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Editorial Reviews
2011 release from the American rapper. With a life story that no book could contain, the artist born Michael Atha could have auditioned for the most interesting man in the world title. After years of toiling in the rap chitlin circuit, the mixtape matrix and doing hooks for a spectrum of artists ranging from Juelz Santana to Slim Thug, Wolf broke out in grand fashion with his critically acclaimed independent release Trunk Muzik on New Year's Day 2010. The excitement, paired with his unforgettable live shows, led to numerous magazine covers a record deal through Ghet-0- Vision/lnterscope and then a partnership with Shady Records. The label founded by the man who many naysayers opted to unfavorably compare him to, Eminem.
Customer Reviews
Most Helpful Customer Reviews
29 of 34 people found the following review helpful
By Athlete
Format:Audio CD
This is Yelawolfs first album since signing with Eminem's Shady Records early this year. Due to a unique delivery and adding the not-so-common to hip-hop elements of rock and country to his music, Yelawolf is a truly a love-him-or-hate-him artist.
1. Radioactive
Produced by WillPower
This is the album's intro, it starts out with a warning from the military about a nuclear attack on America, then Yelawolf's signature flow breaks through over a dark, slow beat. He raps for two minutes announcing that he's made it. This let's the listener know that this is Yelawolf and this is his sound, a great introduction to him as an artist.
2. Get Away (feat. Shawty Fatt, Mystikal)
Produced by Phonix Beats
Yelawolf describes his backwoods trailer park surroundings. His ability to paint a picture in combination with his unique point of view as a white rural skate punk are definitely his strengths. While, the verses from Shawty Fatt, an artist on Yela's Slumerican imprint, and Mystikal are alright, they don't add anything to the song. I thought Mystikal would have a more memorable and energetic verse, but then again I think this his first significant appearance on anything in a decade. It's still a good song, but it could have been better if the guests were up to par or if Yela just went at it alone.
3. Let's Roll (feat. Kid Rock)
Produced by The Audibles, Mr. Pyro
A Kid Rock feature makes perfect sense, considering that unique as Yelawolf is there are definite similarities between him and Kid Rock's earlier rap-rock music. This is an obvious radio track, and it's the album's second single. Kid Rock handles the chorus, while it's catchy and will get stuck in your head, Kid's voice doesn't sound like its usual self. His vocal style is watered down to appeal more to Top 40 and Urban radio as opposed to the rock and country airwaves he's usually heard on. It's almost as if having Kid Rock's name attached to song was more important than emphasizing what makes him so memorable. Yelawolf tones it down a bit too, but it's understandable as when he's at his most eccentric he can take some getting used to. The beat's pretty generic, and Yelawolf just reminds us that he's from the south and he's country. A decent song, not anywhere near great, but it does its job; despite not charting yet I could see this being a big hit.
4. Hard White (Up In the Club) (feat. Lil Jon)
Produced by Tha Hydrox
This was the first single off of the album, it never caught on, but it's still a banger. This is the type of crunk track that would've been huge in the early to mid 2000's. With a beat of looped vocals, Yelawolf switches his flow up a couple times showing his vocal versatility, while Lil Jon throws in his signature shouting adlibs. He raps that despite his success and being in VIP he's still the same dirty south spitter he's always been. A definite highlight.
5. Growin' Up in the Gutter (feat. Rittz)
Produced by WillPower
Being this album's answer to Pop the Trunk, it falls short off the prestige of Yela's most popular song. Pop the Trunk worked so well, because it was so detailed and vivid and felt so authentic. The images of domestic violence in the suburbs is well narrated with a rapid whisper over a dark booming bass and siren, but it doesn't feel as if Yelawolf has experienced this quite like the murder scenes depicted on Pop the Trunk. Rittz, another artist off of Yelawolf's Slumerican imprint, outshines him here with a verse that feels more authentic. To top it off the screaming chorus doesn't do the song any favors, it's decent, but it falls short of its mark.
