn't too heavy, but always simplistic and poor. Lil' Scrappy and Homeboy deliver one of the worst tracks on a Khaled record: simplistic, fat, senseless and cheap boom bap of the beatmaker, such Mr. Collipark (never heard), inside these two performers that I have practically no idea who they are. And I don't want to know who. They suck. This is all there's to know. It's one of the fatter and absurd rhythms of the 2007, sick and confused synths on the hook with confusing random sounds, a track that deserves only the immediate skip.
"Candy Paint" is slightly better than what you heard a little earlier: when Slim Thug comes to refresh your album, you understand that it's not going really well. When Trina drops one of her best verses and is also one of the best on the record, it means that we're on one of the worst LP of the year; and Chamillionaire here's also quite decent in this heavy boom bap, one of the rare accessible in Cool & Dre's career, synth + other random elements in the background, only to annoy. There's a solo blessed by Weezy afterwards, unfortunately he finds himself on one of the worst rhythms of this LP, thanks to the one-beat-maker Develop that pulls out, I'm not sure where from, an economic and syncopated boom bap on which Carter tries to extract a light-hearted and mesmerizing delivery, without too much success.
Then, "Where You At". Freeway & Clipse. Everything should work, but DJ Khaled's rhythm isn't good: he produces a syncopated boom bap with heavy and skeletal drum machines, and synths that persistently pervade the track. The last four choices are one of the many evils of this record, to refresh your ears you should go to the Soulja Boy album. "Still Fly" is a simplistic, weak and irritating boom bap of T.Mix, the guests are mediocre and deliver in a weakly way, bad piece. A heavy senseless boom bap follows, fat, from producer Keith McMasters, who puts out a cheap and simplistic beat: T.I. delivers decently on this murder-suicide lame production, the other two don't offer decent performance. Cool & Dre don't stop here, nah, on the contrary they're going to give us another photo of their excellent production: simplistic, indecent and fat beat, boom bap syncopated with organ of church for the solo of Dre, of the same Cool & Dre, weak delivery and song inevitably in oblivion. The effort is closed by the posse "The Future of Dade" with Brisco, Dela, Hennessey, P.M., Dirt e Red, Co from Piccalo and Lunch Money: heavy and simplistic, cheap, fat rhythm, senseless boom bap, inside these seven rappers that you have never heard. And that you shouldn't want to listen again. Extremely weak track, posse among the worst of the year.
Rating: 1/10.
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