Mobb Deep: Blood Money

HHH Official Rating: 3/5
Beats Rating: 3/5
Lyrics Rating: 2.5/5
Music Quality: 3/5

Written by: Redman122…The talk of Brooklyn

Yes, yes, ya’ll….its the one and only. Although I’ve been away, I’ve still be in tune with the music industry and this latest G-Unit release, Blood Money, from Mobb Deep. Prodigy and Havoc, or if you want Hollywood Hav and V-I-P, gathered noteworthy success in the mid 90’s, both commercially and in the streets, but have since fell out of the picture in both. Now, the duo’s pockets are heavier and they’re back in the mainstream light, trying to show the hip hop world that they haven’t fell off and they still “got it.”

Hmmmm….

Ill start by letting everyone know that I’m a HUGE Mobb Deep fan. Ever since I first heard The Infamous, I’ve been checkin for every release from Havoc and Prodigy. I was even one of the few Mobb deep fans who thought their last release, Amerikaz Nightmare, was solid all the way through. With that being said, I’m also an advocate of the sentiment that Prodigy has fallen off harder than any other rapper out. The guy is trash.

(“They can hug on 50 and kiss on Banks / after we all get a turn, the broads say thanks”), or (“I'm a terror, white people call me black-hearted n*gga / my baby moms left me cause she couldn’t put up with my foul attitude”).

That last one doesn’t even rhyme! In all seriousness, Bow Wow has more lyrical talent than this guy. If Havoc’s flow wasn’t as smooth as it is, I don’t think anybody would be checkin for this group.

In addition to the grumblings about the duo falling off, true Mobb Deep fans were wondering if the signing to G-Unit records would cause Hav and P to change their sound and adopt the 50 Cent formula for a record. For the most part, this album has a gritty Mobb Deep sound that will please the majority of their fan base. The first single, “Put ‘Em in Their Place,” is a banger, and Sha Money’s searing horns make up for the lackluster hook. Although this was a BAD financial decision to make this the first single, this track has that typical Mobb Deep street flavor.

As for the rest of the album, the opening track “Smoke It” sets the overriding tone of horrible lyrics, above average beats, and uninspiring musical content for this release. Now I know most people don’t listen to Mobb Deep for their stirring lyrics, but Prodigy (and even Havoc at some points) is so bad on this album that it cannot be overlooked. Whereas Havoc does have some nice verses, Prodigy does a great job of ruining every track that has the potential to be something special.

When Prodigy isn’t butchering a song, the beats on “Stole Something” and “Creep” do a pretty solid job of causing listeners to hit the skip button. “Stole Something” has some potential, but the annoying sound that is heard almost every 2 bars is annoying. Same can be said for “Creep” where a slinky-sounding echo is heard throughout the track.

All isn’t bad however, as the album does contain some great cuts from the duo. “Speakin so Freely” is catchy, with eerie strings in the background as the group sends out some disses to their former “riders.” Nonetheless, the next two tracks are the groups attempt at some club bangers, and they miss hard. Even Young Buck cannot save “Give it to me” from mediocrity. “Pearly Gates” is a nice change of pace to the album, but is still an overrated track. Everybody was talking about this cut weeks before it hit the streets, and in my opinion, it does not live up to the hype. 50 Cent's appearance is memorable, nevertheless, and havoc’s verse is especially striking. “Daydreamin” is also pretty good, as the group raps about their past, a life without money.

Undeniably, the standout track on the album is one of the few concept songs, “In Love With the Moula.” The beat is chilling, and both Hav and P drop some nice verses, putting the track in the family of 50 Cent’s “A Baltimore Love Thing” off The Massacre. Mary J. Blige makes a surprising appearance on “It’s Alright,” and the track is a nice closing to the mix bag that is Blood Money.

Despite numerous appearances from 50 and the G-Unit family, and failed attempts to latch onto 50 cent’s club dominance, this album has the same Mobb Deep feel of past releases. The beats for the most part are good, but still are not enough to draw the attention away from the almost horrid verses heard from Prodigy. I’d be shocked if this album pushed a large amount of units, as there are no songs to appeal to the commercial hip hop listeners and not enough street bangers to appeal to the “hood.” All-in-all, despite some memorable tracks, it will be hard for me to recognize Mobb Deep as one of my favorite groups in any musical genre due to the mediocrity that is found on this album. The CD is definitely worth a listen, but as for replay value….well, there is none.