6. Throw It Up (feat. Gangsta Boo, Eminem)
Produced by WillPower
The unholy trinity of Yela's label boss and the first lady of Three 6 Mafia made this possibly the album's most anticipated track. Over a slow piano and contrasting rapidly paced bass and hi-hats, Yelawolf spits possibly the best verse on the entire album. Showing off his unique flow and technical skill along with a slew of references to the rural trailer park world he's from this is a showcase for what all the fuss is about. Gangsta Boo provides a vulgar chorus that gives the song a feel of a dirty south banger from 10 years ago. The following two verses by Gangsta Boo and Eminem are quick and nasty but don't outshine Yela. I felt as though Yelawolf should have had another verse, or replaced the second verse by Gangsta Boo with one of his own. Not that Gangsta Boo's verse was weak at all, but when she got a verse and the chorus it felt like it was her song. Once the song is over Yela and Em have a conversation where Yela is told to make love songs for the girls. At this point the album takes a drastic turn.
7. Good Girl (feat. Pooh Bear)
Produced by The Audibles
This is one of the weakest songs on the album. It's a generic song about said rapper being a bad boy and a good girl who can't get enough of him. The chorus by no-name second rate R&B crooner Pooh Bear is corny and cliche as well.
8. Made in the USA (feat. Priscilla Renea)
Produced by Emanuel Kiriakou, Blaqsmurph
Over a military drum beat, Yelawolf waxes a sarcastic patriotic anthem about all the negatives in the United States. The chorus fails as it sounds like it's geared towards little kids. Even though social consciousness is new subject matter for Yelawolf I thought he could pull something like this off as he is so good at detailing poverty in the rural south. However this is just a laundry list of problems that could be applied to any region or country. The pop feel of the song does not match the concept at all. This is another low point.
9. Animal (feat. Fefe Dobson)
Produced by Diplo, Borgore
This is another obvious stab at contemporary radio. There have been worse crossover attempts made by not-so-pop-friendly rappers. The beat is an uptempo electronic dance track that radio in 2011 will eat up. Yelawolf uses his signature rapidfire chainsaw flow, and while his mediocre lyrics and the corny pop chick on the hook prevent the song from being good, it's not hard to see this song getting radio play.
10. The Hardest Love Song in the World (feat. Pooh Bear)
Produced by WillPower
I have no idea why this song even claims to be hard, it's as soft and poppy as it gets. Yela's verses and Pooh Bear's crappy pop hook make this song very forgettable and the worst song on the album.
11. Write Your Name (feat. Mona Moua)
Produced by J.U.S.T.I.C.E. League
While this hook and beat are soft and radio friendly like the four previous tracks, this one works because it's much smoother and not nearly as sugary as the previous pop songs. However it's Yela that plunges this song into mediocrity as his love letter to his home state of Alabama is toothless and awkward. He needs to get back to his gritty stuff, because he doesn't sound heartfelt at all when he's doing these pop friendly songs.
12. Everything I Love the Most
Produced by WillPower
With an acoustic country feel to the song and Yela singing the hook, this song could work, but it feels like Yela didn't put much effort into it. He has two quick forgettable verses about how women, alcohol, and smoking aren't good for him despite how much he enjoys them.
13. Radio
Produced by Jim Jonsin
Another track that sounds good on paper, but doesn't work. An acoustic guitar led track where Yelawolf laments on how the radio isn't what it used to be. His laughable sung hook about how the internet killed the radio star hurts the song also. While this is a great concept by a unique rapper who owes his fame to the internet and not radio, he won't be bringing hits that last a long time, with songs that sound this awkward.
14. Slumerican ***izen (feat. Killer Mike, Travis Barker)
Produced by WillPower
Now we're getting back to the style that made Yelawolf famous. The beat is a heavy rock track with a swampy slide guitar riff. However Yela's verses about him once again being from the trailer park are forgettable and his shouted chorus is a little irritating. Killer Mike outclasses him with a passionate verse about poverty. It's decent, but only because it falls back into the old style that won Yelawolf so many fans in the first place.
15. The Last Song
Produced by WillPower
This is a quiet piano-laced track. Yela lashes out at his absentee father and how he and his mother are just fine without him now that Yela has experienced so much success without him. This song isn't bad, but it just isn't nearly as heartfelt and emotional as Yela's pre-Radioactive songs were. This is a recurring problem with the final two thirds of the album, and this song which could be truly great is just decent exemplifies that. It seems Yelawolf didn't put as much effort or care into this album as Trunk Muzik 0-60. While this song sounds unique upon first listen its lyrics don't do much to separate it from any other songs about rappers telling fathers that left to look where they've gotten without them.
