Khaled on his third effort. Bring in Ace, Kanye, Akon, Nas, Missy, Busta, Game, Bun and another whole host of guests that I sincerely think I have never listened to and that I would not even touch with a clown pole of ten meters. Yes, yes, of course I see the tracklist too, okay, there is also Rick Ross, Fat Joe... T-Pain sure, T-Pain... for him the autotune is like the artificial respirator for the elderly ninety-nine year old, without that he can't live and... something right in his career he'll have done it, or not? I haven't checked it.
Returning to the album we are at the usual Khaled album: rhythms of different producers, tracks extracted between the worst waste of the year and DJ Khaled's name on the entire project, the money goes to him, the summary is this. To each their own task: someone puts their voice in it, someone puts their music in it — call it music... — Khaled puts his wallet in it. On the other hand, the serious problem of the albums of this producer is that nobody wants to put decent voice and music. I take "Standing on the Mountain Top": glossy jazzy boom bap, dominated by the "modernity" of Khaled who shouts over it for a few minutes, guests Pooh Bear on the hook and Ace Hood, who starts on the second verse on a hasty and confused beat. It makes you smile at how horrible this beat is, awful. And it's only the first "song", the others will be a little worse.
"Go Hard" just sucks like one expects it, Kanye & T-Pain's confusing and heavy production and autotune. Then, it follows a posse: the Runners, who also produced the previous song, offer you a confused and horrible heavy sound and place an infinite number of rappers in it, but on this awful beat, you don't understand anything! Same formula for the next song, inside some of the most commercial choices of the moment on such a heavy, confused and annoying rhythm, that I only understood the hook. R&B hook, as it should be. Nas arrives at the fifth piece, "I'm On", and listening to him flow on a bouncy rhythm (Cool & Dre) so weak hurts. There's a second solo, The Game on the best jazzy beat of the production, which fortunately creates a decent cut produced by DJ Khaled.
The halfway point is punctuated by the soulful boom bap of the title track, a rhythm soiled by the Runners who show Trey Songz, Fat Joe (badly) and Ray J. "She's Fine" has a nagging, annoying and useless rhythm, a real shame because the guest park was good. The last guest I consider worthy of the name is Bun B at track nine: immense posse cut on the heavy, weak, cheap and ridiculous boom bap provided by The Inkredibles, and incredible that no one has complained about this production, they all scream over this stuff otherwise, how could you listen? You couldn't listen, simply.
Trick Daddy & The Dunk Ryders arrive to tell something over a good boom bap with jazzy, heavy and annoying elements; this time the "music" is less horrible than usual, but there are no decent guests who can take the track home. Khaled holds the best for the end, that's why Rick Ross returns in the last songs: "Bullet" has a boom bap reggae with hardcore and jazzy elements, on which our delivery poorly with Baby Cham, then joins Brisco, Ace Hood and Birdman on a track produced by Isaac Opus, a confusing, annoying, heavy and bad boom bap, inside the four are more or less all mediocre. The last one of the LP is "Defend Dade", a weak, poor and cheap boom bap ridiculously commercial, misinterpreted by the last remaining performers.
Overall, it's not the worst Khaled album you can ever listened to. The debut of two years earlier is worse.
Rating: 3/10.
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