Three years after his first EP, Ray Tyson aka Ray Luv, rapper born in Santa Rosa, California, debuts with a studio album. The production is managed almost exclusively by Khayree, two rhythms are left respectively to Mike Mosley and Mopreme. Guests are Shima, Young Dre, Do Thangs, Ant DOG, Young Grin, Mopreme, Rated R, Mr. Gigalo, The Link Crew and Stephanie Miller.
In 73 minutes divided into 17 tracks, 2 of which are bonus cuts, Ray Luv deals with different topics, abandons the political that had accompanied him in his EP several years earlier and that was among the trends of the moment in the hip-hop scene, and focuses into thug and gangsta themes, pimping, drugs, without giving up socio-conscious extracts and various personal songs. Ray Luv performs with an energetic, slow, confident style on a pleasant mobb production by Khayree.
The album starts off well with the title track after the intro: good samples, squeaky g-funk synths, drum hard dry midtempo slapping, good rap. Nevertheless, from the next cut, the production becomes qualitatively fluctuating due to a questionable choice between drums, samples and annoying and whining synths. The opening section doesn't seem to be able to get back on its feet properly, even with the external help of the guests, while the main rapper proves that he can go pretty well even on uptempo or bouncy rhythms. Since "We Do This Everyday", Khayree's chosen soundscape improves dramatically and the best songs arrive in the second part of the LP.
"Ride Wit the Luvva Man" has a beat with a completely different mood than all the previous ones, in fact it's made by a different producer, Mike Mosley: meager, dry and distant downtempo drum, dark samples, smooth, confident, velvety delivery by Ray Luv. The next track boasts a good mobb beat to support the MC's solid, crisp rap, then come more shrill synths in "What U in It 4". The piece thirteen features a great relaxed rhythm, with good drum, dark and glossy mobb samples, distorted, accessible and gloomy synths on which Ray Luv shows off a good style of hardcore and fluent rap. The album ends in crescendo with an excellent concluding section, composed of relaxed and melodic mobb soundscapes and, in the bonus tracks, by an excellent guest contribution by the singers Stephanie Miller and Shima that elevate the slow, regular, relaxed and confident performance by Ray Luv.
Released by Young Black Brotha Records and Atlantic Records, Ray Luv's debut is an irregular and excessively long project, equaling some of the best contemporary records on the West Coast in content quality, thanks to solid rap and remarkable production, especially in the second half. Recommended for Bay Area fans.
Rating: 7/10.
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