Summary
This is a good album with a lot of features. The thing I like most about this album is the dynamics of the songs. Each song has a different sound and structure, so even if your not a Yelawolf fan you should be able to find at least one or two songs that you enjoy. This album definitely deserves a listen, if not a purchase. One of the better rap albums that recently released in my opinion.
1. Radioactive
Produced by WillPower
This is the album's intro, it starts out with a warning from the military about a nuclear attack on America, then Yelawolf's signature flow breaks through over a dark, slow beat. He raps for two minutes announcing that he's made it. This let's the listener know that this is Yelawolf and this is his sound, a great introduction to him as an artist.
2. Get Away (feat. Shawty Fatt, Mystikal)
Produced by Phonix Beats
Yelawolf describes his backwoods trailer park surroundings. His ability to paint a picture in combination with his unique point of view as a white rural skate punk are definitely his strengths. While, the verses from Shawty Fatt, an artist on Yela's Slumerican imprint, and Mystikal are alright, they don't add anything to the song. I thought Mystikal would have a more memorable and energetic verse, but then again I think this his first significant appearance on anything in a decade. It's still a good song, but it could have been better if the guests were up to par or if Yela just went at it alone.
3. Let's Roll (feat. Kid Rock)
Produced by The Audibles, Mr. Pyro
A Kid Rock feature makes perfect sense, considering that unique as Yelawolf is there are definite similarities between him and Kid Rock's earlier rap-rock music. This is an obvious radio track, and it's the album's second single. Kid Rock handles the chorus, while it's catchy and will get stuck in your head, Kid's voice doesn't sound like its usual self. His vocal style is watered down to appeal more to Top 40 and Urban radio as opposed to the rock and country airwaves he's usually heard on. It's almost as if having Kid Rock's name attached to song was more important than emphasizing what makes him so memorable. Yelawolf tones it down a bit too, but it's understandable as when he's at his most eccentric he can take some getting used to. The beat's pretty generic, and Yelawolf just reminds us that he's from the south and he's country. A decent song, not anywhere near great, but it does its job; despite not charting yet I could see this being a big hit.
4. Hard White (Up In the Club) (feat. Lil Jon)
Produced by Tha Hydrox
This was the first single off of the album, it never caught on, but it's still a banger. This is the type of crunk track that would've been huge in the early to mid 2000's. With a beat of looped vocals, Yelawolf switches his flow up a couple times showing his vocal versatility, while Lil Jon throws in his signature shouting adlibs. He raps that despite his success and being in VIP he's still the same dirty south spitter he's always been. A definite highlight.
5. Growin' Up in the Gutter (feat. Rittz)
Produced by WillPower
Being this album's answer to Pop the Trunk, it falls short off the prestige of Yela's most popular song. Pop the Trunk worked so well, because it was so detailed and vivid and felt so authentic. The images of domestic violence in the suburbs is well narrated with a rapid whisper over a dark booming bass and siren, but it doesn't feel as if Yelawolf has experienced this quite like the murder scenes depicted on Pop the Trunk. Rittz, another artist off of Yelawolf's Slumerican imprint, outshines him here with a verse that feels more authentic. To top it off the screaming chorus doesn't do the song any favors, it's decent, but it falls short of its mark.
6. Throw It Up (feat. Gangsta Boo, Eminem)
Produced by WillPower
The unholy trinity of Yela's label boss and the first lady of Three 6 Mafia made this possibly the album's most anticipated track. Over a slow piano and contrasting rapidly paced bass and hi-hats, Yelawolf spits possibly the best verse on the entire album. Showing off his unique flow and technical skill along with a slew of references to the rural trailer park world he's from this is a showcase for what all the fuss is about. Gangsta Boo provides a vulgar chorus that gives the song a feel of a dirty south banger from 10 years ago. The following two verses by Gangsta Boo and Eminem are quick and nasty but don't outshine Yela. I felt as though Yelawolf should have had another verse, or replaced the second verse by Gangsta Boo with one of his own. Not that Gangsta Boo's verse was weak at all, but when she got a verse and the chorus it felt like it was her song. Once the song is over Yela and Em have a conversation where Yela is told to make love songs for the girls. At this point the album takes a drastic turn.
