Much like The Game's
career in 0-5, some dreams do come true in this rap shit-witness the arrival
of Papoose into the industry if you come with questions: "I wrote Monopoly
to show people my minds great / We gon rise like the crime rate / United States
is not 52 states / It's 53 states if you count my mindstate / The mirror ain't
show me my 2005 face / I'm just gettin' started, I wrote these rhymes in 9-8 "
While Pap's raw cover of "Dreams" is new roid-rap-rage material, not
all is new on this disc as witnessed by the buzz-worthy opener "Monopoly"
and brutal title-track that have both appeared on Let the Games Begin; while
the lyrically impressive Game-cover "Justice" appeared on its sequel
as well as the freestyle with Jae Millz and Gravy from the Live At the Drama
Hour mixtape. "Hail Mary" should have up-and-comers heading to the
altars reminiscent of Big L's verbal offensive. To be compared to that legendary
emcee is a feat in itself; and while Pap lacks the all-around personality and
on-beat vindication, as long as the raw animal raps keep comin', the comparison
shall continue. Papoose clenches the mic with his teeth and keeps shredding
and shredding 'til the chords come out. He doesn't stop. It can get a bit tiring,
but who's to take that away from him? There are more quotables on this mixtape
than 50 Cent's entire new album. Of course Pap doesn't have the persona or the
locked-on sound (see: commercial value) that should appease the peoples, and
hopefully that'll come. He also needs work in the original beats department.
But for now, enjoy Pap's pure rhyme workout regiment.
the Kingdom" does lack direction while Papoose skis through weak emcees,
braggadocio, and comparisons to the unedumacated youth of the nation. To put,
the emcee lacks power when it comes to making a point. His verses often remain
monotone, so those with ADD will have to listen over and over again. Also, will
we ever hear a catchy enough hook that'll draw audiences? That's one element
Saigon and MainO have over their peer as of now. "4 Wheeling & Dealing,"
while musically ham-fisted, is notable for its vast detail of the drug game
with raps that match. Many street rappers love to throw in plenty of drug references
in they raps; Pap makes you actually believe the kid lived it. "Bloody
War" covers 50 Cent's "Guns Come Out" with obvious gun-talk,
as does the humorous "La Di Da Di" ("This hand's registered in
the precinct, like it or not / You can't box a boxer, you get your jaw locked
/ But who feel like a boxer when the .44 cop / Man I put more holes in boxers
than Clorox ") and the boring, more obvious "Take It To The Guns"
and the more boring, wig-splittin' "That Thing," an ongoing Pap stereotype
as it is, all lacking the groovy choruses we all look forward to from certain
street talent, love em or not. Another point to make with Kay Slay's young gunner
is the fact many of these "freestyles" are exactly that and nothing
more-just Pap rambling on and on with no stop, pause, hook, or direction. While
"Monopoly" showed signs of those elements, the rest of the material
resorts to more of what we already know about kid. Did Slay rush this one to
swing off the Hot 97 airplay of "Monopoly"? Smart move. Slay had the
advantage of having The Massacre instrumentals (check the trick-or-treat narrative,
"In The Hood," which lacks the personality of youknowho but packs
more significant illustration) handy as well. In all, I'm going to have to hear
more MUSIC from Pap before I'm convinced. Keep spittin'.