Bonecrusher's back with a new label (Body Head Entertainment, owned by Roy Jones Jr.) and new album minus Jermaine Dupri. His second LP, Release the Beast, features production from Chris McGill and Chris and Conrad Rossar, as well as collaborations with Cotton, Twenty and Tezy, all of whom are virtually unknown in mainstream music. Unfortunately, using unknowns as his supporting cast does more harm than good.
The 12 track LP is nothing more than watered down crunk music. Though the album is titled Release the Beast, the expectation is that the content would drift away from fights in the club. But, it doesn't. In fact, the album doesn't drift at all. It stays with the central theme of "mean mugging" and "stomping people in the club."
Take for example, "Southern Gorillas," the first single. It's supposed to come off as an aggressive club anthem with hopes of coining "Southern Gorillas" as a catch phrase. The latter of which probably won't happen because the song fails to clearly define what a Southern Gorilla is. And, the production is sub-par to say the least. There's nothing remotely current or innovative about the beats. Compared to his hit single, "Never Scared" (from his debut AttenChun!), "Southern Gorillas" is amateur, even for an independent release.
But wait! The LP sinks further into an abyss with "Mug On." First off, anyone who still walks in ANY club mugging, has issues of their own. That's definitely very 2000. However, Crusher felt confident enough to attempt to rap about mugging for 4 minutes and 19 seconds. And, with lyricism like "Y'all n----s want to see me / F--- n---- what it beezy," you're left wondering... Why?
Critiques aside, there is a glimmer of hope. Check track 6 titled "Danger." Produced by Chris McGill (who also produced "Southern Gorillas"), this track should be sold to makers of "Grand Theft Auto" (the video game). Lyrically, the record isn't hot. The chorus just chants "Danger, Danger, Danger, Danger" over and over again. But, this is one of the rare instances where the production saves the song. Embedded in "Danger's" beat are police sirens, screeching tires sounds, gunshots and violins. This may not sound like much. Nevertheless, given the faux crunk beats... this makes for a nice addition to the CD.
Plain and simple, Release the Beast fails to deliver. For starters, the disc features music from 1999. And, that wouldn't be such a big deal if he didn't broadcast it, like on track 4 (Do It). But, even barring that fact, the production really sounds dated. Lyrically, the album is a disappointment, too.
As music fans, we expect to grow with the artists we love. And, we grow with them through their music. With all that's happened in Bone Crusher's career, (specifically, his split for Jive Records), you'd think his first indie album would address his frustrations with major labels. Or, that he'd even update his aggressive rap persona. He does none of the above. This album is a sloppy compilation that attempts to show Crusher's still a force to be reckoned with. Unfortunately, Release the Beast says that maybe his beast is a little tamer than he thought.
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