7. Good Girl (feat. Pooh Bear)
Produced by The Audibles
This is one of the weakest songs on the album. It's a generic song about said rapper being a bad boy and a good girl who can't get enough of him. The chorus by no-name second rate R&B crooner Pooh Bear is corny and cliche as well.
8. Made in the USA (feat. Priscilla Renea)
Produced by Emanuel Kiriakou, Blaqsmurph
Over a military drum beat, Yelawolf waxes a sarcastic patriotic anthem about all the negatives in the United States. The chorus fails as it sounds like it's geared towards little kids. Even though social consciousness is new subject matter for Yelawolf I thought he could pull something like this off as he is so good at detailing poverty in the rural south. However this is just a laundry list of problems that could be applied to any region or country. The pop feel of the song does not match the concept at all. This is another low point.
9. Animal (feat. Fefe Dobson)
Produced by Diplo, Borgore
This is another obvious stab at contemporary radio. There have been worse crossover attempts made by not-so-pop-friendly rappers. The beat is an uptempo electronic dance track that radio in 2011 will eat up. Yelawolf uses his signature rapidfire chainsaw flow, and while his mediocre lyrics and the corny pop chick on the hook prevent the song from being good, it's not hard to see this song getting radio play.
10. The Hardest Love Song in the World (feat. Pooh Bear)
Produced by WillPower
I have no idea why this song even claims to be hard, it's as soft and poppy as it gets. Yela's verses and Pooh Bear's crappy pop hook make this song very forgettable and the worst song on the album.
11. Write Your Name (feat. Mona Moua)
Produced by J.U.S.T.I.C.E. League
While this hook and beat are soft and radio friendly like the four previous tracks, this one works because it's much smoother and not nearly as sugary as the previous pop songs. However it's Yela that plunges this song into mediocrity as his love letter to his home state of Alabama is toothless and awkward. He needs to get back to his gritty stuff, because he doesn't sound heartfelt at all when he's doing these pop friendly songs.
12. Everything I Love the Most
Produced by WillPower
With an acoustic country feel to the song and Yela singing the hook, this song could work, but it feels like Yela didn't put much effort into it. He has two quick forgettable verses about how women, alcohol, and smoking aren't good for him despite how much he enjoys them.
13. Radio
Produced by Jim Jonsin
Another track that sounds good on paper, but doesn't work. An acoustic guitar led track where Yelawolf laments on how the radio isn't what it used to be. His laughable sung hook about how the internet killed the radio star hurts the song also. While this is a great concept by a unique rapper who owes his fame to the internet and not radio, he won't be bringing hits that last a long time, with songs that sound this awkward.
14. Slumerican ***izen (feat. Killer Mike, Travis Barker)
Produced by WillPower
Now we're getting back to the style that made Yelawolf famous. The beat is a heavy rock track with a swampy slide guitar riff. However Yela's verses about him once again being from the trailer park are forgettable and his shouted chorus is a little irritating. Killer Mike outclasses him with a passionate verse about poverty. It's decent, but only because it falls back into the old style that won Yelawolf so many fans in the first place.
15. The Last Song
Produced by WillPower
This is a quiet piano-laced track. Yela lashes out at his absentee father and how he and his mother are just fine without him now that Yela has experienced so much success without him. This song isn't bad, but it just isn't nearly as heartfelt and emotional as Yela's pre-Radioactive songs were. This is a recurring problem with the final two thirds of the album, and this song which could be truly great is just decent exemplifies that. It seems Yelawolf didn't put as much effort or care into this album as Trunk Muzik 0-60. While this song sounds unique upon first listen its lyrics don't do much to separate it from any other songs about rappers telling fathers that left to look where they've gotten without them.
Summary
This is a good album with a lot of features. The thing I like most about this album is the dynamics of the songs. Each song has a different sound and structure, so even if your not a Yelawolf fan you should be able to find at least one or two songs that you enjoy. This album definitely deserves a listen, if not a purchase. One of the better rap albums that recently released in my opinion.
