Studio album number nineteen for Lawrence Parker aka KRS-One. Personal effort, devoid of guests except Peedo, Armando Moran and G. Simone who offer spoken word in their cuts, like many of his records after the nineties, is ditched by a horrible production made by amateurs. In addition to Mad Lion and DJ Predator Prime, credited with the highest number of rhythms with four productions each, behind the keyboards there are also DJ Static, The Beat Miners, MK Zoo, Nick One, Hellmaf, Linsey Vona, Narayan and KRS himself. Parker's lyricism is varied and decent, he addresses a variety of topics including socio-conscious, political, racism, police brutality, slavery, rap game, pro-black bars, pro-women, sentimental extracts and braggadocio.
Nonetheless, his execution is unconfident, slow and cumbersome, he's not hardcore and he's not inspired, often tripping with his flow. His style is heavy and slow, weak and daunting, almost annoying even in the reggae-sque traits. Musically, the record is garbage from start to finish: these amateur beatmakers make cheap and poor minimal beats, there's just a little bit of random noise with no real mixing, to support the KRS bars. The production is bad, sluggish, and simplistic: the cuts sound exhausting and very slow, composed mainly of lazy, slow and scarce drums, weak and cheap, tired and zombying, indecent, annoying and random samples, and bad hooks. Overall, the record is forgettable and exhausting, one of the most irritating works in KRS-One's career, really badly done and a stain in his discography. 3.5/10.
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