Tweet
My Review Of D12's "D12 World"
It’s been three years since Devil’s Night, an album that everybody on this site has heard at least once. Some felt disappointed by that album, while the majority of the posters will tell you that they liked it. I myself thought it was worthy of an 85% rating. D12 have high expectations to live up to with their sophomore release, D12 World. They really don’t out do themselves at all; you’ll see why (or what I think is why) in this review.
Git Up – Eminem kicks things off with a rapidly spit verse about how much of a gangster he is. 50 Cent has worn out this image, and Eminem’s lyrics don’t do much for me. However, this is a case where it’s not what you say, it’s how you say it. His flow is definitely praise worthy, and some what astonishing. After an overly energetic chorus that features Eminem trying to sound like Young Wun, Swift (who I think is the worst member of D12) comes in and continues to boast about his arsenal and such. It’s what I’ve come to expect from him, and it’s not bad. The same can be said for Kuniva’s verse, although his voice, flow, and rhyme style make it much better than Swifts’. The beat isn’t much, but the three highly energetic rappers (at least on this track they are) make it worth the listen.
Loyalty – The first thing I noticed about this song was that I really liked the beat. It’s not Primo, and I probably like it more than I should, but it’s still stuck in my head. Swift bores me with his verse that’s all over the place as far as topic. Kon Artis supplies the hook, and I like it. Bizarre does the next verse, and it’s nothing special, to tell the truth. He does end it off with a hilarious line about urination, but I probably think it’s funny because I’m immature. Obie Trice grabs the mic next; his flow, rhyme pattern, and deliverance are great, but nothing jumps out at you lyrically. Sound familiar? Finally, Proof does his first verse on the album and kills it. Sure, it’s fake-gangster stuff but his sense of humor and knack for punch lines make me really like it. The last verse is Kon Artis and Kuniva going back and forth; alone Kon doesn’t do much for me normally, but when he raps like this with Kuniva it always bears favorable results.
Just Like U – This song has a ridiculous Hi-Tek beat; its one of my favorites from the album. So, why did they give it to Bizarre to do his solo track? He does his typical “Bizarre is weird” type verse, except twice and longer than usual. Some lines are even censored because he refers to small children. I think it’s funny, but I could definitely understand why people would hate this song.
I’ll Be Damned – Proof’s “DJ Seven Deuce” alias opens up the track, and distracts the listener from the incredibly mediocre beat. Kon Artis starts off with a verse that’s bad. I used to really like him, but he’s developing an inverse relationship between his production skills and his mic skills. On the other hand, I really like his hook on this song. Next up, Swift raps about the same subject matter Snoop Dogg made a whole album out of back in ’94. Bizarre’s verse isn’t as funny as usual, but it’s alright. Kuniva drops a story-telling verse that’s really good in my opinion. Still, this song is more bad than it is good.
My Band – The first ten times I heard this song (it’s quite popular in N.C.), I abhorred it. But, recently, it grew on me. Eminem’s verse is horrible. I don’t care if he’s being funny, he can do it much better than this. On the other hand, the beat is pretty good; it’s not great, though. It’s a reincarnation of Without Me, if you will. The song starts getting good on Swift’s surprisingly strong verse. Then Kon and Kuniva do their tag-team style that I really like, and the results are both hilarious and nice. After a silly sing-along chorus, Proof gets the mic and does the best verse on the song. He raps faster than usual, and shows his versatility as an MC. Bizarre comes in next with his best verse on the album. It’s great. Really. Following this, Eminem does some silly singing that goes on a little bit too long, one final go at the chorus, then he performs his rendition of a salsa song. Being of Mexican descent, my parents got all hot and bothered by this part of the song. I think it’s all in good fun, and I like it.
U R The One – Judging by the amount of misspellings on the title of this track, I knew it would be bad without even hearing it. I was definitely correct; this song is horrible. The beat is annoying, as is the chorus. The verses are D12 trying to be G-Unit on “Wanna Get To Know U.” I guess they succeeded, because U R The One is certainly just as bad.
