Drag-On hits us with his debut LP, 'Opposite of H20' on Interscope Records, and to tell you the truth, I didn't expect much from this cat before I heard the album. Drag-On's childish flow and voice sounds a lot like Cam'ron, and if you are looking to improve yourself, Cam'ron is the last person you want to bite from. In the past, we have heard Drag-On featured on tracks with plenty of other guests like, DMX, Juvenile, etc. There were occasions where he didn't sound too bad added in the mix, but it doesn't seem like he can hold his ground by himself.
Unlike most artists, it seems as if the newcomer hasn't grown or developed since we first heard him. His lyrics seem to be more on the simple side and when his flow isn't sounding like Cam'ron's, he is trying to match it up with the beat.
'High Roller' and 'Hot Dick' are skits that might make you laugh at first, but in reality they just give a good example of the maturity level of this album. Also, something I have been noticing a lot these days, there are a bunch of wack hooks that just make you ask, "what the hell were they thinking?" Examples are most evident on the tracks 'What's It All About' and 'Here We Go'.
One of the things that saves Drag-On's album from being totally wack is the guest artists. There are guest appearances by Eve, The Lox, and DMX. Eve comes off tight in 'Here We Go' actually sounding like she could probably kick Drag's ass. The Lox rip it up on a couple of the tracks, making those tracks the high points of the album. The title track is probably the only decent beat done by Swizz, although Drag ruined the track, Jadakiss was able to bring somewhat of a balance to it. The best song on the album has to be 'Ready for War.' I can't remember who produced it at the moment, but the important part is that Swizz Beats didn't touch it. The beat is tight and The Lox do a good job of spittin' through the majority of the track.
The production on this freshman album is sub-par. The majority of the 19 tracks were produced by Swizz Beatz. Although in the past, Swizz had succeeded in producing simple, yet catchy, beats, he fails here. Either the beat is wack or it just sounds like one of his old beats changed around a little bit. I dont think anyone's gonna argue when I say that Swizz is beating a dead horse here with his Casio keyboard.
This album could have been much better if Drag-On would have chosen a broader variety of producers, chilled on some of the wack hooks, and just basically show a little complexity in his work. On the other hand, if you can tolerate Drag-On's voice and flow, and if you are still digging the played out beats done by Swizz, you might want to pick it up and give it a listen. But don't worry, if you don't get around to it, you aren't missing much.