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Young Buck – Buck The World

Posted by Joe Lazar on March 24, 2007

Young Buck // Buck The World // G-Unit Records // Release Date: March 27, 2007

The empire that was G-Unit, has lost it’s touch. After Lloyd Banks, Young Buck, and the Game all sold past or near the 1 million mark, and 50 selling around 10 million, G-Unit looked unstoppable. But oh how the tides have changed. Lloyd Banks bricked, new employee Mobb Deep flopped, the Game bailed, and Tony Yayo is in all sorts of trouble with the law, including a recent report saying he jumped a 14 year old kid, who was the son of one the heads of Czar Entertainment – a G-Unit rival.

Young Buck is the only one that hasn’t released a second album; in other words the only one that hasn’t flopped and embarrassed G-Unit loyalists. It’s pressure time for Buck. It has been three years since the release of Straight Outta Ca$hville, Buck’s debut. Ca$hville was different than the rest of the G-Unit releases. Instead of a New York rapper, it was Tennessee that was heard on the mic. Buck had a captivating southern drawl, that many including I, thought that made him standout from the rest of the G-Unit roster. He represented the streets harder than anyone else on G-Unit. I would say 50 did, but The Massacre was far from a gangster album. But I’m not saying Buck makes better music than the general. Buck piled more weight on his shoulders, when he said Buck The World is as good as The Chronic. That’s like Brandon Flowers saying Sam’s Town is the best album of the last twenty years.

Opener “Push ‘Em Back,” immediately grabs the ear, with Buck holding some intesity, over a somewhat generic but still solid Danja (Timbaland protégé) beat. This piercing enviorments continues with the next few tracks. “Say It To My Face,” opens with a gothic choir and church bells, before Buck starts rapping over a keyboard that sounds like it was made by the devil. The J.U.S.T.I.C.E League lend a hand on album highlight, “Buss Yo’ Head.” The track kicks off with a horror movie-type intro, and Buck enters with such ease, with a wisp of air breathing throughout the track. Epic horns that wouldn’t sound out of place on King, hover in the background, barraging Buck at the right moments. ‘Ya’ll n*ggas ain’t no killers, ya’ll some hoes / and ya’ll act like the realest but ya already know / the gangstas feel us and 50 shouldn’ta let me go / all the rappers that was beefin’ ain’t talkin’ no more/ I’ll buss their motherfuckin’ head hoe.’ “Get Buck,” continues the rapid pace, with a gothic singers chanting Young Buck. It also happens to be Polow Da Don’s best work ever. ‘I need a bitch and a beat, let me call Polow.’ That should be Polow’s slogan.

Buck The World’s biggest fault is the guest appearances. I have never been a huge fan of guest appearances. I like the exclusiveness of hearing just that one artist. It makes it feel like that person’s album. More than half of the track’s have a guest on them; Jeezy, Snoop, TI, Pimp C, Bun B, Linkin Park’s Chester Bennington and the list goes on and on. All the tracks with other rappers feel awkward, and just there to fill some space. The only one that holds some ground is when Buck teams up with 50 on “Hold On.” But even that track doesn’t have too much chemistry, which further proves that 50 and the Game’s chemistry on The Documentary is possibly the best G-Unit will ever experience. “Slow Ya Roll,” produced by the Suns of 71, is backed by guitar plucks, but Chester Bennington should of never of been let near the studio. Rappers always seem to have the worst taste outside of their genre. When Bennington sings solo, it sounds so 8th grade.

“Lose My Mind,” finishes the album on such a low note. Buck experiments with Eminem, by screaming on the whole track. Experimenting doesn’t equal good. You have to have a good idea, not just a ‘totally crazy’ idea. Eminem is a washed out bum now. This type of garbage is a complete waste. The hidden track after “Lose My Mind,” “Funeral Music,” is a diss towards Dipset, with 50, and no Buck. It’s funny that Buck The World is supposed to be a statement for Buck, but it ends with 50. It seems like this is a setup for what we really want. 50 is clearly saving all his stuff for himself.

Buck The World isn’t bad by any means, it is just disappointing. Young Buck tries to knock down barriers in the rap game, but the attempts fall flat. Buck sounds best when he isn’t trying to do something. Many parts of the album seem very planned. Buck The World is far and away the best G-Unit sophomore effort though, and Buck isn’t down for the count. He still shows signs of brilliance. But I don’t see Buck The World resurrecting G-Unit. 50, it’s up to you.