6 In The Morning – I know some people are seething with rage at this track being included on the album; I would just like to take a moment to remind those people that the song was leaked illegally, and if you downloaded it then, then it’s your own fault that the song seems old. Ok, back to my critique. The beat is pretty weird; I was surprised that Eminem could make a production that doesn’t sound like any other that he’s made before. It’s pretty good, to tell the truth. His verse is nothing special, but I like the chorus. Swift’s verse is bad, as is Denaun’s. Kuniva’s is great once again. This song is like a boring version of Git Up.
How Come – I have no way of proving my suspicions, but I’m 90% sure that this song is addressing the Royce Da 5’9” situation between him and D12. The beat is dark; it sounds like it was made for battle rap, but this is one of the more sentimental tracks on the album. Eminem, Kon Artis, and Proof supply the verses, and they all do good jobs. Eminem’s hook isn’t sung greatly, but it’s catchy and it conveys the emotions that they’re feeling well.
Leave That Boy Alone – Red Spyda’s beat on this song is great. The percussion is weird, it sounds like someone snapping their fingers. I was really enjoying it until Eminem came in and fucked the song up with his fake Southern accent. In true Chingy style, he pronounces “dare” as “durr.” It’s extremely annoying, and pretty stupid. Swift and Kon Artis both do good verses, but they get greatly outshined by Kuniva. Now that I think of it, these three rappers are on the album more than the rest of D12. With Kuniva, that’s a good thing, but I’m getting pretty tired of the other two. Eminem ends the song with more babble in his southern drawl, then 50 Cent says something that I really can’t understand because he hasn’t mastered the art of opening his mouth to speak. Why is 50 on here anyway? He just speaks for 10 seconds; he doesn’t rap or anything. It’s really random.
Get My Gun – This song is the most energetic performance I’ve heard from D12 in a long time. Swift spits his verse in a fast pace, and uses a different flow that I enjoy; he should definitely use it more often. Eminem provides the hook that’s respectable; it’s even better because his voice makes him sound like he’s feeling crazy enough to actually shoot somebody. Kuniva’s verse is alright, but not as good as his past ones; he even uses the played out “missing like Shaq’s free throws” punchline. Proof goes next and rips it appropriately. The song then goes into a quick skit that’s pretty pointless but it leads into Eminem’s verse perfectly. Eminem’s verse is about as crazed as he gets nowadays; I think it’s great, but lots of his fans who want him to transform back into Slim Shady will probably be disappointed. Kon Artis pulls a Swift and drops a surprisingly good verse. The final verse is handled by Bizarre; he does a good job and ends it with a hilarious line involving the last person I was expecting to be mentioned on a song about violence.
B**** - This song is very misogynistic, but it’s hilarious. Eminem’s verse is alright (part of it doesn’t even rhyme). Swift does a better job, and Bizarre’s verse sucks. Kuniva and Kon Artis come in next and drop another one of their excellent tag team verses. This one is particularly hilarious, and outshines everybody on the song. Proof ends it off with a strong verse. I like this song a lot more than I should.
D12 World – I’m pretty sure this song is produced by Kanye West, but I’m not positive. The beat is good, regardless of who’s responsible for it. It’s got all of the members of D12 who aren’t Eminem doing short verses between three choruses. I was a little disappointed that Proof only got to do one, but everyone does a good job. Bizarre in particular says a hilarious punch line at the end of his second verse. I wonder if Dr. Dre got mad at him for it…
40 Oz. – If this album was completely acapella, then this song would easily be the worst on the cd. Bizarre, Eminem, Kuniva, and Proof all spit horrible verses. This track reeks of attempts at commercial success; they’re obviously trying to emulate the Dirty South craze that’s making several untalented rappers loads of money (Lil’ Jon). No matter how much “scrilla” D12 make because of this song, though, it still sucks. Atleast the beat is good.
