producers: joe traxx, mr. mixx, d.j. miz, rakesh, record room, others.

Wodie, ladies and gentlemen. Around here you say howdie though, right? Or do you need to own a horse for that? Well, you can tell, we are not from these parts, usually we dwell in Northern coordinates. But the music carried us to Houston Texas, and we just try to adapt, you know. So how are things done around here? How do things sound around here?

So let's face it: some rap just doesn't work outside of the coordinates where it was created. Rap is not the universal music that it could be, but something enormously segmented, and there are no two heads that like the same mix of subgenres, artists, styles and nifty labels. Thinking about it, the most widespread style must be the New York / Eastcoast way of doing things, but that's maybe just due to them being the originators. If you are not from there, but you are from the west, the south, the north or anything in between, then you will have to cater to your fans first, and then hope that people outside that circle will happen to check for it too. And interestingly enough, the world is lately ready to embrace those southern sounds quicker than cats would line up to get Beyonce's phone number. And you have to mention the tank and the millionaires to have been the ones that paved the way for that. They got the states south of the Mason-Dixon line more approval but also success than acts like OutKast or the whole Suave or Rap-A-Lot families have been able to provoke. Hence the chance that Lil Troy and the artists he discovered, and put on this record, (that's as much a compilation as an album) can gain listeners in areas outside of TX has become more likely, and that without a doubt.

If you then check the album, you will get to hear a couple of tracks that have a wider appeal, due to them not being very distinct southern. That's especially the case with "Pop Ya Collar", that features a universal bounce. It can easily be understood in New Jersey and Portland, and get both place's clubs into motion. While stronger featuring the drawl, "Mo Money, Mo Problems" can also be considered to be one of those cuts, this also being rather cool, it being a slow offering, that's talking about the suffering of the rich. And if you check the "We Gon Lean (Remix by Dirk)", then it's not the structure, but the chosen instruments that give away where the track is from. Another cut that has to be especially pointed out is "Let's Smoke", where Ronnie Spencer is doing his best Ron Isley impersonation, quite involuntarily of course, but him actually sounding good doing it. "Buckle" will only be held back by the few sound effects that are exposing it as something southern. The lyrics are nasty, what can't be a considered a reason for other areas not to check it out. And interestingly enough "Dead Wrong" is kept accappella, showcasing a sing-songy flow.

However, those that do want that ish that gets their trunks rocking, that allows them to pump something with true boss baller style, there's enough on here too, like "For Years", "We Gon Lean" or the title track "Back To Ballin". The last one is standing out due to its melody, but also with T2, the son of Lil Troy, spitting. And what doesn't sound too good on paper, actually is, with T being promising, and definitely not doing a childish flow, but coming correct with his. More tracks to be mentioned as being ready to shake up the rides are "Wired Up" and "Keep My Name Out Your Mouth".

Tracks we struggle to find too interesting are few, but still present, and they are cuts like "There He Go", "Long Time" or the crooner Billy Cook singing the hook on "Lesbian Nights", that's simply changing the lyrics of Kool & The Gang's "Ladies Night", but keeping the melody. "Touch Ya Toes" then sounds too much like a Sisqo track, despite the rapping. Too many will not understand "Wanna Be A Baller (Chop & Screw Version)", that will sound strange to their ears. But this is a Screw version, meaning that it was willingly slowed down, getting this special feel, that Screw always put into his mix. And since Screw is no longer with us, it's Mike Moe that did this version.

Look, it's not a secret that many people will not check for Lil Troy, just like many people that will check for him, will not be bothered about a whole lot of other artists others like. And as we said before, the rating scale struggles to reflect the quality of an album in its genre. As if rated by those terms and not a universal attempt, then this album comes across as one of the strong ones. Hence this means, that it will be considered dope by those that are enjoying this style. And for the others, the album does contain a couple of tracks that will get the most critical head in motion. What then obviously takes away all reason why not the check the album out.