As Mystikal was one of the late ones to join the No Limit camp, but one of the first to abandon it again, you can't really hold that stint against him. And the bio of a person should also not let you have a prejudice against the guy, the producer or the label (and furthermore, even Abstract Rude gives the man props). That all kinda comes into play when you start to listen to this. But his label past, his own person, and him picking a Neptunes beat for the first cut on the album, all give Mystikal an uphill battle to seduce the over critical reviewer. But critics need to be honest too, hence also hand out props where it's uncomfortable and unexpected. And this reviewer here, he feels "Bouncin' Back (Bumpin' Me Against The Wall)". Cause on here just so much is right, due to it being special and not of some standard vibe, that the Neptunes like to ride to death. Naw, here they flip things with a sample that's reminiscent of something old, traditional and legendary, that must get the Mardi Gras band marching, and that gets this track rolling in the dopest of fashions. Mystikal faces a hard time to not make this a dope track, and with him keeping the screaming to a minimum, he's not spoiling the impression of the musical back, hence he rounds out a funky fresh track. Quite interestingly, Mystikal uses this party friendly piece to drop some thinking lines: "one day it hit 'cha then its gone / and I'm serious and you ain't never even gone feel it until it hit home / that's when the pain run sharper and deeper / you ain't eat that's when the days feel slow and long / I know you miss 'em so it's time to uplift 'em / try to pick the pieces up and find a way to drive on".

So that's one cut, but what happens after that? Can Mystikal come with more sizzling steaks? Unfortunately not. He's offering a couple of aight ones, but is not able to reach the quality of the opening cut. With the noble exception of "Don't Stop (Funkin' 4 Jamaica)", a track that's originally a Mariah Carey song and that featured Mystikal as the guest rhymer. Surprisingly she is also credited as the producer, along with DJ Clue and Duro, with the three having found a dope sample, that is getting us back to disco days, without the beat sounding too pop.

Looking for the better cuts on here, we get the KLC offerings, that are better than the big bundle on her. Hence his "Pussy Crook" and "Big Truck Driver" are quite nice, with the latter mainly sounding good, due to the rather different way of instrumentation, that's actually really interesting. He however fails to do a triple, as "Paper Stack" is sounding too synthetic, what's tragic as there are detailed elements on here that could have made this better. "That's That Shit" is a little better, but that mainly because it's not as bad as "The Return", a collaborative production with DJ Ron that is simply unimpressive. What's further kinda good though is the musicality of cuts like "If It Ain't Live, It Ain't Me", that however has a hard time moving beyond the expected area sounds. And even Juvenile's "Settle The Score" featuring Juvenile on the rhyme and the beat, is only almost pleasing due to a rather content and careless feel. And Rockwilder's beat on "Ooooh Yeah" gives us a rather reinvented style, that once more keeps things happy, what seems to be the right vibe for Mystikal to do his verses.

But then there are the weaker cuts, like The Neptunes' second offering "Go 'Head", that has a surprising live feel to it though, that still makes it better than your typical Neptunes track. Also Scott Storch's "Tarantula" (featuring the crooner Butch Cassidy) is rather previously done, and also on "Alright" Scott fails to really do anything that he hasn't yet given us before. "I Get It Started" was also done by Rockwilder, with some help by DJ Twinz, and they surprisingly adapt much to a more Southern sound, hence this sounds typical for Mystikal, but is a surprising surrounding for the guests Meth and Redman. "Smoke One" caters to the ridiculous stereotype, that every track that talks about weed, needs to feature some carribean / reggae styling.

In the mean time, the lyrics are of a kind that are quick to attract props in the mainstream circles, to the infinite amazement of those that heard better emcees spit. So you will not find the words to be mind blowing, as you can't really consider this album in whole that at all. It offers a surprising number of cuts that can keep us happy for a minute, and that are deserving to be listened to, in case you do are interested to hear what the mainstream south is doing lately.