Commercial Break – This track is the sequel to the Obie Trice skit from Devil’s Night; this one features Young Zee. The beat isn’t as good as the one Obie Trice got, but it’s bump-worthy; Young Zee, however, shows that he’s better than Obie. He rips the track to shreds and proves that commercial success is long overdue for someone of his talent.
Git Up – Eminem kicks things off with a rapidly spit verse about how much of a gangster he is. 50 Cent has worn out this image, and Eminem’s lyrics don’t do much for me. However, this is a case where it’s not what you say, it’s how you say it. His flow is definitely praise worthy, and some what astonishing. After an overly energetic chorus that features Eminem trying to sound like Young Wun, Swift (who I think is the worst member of D12) comes in and continues to boast about his arsenal and such. It’s what I’ve come to expect from him, and it’s not bad. The same can be said for Kuniva’s verse, although his voice, flow, and rhyme style make it much better than Swifts’. The beat isn’t much, but the three highly energetic rappers (at least on this track they are) make it worth the listen.
Loyalty – The first thing I noticed about this song was that I really liked the beat. It’s not Primo, and I probably like it more than I should, but it’s still stuck in my head. Swift bores me with his verse that’s all over the place as far as topic. Kon Artis supplies the hook, and I like it. Bizarre does the next verse, and it’s nothing special, to tell the truth. He does end it off with a hilarious line about urination, but I probably think it’s funny because I’m immature. Obie Trice grabs the mic next; his flow, rhyme pattern, and deliverance are great, but nothing jumps out at you lyrically. Sound familiar? Finally, Proof does his first verse on the album and kills it. Sure, it’s fake-gangster stuff but his sense of humor and knack for punch lines make me really like it. The last verse is Kon Artis and Kuniva going back and forth; alone Kon doesn’t do much for me normally, but when he raps like this with Kuniva it always bears favorable results.
Just Like U – This song has a ridiculous Hi-Tek beat; its one of my favorites from the album. So, why did they give it to Bizarre to do his solo track? He does his typical “Bizarre is weird” type verse, except twice and longer than usual. Some lines are even censored because he refers to small children. I think it’s funny, but I could definitely understand why people would hate this song.
I’ll Be Damned – Proof’s “DJ Seven Deuce” alias opens up the track, and distracts the listener from the incredibly mediocre beat. Kon Artis starts off with a verse that’s bad. I used to really like him, but he’s developing an inverse relationship between his production skills and his mic skills. On the other hand, I really like his hook on this song. Next up, Swift raps about the same subject matter Snoop Dogg made a whole album out of back in ’94. Bizarre’s verse isn’t as funny as usual, but it’s alright. Kuniva drops a story-telling verse that’s really good in my opinion. Still, this song is more bad than it is good.
My Band – The first ten times I heard this song (it’s quite popular in N.C.), I abhorred it. But, recently, it grew on me. Eminem’s verse is horrible. I don’t care if he’s being funny, he can do it much better than this. On the other hand, the beat is pretty good; it’s not great, though. It’s a reincarnation of Without Me, if you will. The song starts getting good on Swift’s surprisingly strong verse. Then Kon and Kuniva do their tag-team style that I really like, and the results are both hilarious and nice. After a silly sing-along chorus, Proof gets the mic and does the best verse on the song. He raps faster than usual, and shows his versatility as an MC. Bizarre comes in next with his best verse on the album. It’s great. Really. Following this, Eminem does some silly singing that goes on a little bit too long, one final go at the chorus, then he performs his rendition of a salsa song. Being of Mexican descent, my parents got all hot and bothered by this part of the song. I think it’s all in good fun, and I like it.
U R The One – Judging by the amount of misspellings on the title of this track, I knew it would be bad without even hearing it. I was definitely correct; this song is horrible. The beat is annoying, as is the chorus. The verses are D12 trying to be G-Unit on “Wanna Get To Know U.” I guess they succeeded, because U R The One is certainly just as bad.
