Straight Outta Ca$hville

by

Young Buck

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If I could rate this CD a 4.5/5, I would, but it's not quite noteworthy of a 5/5. I bought this CD today for only $10 (I would've bought it anyway, if it was $15) and I gotta say, this was a solid debut by Buck. If you like G-Unit, rappers from the dirty south, and/or general hip hop, I highly recommend you buy this CD.

Lyrics- 7- The actual complexity of the lyrics aren't that deep. He rhymes about G-Unit-ish things like money, killing, and respect. There's no real lessons hidden beneath the thug talk. It is what is claims to be and there are no real hidden "moral" lessons. That's one of the things I like about rappers like Tupac and Eminem: beneath the tough talk, there's usually something to makes you feel good about yourself...Buck's not that deep. Still, it doesn't really bother me, and if you're fan of gangsta rap, you'll have no problem. Kids/teens can listen to this CD, in my opinion, but only if they're mature enough. As long as the kid takes it with a grain of salt, like they're supposed to, and don't really go out there killing people, it's fine. One plus side about Buck's lyrics is that he comes up with an extremely clever line once in a while. One that you'll probably be saying in your head for days.

Beats- 8- Simple yet effective. Again, something you'd expect from a G-Unit soldier. Nothing that'll really stand out in your mind, but it's hard not to nod your head with the beats.

Voice/Delivery- 10- This is where Buck shines. Buck's biggest strength is the way he has a distinct "feel" whenever you listen to him. It's hard to explain but you'll understand when you hear him. One of the best deliverys out there.

Guests- 7.5- Buck's buddy 50 Cent does a great job here on the songs that he's in. I like his chorus in "I'm a Soldier" especially. "Im'a Soldier, I Done Told Ya, Don't Make Me F**k You Up. Leave You Head Bust, Im'a Head Busta, Man I Don't Give A F**k." Lil Flip and David Banner also do a good job on "Welcome to the South." Other than that, everyone else does okay.

Length/Replayability- 10- Another spot where this CD stands out. If you "preview" this CD and just listen to 15 seconds of every song, you're gonna get the idea that they all sound the same. In a sense, they do, but it takes time to really enjoy what Buck has put out. This is one CD in your collection that you're gonna wanna pop in pretty frequently, it's that addictive. Nice.

Overall- 9/10- If you're a rap fan, you should seriously consider buying this CD. As long as you don't have a strong hate for gangsta rap, this is money well worth spent.

So to sum it up...

Pros- Delivery, replayable, addictive, choruses, better than Banks' so-so LP, leaves you wanting more

Cons- Not very "compassionate", lyrics are a little simple at times, leaves you wanting more (the CD as a whole isn't that long).

Best Songs- You literally have to pick a favorite. They're all pretty equal in terms of quality. The only one that isn't hot would probably be "Look At Me Now." (which is coincidentally, the least thuggish song on the CD).

G-Unit: You love them or you love to hate them. Almost everyone can admit that at one time, they thought G-Unit was gonna fall off...but damn. Album after album, the Aftermath/G-Unit keep on producing. They just won't die, will they?

Note: I complained a little about being TOO thuggish at times but it's also nice to see that at least Buck's keeping it real. Some think that's what Banks and 50 were lacking so if you're into that kinda lifestyle then there's another reason to buy this CD.

Recently, while riding back to my hometown of ATL , I found myself listening to Outkast's "Chonkyfire" from 1998's Aquemini. At the end of the song, there is a recording of the historic jeering and booing Outkast received in New York from becoming one of the first Southern rap acts to be awarded anything at the 1995 Source Awards. Since then, the annoyingly cliquish nature of the East has taken well-deserved licks, thanks to the fallout from the Bad Boy/Death Row face off.

I punched the CD out of the dash and wondered how has things changed for the South in dealing with Northern (or the East's) circles since Outkast's insolent 1995 reception. I wondered what was the result of the Empire State-inspired tribal hostilities that directly (or indirectly) lead to the death of two of the greatest MC's in contemporary hip hop. And then came some of the undisputed Southern hip hop classics that the Rotten Apple had to acknowledge in the following years; Bottom line, I wondered, is there really love now for crunk above the Mason Dixon?