12 of 14 people found the following review helpful
By K. Klemple
Format:Audio CD|Amazon Verified Purchase
First off, I am giving this 3.5 stars and rounding down. I think four stars is a bit too generous.
I have been a fan of Yela's for a little while now, and I was really excited for this album. I have seen him progress musically, and find his voice over the last few years. It is hard for ANY MC to match Yela as far as wit, originality, and pure skill are concerned. On Radioactive, there are moments where he releases his lyrical beast...and then there are moments where you wonder where he went, and you wonder who's CD you are even listening to. There are more guests in this album than misdemeanors in the trailer park. I have been waiting a while for YELA to come up, so who exactly are all these folks singing and rapping with him? WE WANT YELA. And the true Yela only gets about 3-4 tracks on this album. The rest is overproduced or soft. Bottom line.
I wish the best for Yelawolf. I think they tried to make an album that sound friendly for the radio, and also appealed to the hardcore Yelawolf fans. The results however, don't match the intentions. The whole thing feels disjointed. If you want to make a great Yelawolf album, simply stick with the formula that was already in place:
1. Smooth Southern beats with plenty of instrumentation OR harder tracks with faster tempo and more "rock" feel
2. Relevant topics / Story telling hip-hip
3. Guest MCs that blend well with Yela (I love you Gangsta Boo but you ain't on Yela's level)
My only hope is that somehow this album sells well, and Yela gets more creative control over his records in the future. There are too many hands in the cookie jar right now, if you know what I mean. Just look at the producer list for this album, it's extensive to a fault. I love Yela, but I think he needs to stick to his own, and do what he was doing before the Shady deal.
I have been a fan of Yela's for a little while now, and I was really excited for this album. I have seen him progress musically, and find his voice over the last few years. It is hard for ANY MC to match Yela as far as wit, originality, and pure skill are concerned. On Radioactive, there are moments where he releases his lyrical beast...and then there are moments where you wonder where he went, and you wonder who's CD you are even listening to. There are more guests in this album than misdemeanors in the trailer park. I have been waiting a while for YELA to come up, so who exactly are all these folks singing and rapping with him? WE WANT YELA. And the true Yela only gets about 3-4 tracks on this album. The rest is overproduced or soft. Bottom line.
I wish the best for Yelawolf. I think they tried to make an album that sound friendly for the radio, and also appealed to the hardcore Yelawolf fans. The results however, don't match the intentions. The whole thing feels disjointed. If you want to make a great Yelawolf album, simply stick with the formula that was already in place:
1. Smooth Southern beats with plenty of instrumentation OR harder tracks with faster tempo and more "rock" feel
2. Relevant topics / Story telling hip-hip
3. Guest MCs that blend well with Yela (I love you Gangsta Boo but you ain't on Yela's level)
My only hope is that somehow this album sells well, and Yela gets more creative control over his records in the future. There are too many hands in the cookie jar right now, if you know what I mean. Just look at the producer list for this album, it's extensive to a fault. I love Yela, but I think he needs to stick to his own, and do what he was doing before the Shady deal.
11 of 14 people found the following review helpful
5.0 out of 5 stars
4.5 stars, in my opinion. Will you like Yelawolf's new direction? Read further...
November 22, 2011
By Hudson
Format:Audio CD
First off, I'm going to say things from my perspective, and I'm going to say things from an objective point-of-view as well.
First (My opinion): AWESOME! Yelawolf has evolved his rap techniques and songwriting and in turn has created a true life-portrait through an eclectic selection of sounds on "Radioactive". With everything from hard club bangers to soft as Charmin ballads, this album has something for everybody. I couldn't believe the amount of deep songs on this record. At first I was taken aback by the amount of what haters call "pop-rap" on this record. I said this on my review of Trunk Muzik and it applies to Radioactive as well: No matter what type of song it is, Yelawolf tears it apart when it's time to rap. Slow beats? He kills 'em. Club songs? He kills 'em. His flow never lets up and I'm very impressed. On his previous release (Trunk Muzik: 0 to 60; which I gave 4.25 stars a year ago), there was a joke going around that "all Yelawolf raps about is trunks." Pretty funny, but not true necessarily. However, I will admit that the subject matter on his previous work has never spanned this many topics. As far as his technique, he's gotten even better vocally. There were maybe 2 songs on the record that I didn't like (mainly: "Radio" which almost seems destined to become a single... but more on that below...)
