Young Buck - Straight Outta Cashville      
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written by Brainiac    
Getting straight to the point, Young Buck has given us one the most inconsistent solo debut out of all three G-Unit members. His debut album entitled "Straight Outta Cashville" is twenty tracks deep with just one interlude that clearly favors quantity over quality. What could've been a far better album if it was reduced to a solid twelve to fourteen, is instead an overall average album in which over 50% ranges from average to just plain awful.

The CD contains a nice amount of solid street bangers. The album opens up with "I'm A Soldier" which features 50 Cent on the hook. It's a solid song which contains the usual lyrical hunger that we've come to expect. Also, the track "Let Me In" (the lead single) contains the radio appeal without having to totally alienate his core fan base. The much talked about track 'Stomp' is another bass heavy track in which Luda steals yet another show with one of his guest appearances. "Walk With Me" contains an uncommonly used opera sample which works well intertwined with the sounds of the Southern fried beat. "Thou Shall" contains a haunting vocal sample which displays Young Buck spitting with an intensity and hunger sending a message to anyone who doubts his "gangster."

The two best tracks come in the form of "Bang Bang" and "Welcome To The South". 'Bang Bang' samples off of Kill Bill Vol. 1. If you loved how it sounded when watching the movie, you will go crazy over the way Buck flips it as he spits over the haunting loop. This is one of those rare tracks from a Southern artist that would make the RZA of Wu-Tang Clan proud. The beat is easily what makes this song the stand out track that it is, as Buck lyrically gives us another dose of the same topic matter. "Welcome To The South" is a southern classic. It features two of the South's MVP's in the form of Lil Flip and David Banner. This track basically lets anyone unfamiliar with how Southern boys roll know. What does it say about Young Bucks lyrical ability if he gets outshined by both featured artists on one of the albums finest tracks? Hmmm.

If this release was to be broken into sections, the 'lackluster/average' section would contain the most amount of tracks. Unfortunately, his G-Unit brethren don't make the most of their guest appearances. "Prices on My Head" which features Lloyd Banks and D-Tay has a generic sounding southern beat, and its hook sounds as if the person rapping it stole one of Eminem's overused flows. While Lloyd Banks gives a solid performance, not even that can save this song from mediocrity. "Bonafide Hustler" features 50 Cent, and in print this song has the look of something great. However, after a few listens, you will quickly dismiss it.

Awful tracks are found sprinkled throughout this 20 track roller coaster of album. While there are not many, they still are highly noticeable and leave a damper on the overall quality of the album. Lil Flip has the total opposite effect on "Get This Money" as he did on "Welcome To The South". "Get The South" features a boring tuba beat - it actually sounds weird saying this, but some of Young Buck's attempts at the generic southern funk sound comes across as forced. It couldn't be more obvious than on tracks like "Look At Me Now", and "Shorty Wanna Ride". His flow fits these tracks like a glove, however it is an indication of how wack Buck's cd's really could be if handled by the wrong hands.

In closing, Young Buck proves that he has what it takes to produce some really good songs, which in turn should equal really good albums. However, unfortunately on his solo debut he fails to capitalize on that strategy. "Straight Outta Cashville" is plagued with less than satisfactory material. His association with G-Unit seems to motivate him to come hard every time, and not rely on a hot bounce beat to save the track. Young Buck proves on this cd that he is not being carried by G-Unit, but he is able to stand on his own. If Buck can learn from his mistakes on, and on the next go round, then he may be able to give us one of the finer Southern albums outside of Outkast in recent memory.

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