This lead me to review what will seem as an unusual addition to the Archives; Young Buck's "Straight Outta Cashville." Being a member of 50 Cent's G-Unit made this CD terribly intriguing. 50, the next Tupac if the hip hop community has its way, is New York through and through, yet he put Young Buck, an unabashed Southerner, on his team. Unprecedented stuff. Young Buck proves to be more than a gimmick by 50 to corner the market. The Nashville, Tennessee native's (hence the title, duh!) raw emotion does not let up from the get go. "I'm A Soldier" gives you a Hennessy-coated tour of Buck's stomping grounds where Crips and Bloods deal head up with each other, 24 hour liquor stores call out to you and middle-schoolers to baby mothers tote heat.

"Do It Like Me" is interesting in that, unlike 89% of today's rappers, Buck is determined not to be Tupacian when he says he "can't do the cross on his back" because he "can't be like that cat" (Tupac). Born with cocaine in his veins, Buck's subject matter is stunted in G-mode and has plenty of room to expand. Glimmers of hope shine through on occasion: "feel my pain, but don't feel sorry for me, `cause there's some kids in Somalia with nothing to eat."

"Let Me In" is making its rounds on the airwaves. Here, Buck states that he has arrived as a heavyweight thanks to the G-Unit in spite of a father he hasn't seen in ten years, the twisted nightmares of his mother, and the ever-present shadow of haters at every turn. "Look At Me Now" moves in the same direction (told you the subject matter is a bit monotonous). The soulful chorus will stay with you though as Buck gets vivid with tales of maintaining his sanity in spite of lights and water being cut off and anything else you could throw at him.

"Welcome to the South" unloads a rapid snare and meaty bass that will certify it as an anthem with dirty-dirty enthusiasts. This is especially a done deal when Buck waxes unchecked about pushin' old school rides that sit on 22" rims, cooking chicken in the kitchens of projects, scuffling in clubs and the whole nine in a way that's distinctly Southern, but can't be far off from how it is in any other region of Black Hood USA. David Banner guests and goes so grimy that it's almost on some kind of horror-core vibe. Lil' Flip's predictable, mellowed out contribution fares well only in that it contrasts the others.

"Prices on My Head" gives the business to anyone that ever crossed paths with Buck and didn't come correct. Even fellow rappers get a foot in the ass for their barbed opinions about him: "most of these rappers throw bricks and hide they hand, come to our shows, then hide behind they man, they hoes."

If the aggressive delivery isn't too disconcerting, "Shorty Wanna Ride" can be mildly humorous in that it brings out the moment a girl, wanting a thug, has no idea what to do when one (namely Buck) steps to her: "You don't know what you missin', just quit talkin' and listen, see I'm holding up traffic, we just right here sittin', think about it be'fore I leave and you holla I'm wrong then you see your best friend in this Impala on chrome" Buck promises any brother whose at the top of his game in whatever he's doing "can relate" and those who're not "just gone hate."

"Bang Bang" has an intro that is as refreshing as it is off-putting. You just don't plan on hearing Nancy Sinatra's "Bang Bang" (My Baby Shot Me Down) (recently on the Kill Bill I soundtrack) to set the tone for someone as rowdy as Buck. The mood brings out a more introspective Buck as he gives some of the best imagery on his debut about the doomed and inevitable, crooked cops, the looming of death and his almost Eminem-amped hatred of his estranged father, who, as you can see, comes up more than once on this album.

The sample in "Thou Shall" gives the sometimes minimalist keyboards and synth of crunk a break. In fact, the sample here is reminiscent of classic Wu-Tang. Though Buck claims there is no ill-will between him and his former clique, Cash Money Records, a few lyrics seemed rather pointed, considering how the Birdman and Cash Money were not able to get Buck's career and money going: "how can ya' be a Birdman, if you don't know how to count?..." He goes on: "no I'm not waitin on nothin, no more either you pay me what you owe me, or I'm cuttin ya throat."

The sonic scenery of "Black Gloves" seems to be one of the best suited tracks for Buck's flow. "Stomp" serves as a Bonecrusher-styled, "Never Scared" anthem. Though aimed more squarely at southern folk than "Never Scared," "Stomp" will please the nagging need to get loud, stank and ign'ant. And yes, guest star Ludacris shines again with the wit as T.I. does with swagger.

What does a kid like Young Buck, his still evolving style and his positioning as a southerner in one of the top New York squads mean to me? It's sweet vindication for those who have driven the SGA vans of their respective HBCU's to pick up snotty rappers from up North to perform at some college production. This is sweeter than candied yams for people like that who put up with not only that arrogance so many of these artists have, but that outright loathing of you as they clowned your accent and town in your face... all while you hustled to get them to their hotel rooms, towels for their musty necks and bottled water. 50 Cent is one of the smartest rappers the Rotten Apple has ever produced. The whole city needs to take notes.

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