ALBUM REVIEW: “Gunz ‘n’ Butta”
All I can say is, I expected more, even though I knew (when it comes to Cam, release dates, sample clearance, the willingness to spend the money to clear and skimping on production and getting mediocre production at times) that I probably shouldn’t have. For as long as the album was promoted and the hype was built, the product was very disappointing. Too much filler, too many tracks that date anywhere from a year and a half to over two full years, and many which were stale long before the album was even conceived. Only two or three true “new” tracks and they were boring.
Cam’ron & VADO
Gunz ‘n’ Butta
Released: April 19, 2011
Cam is the king if intros in Hip-Hop. Always epic beats and bars that are full of quotables. The latter being the reason why Cam is one of the greatest and (if it is even possible, but evidently, especially when talking to southern cats) he’s still underrated as a result of it the wordplay, which goes over the heads of those who are incapable of deciphering the multis and code speak.
2. American Greed.
One of the best tracks on the album. If it had leaked earlier, I might have been disappointed, but to my personal knowledge, I don’t recall it being leaked prior to April 2011. Excellent wordplay and VADO’s bars continue to place him above everyone new to the game and above most of the vets still doing it.
3. Heat in Here.
I have never cared for this track.
4. Face Off.
Attack of the cheap production.
5. I Luv You.
Maybe this one will grow on me as time grows on, “Killa Season” album style. Right now, it’s dull to me.
6. Put A Bird Up.
What is with the production on this one? Killa is usually one of the best at riding beats. This song is sloppy to me.
7. Monster Musik.
Easily the best song on the album. Excellent sample from a VIDEO GAME of all things, excellent ‘phors, wordplay, multis and the slow flow (aka verbal swagger) all work together on this epic beat.
This is another one that will take some time to grow on me. VADO does have some slick punchlines and ‘phors on this joint, though.
9. Fuck A Freestyle.
Killa goes in on this, and everything VADO said is quotable. Whether any or all of this “Freestyle” was “writtens” or not, this was disgusting. In a good way.
10. Lights, Camera, Action.
The sample is clever, but not quite what you expect to hear from Cam. VADO can spit over any beat and they make it work. Initially, this one jumped out to me, but not much replay value unless you’re on the road and letting the LP play.
11. Stop It 5!
This song is two years old. No business on here. And although now more people (even non-Bloods) are referring to each other as “5” now, the song was played to death in ’09 and is stale now.
12. Speakin’ In Tungs.
Another old track. Had a great run in the clubs in 2010, but everyone heard this song, why put it on a supposedly new album? That ain’t wavy, even if it were a mixtape.
13. Hey Muma.
The club jumpoff for 2011. One of the few songs that Cam-haters and non Dipset listeners seem to know about, due to the heavy airplay thus far in 2011. Shame, it’s only slightly above average when it comes to VADO’s best work and obviously not Killa’s best effort, even on this “album”.
14. We All Up In Here.
Palm trees, calm breeze, know what I do dirty? YA MOM’S KNEES.
Killa is always full of quotables. So is VADO, that’s the only thing that saves the decision to place this track on this album, when it was on Boss of All Bosses 2.5 a year ago.
15. They Don’t Like You.
This sounds like Confessions of Fire Cam ha. Not a bad track, but I’ve got to be in the mood to listen to it. Humor is top notch, which is what you expect from Cam. VADO is so ill. He should be one of the first out of cats’ mouths, not Wiz Khalifa, Rick Ross or AUBREY.
16. Be With Me.
Ill sample. FINALLY some vintage Dipset music. Hopefully future albums will be actual ALBUMS with this type of material and not a half-mixtape/half-filler effort. There should have been more of this type of cut on this album.
“I LOCK ‘EM LIKE REVIS” – VADO.
LEFT OFF, BUT SHOULD HAVE BEEN ON THE ALBUM:
“Girls Cry” (probable sample clearance issues, excellent usage of Betty Everett’s “There’ll Come a Time”).
“Sour Life” (used the same “Annie” sample that was originally intended for Cam’ron in 1998, but stolen by Jay-Z for “Hard Knock Life” — probable clearance issues as well).
Expected more for such a long wait.
OVERALL: 7 OUT OF 10.