MY FAVORITE TRACKS: (objective comments afterwards...)
- - Hard White (Up In the Club) - 10/10. Definitely, without a doubt, the hardest song on the album. If you are buying this record to hear an album full of songs like this, you will be disappointed. Expect WAY more tracks like the single, "Let's Roll", rather than "Hard White". Killer song and beat though. But you all know this.
- - Growin' Up In the Gutter - 9/10. The production on this track is fantastic with a slow and quiet flow from Yela over hard and distorted guitars and keys that sound thunderous on my stereo.
- - Animal - 10/10. Maybe my favorite on the album, it's hard to call. Remember when the demo of this song leaked and it sounded really bad? Forget that, if that's all you've heard, you've heard a completely different song. This track has a killer beat and a killer hook (performed by Fefe Dobson), and it's one of Yela's best flows on the record.
- - Write Your Name - 9/10. One of the deeper, slower type songs on the record. This track features perhaps the best hook on the album, but it is poppy a bit, so you've been told. ***AN INTERESTING NOTE: This hook is performed by Mona Moua. If you don't know her, that's understandable. Check this out, ya'll... Prior to this track, Mona Moua was simply a dedicated Yelawolf fan who failed to get into a sold-out Yelawolf concert in Minneapolis, who then took her disappointment home with her and wrote and recorded a song called "Ode To Yelawolf" (performed solo on acoustic guitar and vocals), artistically expressing her disappointment in missing one of her favorite star's concerts. Moua videoed a live performance of her song and posted it to YouTube. Fortunately for Moua, Yelawolf saw the video and had this to say: "It was actually really good. Her melody was good, she could play guitar. I was a bit blown away by how talented she was." Now, she's featured on a Shady Records album. True and incredible story about the unsung hero, which is what this song is about in the first place, so her appearance is perfect in every way on this track.***
- - The Last Song - 9/10. This track is very similar in subject matter to Eminem's old single, "Cleanin' Out My Closet" b/c Yelawolf has dedicated an entire song to saying mean things and rubbing his new found fame in his non-existent father's face. Deepest song on the record. Another slow one.
- - Made In the U.S.A. - 8/10. This one would easily score 10/10 if it weren't for the chorus that ruins the awesome verses by Yelawolf. The chorus is sung by Priscilla Renea, who sounds like a blend of Taylor Swift and Rihanna. The hook did this song wrong, but once again, Yelawolf can save any track b/c of his ability as a rapper.
OK, some objective notes:
Undoubtedly, SOME previous Yelawolf fans are going to be displeased with Yelawolf's new sound and direction on this record. "Trunk Muzik: 0 to 60" contained 1 ballad/pop-rap song. This album has at least 8. My least favorite of the bunch? "Radio". This song is the only song that I simply cannot listen to. It sounds like a boy-band song ("Hit the radio, make a video...now I'm a star... / Internet killed the radio star... / YouTube killed the video star.") REALLY? Ugh... I can see how someone might be disappointed, based solely upon what he's done in the past. But folks, check it out: I listen to new rap records like this: lyrics & flow first, THEN I analyze the beats and production. So lyrics & flow are more important to me, and Yelawolf has really outdone himself on that front, with the exception of a couple of lapses here and there.
While this collection of songs reminds me of the feel of Big Boi's "The Son Of Chico Dusty", it is wholly original and honestly, brave. Yelawolf is a newcomer, despite this being his 2nd release on Interscope. To take steps in this direction is a risky move, but here's the thing... When you try to satisfy everyone on a record, SOME people are bound to be let down. I am not one of those. This is a fantastic collection of songs and a marked improvement over Yela's previous work (which has all been fire already....). Will you like it? Well, put it this way... if you buy rap records for hard beats, no. If you buy hip-hop records with deep inspirational lyrics and utterly impressive lyrical skills & songwriting, yes, you will like it. Now, you know what to expect. Don't kill me, I'm just the messenger.