6 In The Morning – I know some people are seething with rage at this track being included on the album; I would just like to take a moment to remind those people that the song was leaked illegally, and if you downloaded it then, then it’s your own fault that the song seems old. Ok, back to my critique. The beat is pretty weird; I was surprised that Eminem could make a production that doesn’t sound like any other that he’s made before. It’s pretty good, to tell the truth. His verse is nothing special, but I like the chorus. Swift’s verse is bad, as is Denaun’s. Kuniva’s is great once again. This song is like a boring version of Git Up.
How Come – I have no way of proving my suspicions, but I’m 90% sure that this song is addressing the Royce Da 5’9” situation between him and D12. The beat is dark; it sounds like it was made for battle rap, but this is one of the more sentimental tracks on the album. Eminem, Kon Artis, and Proof supply the verses, and they all do good jobs. Eminem’s hook isn’t sung greatly, but it’s catchy and it conveys the emotions that they’re feeling well.
Leave That Boy Alone – Red Spyda’s beat on this song is great. The percussion is weird, it sounds like someone snapping their fingers. I was really enjoying it until Eminem came in and fucked the song up with his fake Southern accent. In true Chingy style, he pronounces “dare” as “durr.” It’s extremely annoying, and pretty stupid. Swift and Kon Artis both do good verses, but they get greatly outshined by Kuniva. Now that I think of it, these three rappers are on the album more than the rest of D12. With Kuniva, that’s a good thing, but I’m getting pretty tired of the other two. Eminem ends the song with more babble in his southern drawl, then 50 Cent says something that I really can’t understand because he hasn’t mastered the art of opening his mouth to speak. Why is 50 on here anyway? He just speaks for 10 seconds; he doesn’t rap or anything. It’s really random.
Get My Gun – This song is the most energetic performance I’ve heard from D12 in a long time. Swift spits his verse in a fast pace, and uses a different flow that I enjoy; he should definitely use it more often. Eminem provides the hook that’s respectable; it’s even better because his voice makes him sound like he’s feeling crazy enough to actually shoot somebody. Kuniva’s verse is alright, but not as good as his past ones; he even uses the played out “missing like Shaq’s free throws” punchline. Proof goes next and rips it appropriately. The song then goes into a quick skit that’s pretty pointless but it leads into Eminem’s verse perfectly. Eminem’s verse is about as crazed as he gets nowadays; I think it’s great, but lots of his fans who want him to transform back into Slim Shady will probably be disappointed. Kon Artis pulls a Swift and drops a surprisingly good verse. The final verse is handled by Bizarre; he does a good job and ends it with a hilarious line involving the last person I was expecting to be mentioned on a song about violence.
B**** - This song is very misogynistic, but it’s hilarious. Eminem’s verse is alright (part of it doesn’t even rhyme). Swift does a better job, and Bizarre’s verse sucks. Kuniva and Kon Artis come in next and drop another one of their excellent tag team verses. This one is particularly hilarious, and outshines everybody on the song. Proof ends it off with a strong verse. I like this song a lot more than I should.
D12 World – I’m pretty sure this song is produced by Kanye West, but I’m not positive. The beat is good, regardless of who’s responsible for it. It’s got all of the members of D12 who aren’t Eminem doing short verses between three choruses. I was a little disappointed that Proof only got to do one, but everyone does a good job. Bizarre in particular says a hilarious punch line at the end of his second verse. I wonder if Dr. Dre got mad at him for it…
40 Oz. – If this album was completely acapella, then this song would easily be the worst on the cd. Bizarre, Eminem, Kuniva, and Proof all spit horrible verses. This track reeks of attempts at commercial success; they’re obviously trying to emulate the Dirty South craze that’s making several untalented rappers loads of money (Lil’ Jon). No matter how much “scrilla” D12 make because of this song, though, it still sucks. Atleast the beat is good.
Commercial Break – This track is the sequel to the Obie Trice skit from Devil’s Night; this one features Young Zee. The beat isn’t as good as the one Obie Trice got, but it’s bump-worthy; Young Zee, however, shows that he’s better than Obie. He rips the track to shreds and proves that commercial success is long overdue for someone of his talent.
Comment