— Joe Lazar


7 Responses to “Young Buck – Buck The World”

  1. chisteel05 said

    Obviously you don’t know anything about a great album. This album is a masterpiece. He has a lot of features on it because he had a lot of favors to call in over the three years and, dummy, dont you think it is a little bit of a political move on the part of the Unit sayin that they are all good with the rap game and still have the support of the industry. This album blows away a lot of recent albums, including Doctor’s Advocate because at least Buck doesnt say Dr. Dre and ’64 300 times on the album. I expected more from Game because, like Buck, I am a big fan of. This album is a Southern Classic!!! Thats right, a Classic!!! All the incredients of a great CD on Buck’s part. He steps out more lyrically in this album than Straight Outta Ca$hville. Has more variety than the majority of hip-hop today. He experiments, he has unbelieveable production on this album and his flow just oozes emotion and rawness. Most of the guest features on the album are on their for bridge and hook help, not for lyrical add-on. Almost every song has Buck spit at least two verses, with the exception of Say it to My Face and I Aint Fuckin Wit U! Another key to a great album and a great artist is when the records have hooks performed by the artist themself. On Doctor’s Advocate, one hook was done by Game, another huge disappointment. On Buck the World, there are 10 tracks with hooks exclusively by Buck and there are 3-4 others in which splits the hooks with some of his features. And finally, I think you completely missed the boat on Hold On and Slow Ya Role. Hold On has unbelievable chemistry, but it isnt a party anthem Top 40 chemistry like 50 and Game had on their records, but a Gangster chemistry with an laid-back old-school gangster beat. I also like the fact the Dr. Dre is producing in different ways now, the only Dr. Dre sounding song, without looking through the credits is U Ain’t Goin Nowhere, I think this is a good look on how Dr. Dre is growing his production skills. No hard feelings but you need to know a classic when you see it. By the way, the only classics I have ever considered in that boat are Tupac – All Eyes on Me and My Back Against the World, NWA – Straight Outta Compton, Dr. Dre – The Chronic and 2001, Nas – Illmatic, Eminem – The Marshall Mathers LP, 50 Cent – Get Rich or Die Tryin, Notorius BIG – Ready To Die, Jay-Z – Reasonable Doubt, Snoop Dogg – Doggystyle, Common – Be and now Young Buck – Buck the World. Honorable Mentions go to TI – King and The Game – The Documentary. Those 13 Classics and two Honorable Mentions make a list of 15 Rap Albums over almost 20 Years of listening to Rap/Hip-Hop.

  2. Joe Lazar said

    I think the last half of the album has average production. “Pocket Full Of Paper” (DJ Toomp) is not anywhere near as good as his previous productions (What You Know). Both Jazze Pha’s tracks (I Know You Want Me, 4 Kings) are pretty mediocre production. Buck does do steady work as an MC. I never once say he blows, except for “Lose My Mind.” But I think Eminem was really involved with that one. Eminem’s style is just oozing out of it. If Buck didn’t scream on the last track, it would of been better. If he just spit with vengence, you have a great track (probably).

    It is wayyyyyy too long too. It is around 80 minutes. Sheesh.

    We are on different bases in general though, because I don’t think 2001, Be, or Doggystyle are classics. Be is good, in fact really good, but it is not a classic. Although, it is Common’s best album (hey, that album was only like 45 minutes. why arent more hip hop albums like that?). Doggystyle has lots of filler in my opinion. The whole album feels like an album, and I can get a vibe off it (west coats, drugs), but there are a few too many skips. I do own both albums though, including a signed Be.

    But no way Buck The World stands up to Reasonable Doubt, Ready To Die, Chronic, Straight Outta Compton, Chronic.

    You dont think Outkast or Wu-Tang have ever released a classic?

  3. chisteel05 said

    Outkast yes, but I have never been a real fan of Wu-Tang although they do have good stuff, I am just not a fan of their general style.

  4. Joe Lazar said

    Which Outkast album(s) is a classic in your mind? Just curious.

  5. chisteel05 said

    Stankonia or Aquemini not really sure which I would rather have in this catagory, maybe a good hard listen will help me decide.

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