I’ma keep it a thou with everyone right now. A few years ago I couldn’t tell the difference between a Rich Boy joint and a Soulja Boy jam. They were both burning up the airwaves with that “Superman” bullshit and “Throw Some D’s” crap that I ended up feeling cause it was constantly played during Entourage previews (hottest show out right now). But upon closer analysis I realized that RB actually has something to say. I mean he’s not spitting gospels like Rakim or Pac, but he’s saying something… sometimes. While it’s obvious that his vocab is as limited as those Eminem Jordan 4’s (Can I live, Em?) and his metaphors were probably wrestled away from the homeless before they could take them to the Recycling center for those 10 pennies, he’s still way more listenable than 98% of whatever Soulja Boy can muster.

“Supermodels give me superhead in lingerie’s/I’m bustin’ back-to-back/bitch, why you acting fake? Your man be hatin’ too much, hoe, I don’t need problems/I fuck a single bitch cause I don’t need drama/no baby mama, I’m single as a Pringle/I’m hoppin’ out of cars that make the women wanna mingle.” He got cha open like Buckshot in the early '90s right? Ok, maybe not. And yes that rhyme could’ve been penned by B-Rad himself, but that pretty much sums up his content throughout Kool Aid Kush (Anyone know where I can get some of that Kush?). Maybe his hook on “Drop Top” where he repeats “Apple Sour Amaretto—pint, I’m on another level/money make her pussy wetter/college make her head better,” will help distinguish him from your everyday common rapper because he’s on his own level, right? I mean it was a fuckin’ lyrical barrage between him and OJ Da Juice Man on “Count Dem 100s!” You got one fool saying “Aye!” like there’s no tomorrow while the other sayin, “Mama keep sayin’ it’s too many blunts.” Word to everything it was like listening to Harry Dunne and Lloyd Christmas rapping on a record.

The majority of these joints had the same bouncy rhythm complete with the trademark southern rapid drums that helped blow some of hip-hop’s greatest one-year wonders. From “Kool Aid Kush” to “Where It’s At” it was all about the bounce. Though the production was pretty decent, it was at the same time sounding real repetitive. So the creativity space for someone who’s already limited was very small. Give this man a bouncy beat and he’s gonna talk about bouncing booties and titties and money and everything else that anyone who’s ever had money rapped about before. Or in this case, everything that comes with having one hit single of a career. Funny enough the beats are what made this listenable, but only if you’re preoccupied with a conversation or sex or a videogame or taking a shit. I don’t know? If you were a fan of “Throw Some D’s” then you might like this joint. If not then listen at your own expense.

Have a good weekend y’all. Stay up and stay strapped both ways. Uno.—The Infamous O

Hottest Joint: “Put Me In The Game”

Weakest Joint: “Count Dem 100s”

Rating: BAD