There's a saying that those that rap should rap, and those that ball should ball. Pick one or the other talent bestowed upon you by the almighty and enjoy what comes from it.
Basketball players for ages have been crossing over and trying to cash in on their on court appeal by dropping a record, and, of course, just about every rapper thinks he can hoop it up with the best of them. From Shaquille O'Neal's attempts towards a musical "crossover" to the escapades of Ron Artest, Tony Parker, Cedric Ceballos, Andre Rison, Allen Iverson, Chris Webber's horrible piece entitled 2 Much Drama, and Kobe's ill-fated stab at releasing a record, the writing on the wall of the locker rooms reads, "Stick to balling, forget rhyming, and practice those free-throws."
But reserve point guard Troy Hudson, a.k.a. T-Hud, apparently wasn't paying attention and has recently released what can at least be called the best hip-hop album ever made by a NBA professional basketball player. With the likes of Three 6 Mafia, Static Major, Ray J, Mo-Unique, Darius Harrison, The Clipse, and TQ dropping by on different tracks, Undrafted actually turns out to be a fairly enjoyable record from the first quarter to the end, and one that will certainly stay in your car for the time being.
The album starts off with an intro that has what sounds like sirens as Mr. Hudson re-imagines himself as the popular figure from Greek Mythology, Troy, while being lured back to his doppelganger T-Hud rapper persona. Light pianos in the background and a female choir deliver suspense. "Real Sh--" explodes off the record with jubilant bellowing from a floor general who's obviously thrilled to be back on the mic. T-Hud proceeds to tell where he's been, where he is at now and what he represents. His simple rhymes are bolstered by inspiring production from Rock City for Deez Nutz. While utterly unadorned with his writing, T-Hud's words do mesh considerably well with the production, and the sound comes off as refreshing.
Arguably the best track on Undrafted, "True Love," takes a completely different approach with more of an R&B impression. Ray J, yes that Ray J, helps write and sings on this poignant ode to a female. T-Hud and Ray J would be wise to do more work together in the future, because they have fluidness of that experienced point guard and center who are on the same page. "True Love" is undoubtedly adequate to be played in a club, while essential in setting the mood with your significant other.
"So Here" returns to the vibe of the second track, being more in your face with roughly the best lyrics from T-Hud you'll find on his album. To his credit, Troy has to work like a gym rat to even make it into the league, and that work effort transfers over to the music aspect of his career, which is likely why this is better than those other ballers' records. Despite already being solid so far, T-Hud calls in Three 6 Mafia for the alley oop on "I'm a Gangsta." Menacing drum beats set the tone for the classic, contemporary Southern style of hip-hop production on this cut. In the end though, all the song does st let the listener know that T-Hud is not only a hustler on the court, but off it as well, at least in his own mind.
"Go Getta" starts off like an 80s pop ballad, but quickly turns into a charming silver-tongued banger with grimy yet velvety beats. T-Hud then gets superfluous with his rhymes and too one-dimensional until "Good Weather Music," which opens with slick horn throbs. With lyrical assistance from S. Major, C. Butler and B. Freeman, "Good Weather Music" is exactly what the title alludes to, an ideal tune to drive with the top down to.
"Back To The Block" initially starts off slow, but T-Hud instantly jumps in with his speediest rhymes of the album, and Mo-Unique stops by like a cheerleader, spiting some amazingly good lines. She is one to keep an eye on. "Rich As A Bitch" sees T-Hud using word play that his commissioner might not necessarily approve of, but he doesn't have a say in the matter, so what, why not?
Darius Harrison and T-Hud offer up "Good Life," which is perhaps the most radio friendly piece. Harrison's production has a panache, which suits this unsystematic release well. The Clipse's arrival is a disappointment to no fault of their own, the chorus just doesn't engage well with the otherwise fantastic banter from The Clipse.
Mo-Unique goes from cheerleader to star player on "Pussy Whipped," and the switch happens to be rather sexy with her in the spotlight, while the emergence of TQ and the production from Big Tyme for Blackstone generate a tasty treat near the end called "How I Get by."
By the time "Roll With Me" comes on, it's evident that T-Hud might have a secondary vocation in the music business. And if he continues to get hurt on the hardwood, there will be a lucrative fall back for him, if he's willing to work as hard with hip-hop, as he did making it into the league.
This one might get slept on, much like Troy's balling skills did after college, but don't make the same mistake NBA general mangers did, because, evidently, Troy's alter occupation is here to stay. This isn't a slam dunk of a release, but it's a score nonetheless.
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