FINAL VERDICT: (4.5 out of 5). Yelawolf is here to stay. Get used to it, or go do your own thing. Love him or hate him, but Yela is officially not going anywhere any time soon. Great album!
First (My opinion): AWESOME! Yelawolf has evolved his rap techniques and songwriting and in turn has created a true life-portrait through an eclectic selection of sounds on "Radioactive". With everything from hard club bangers to soft as Charmin ballads, this album has something for everybody. I couldn't believe the amount of deep songs on this record. At first I was taken aback by the amount of what haters call "pop-rap" on this record. I said this on my review of Trunk Muzik and it applies to Radioactive as well: No matter what type of song it is, Yelawolf tears it apart when it's time to rap. Slow beats? He kills 'em. Club songs? He kills 'em. His flow never lets up and I'm very impressed. On his previous release (Trunk Muzik: 0 to 60; which I gave 4.25 stars a year ago), there was a joke going around that "all Yelawolf raps about is trunks." Pretty funny, but not true necessarily. However, I will admit that the subject matter on his previous work has never spanned this many topics. As far as his technique, he's gotten even better vocally. There were maybe 2 songs on the record that I didn't like (mainly: "Radio" which almost seems destined to become a single... but more on that below...)
MY FAVORITE TRACKS: (objective comments afterwards...)
- - Hard White (Up In the Club) - 10/10. Definitely, without a doubt, the hardest song on the album. If you are buying this record to hear an album full of songs like this, you will be disappointed. Expect WAY more tracks like the single, "Let's Roll", rather than "Hard White". Killer song and beat though. But you all know this.
- - Growin' Up In the Gutter - 9/10. The production on this track is fantastic with a slow and quiet flow from Yela over hard and distorted guitars and keys that sound thunderous on my stereo.
- - Animal - 10/10. Maybe my favorite on the album, it's hard to call. Remember when the demo of this song leaked and it sounded really bad? Forget that, if that's all you've heard, you've heard a completely different song. This track has a killer beat and a killer hook (performed by Fefe Dobson), and it's one of Yela's best flows on the record.
- - Write Your Name - 9/10. One of the deeper, slower type songs on the record. This track features perhaps the best hook on the album, but it is poppy a bit, so you've been told. ***AN INTERESTING NOTE: This hook is performed by Mona Moua. If you don't know her, that's understandable. Check this out, ya'll... Prior to this track, Mona Moua was simply a dedicated Yelawolf fan who failed to get into a sold-out Yelawolf concert in Minneapolis, who then took her disappointment home with her and wrote and recorded a song called "Ode To Yelawolf" (performed solo on acoustic guitar and vocals), artistically expressing her disappointment in missing one of her favorite star's concerts. Moua videoed a live performance of her song and posted it to YouTube. Fortunately for Moua, Yelawolf saw the video and had this to say: "It was actually really good. Her melody was good, she could play guitar. I was a bit blown away by how talented she was." Now, she's featured on a Shady Records album. True and incredible story about the unsung hero, which is what this song is about in the first place, so her appearance is perfect in every way on this track.***
- - The Last Song - 9/10. This track is very similar in subject matter to Eminem's old single, "Cleanin' Out My Closet" b/c Yelawolf has dedicated an entire song to saying mean things and rubbing his new found fame in his non-existent father's face. Deepest song on the record. Another slow one.
- - Made In the U.S.A. - 8/10. This one would easily score 10/10 if it weren't for the chorus that ruins the awesome verses by Yelawolf. The chorus is sung by Priscilla Renea, who sounds like a blend of Taylor Swift and Rihanna. The hook did this song wrong, but once again, Yelawolf can save any track b/c of his ability as a rapper.
OK, some objective notes:
Undoubtedly, SOME previous Yelawolf fans are going to be displeased with Yelawolf's new sound and direction on this record. "Trunk Muzik: 0 to 60" contained 1 ballad/pop-rap song. This album has at least 8. My least favorite of the bunch? "Radio". This song is the only song that I simply cannot listen to. It sounds like a boy-band song ("Hit the radio, make a video...now I'm a star... / Internet killed the radio star... / YouTube killed the video star.") REALLY? Ugh... I can see how someone might be disappointed, based solely upon what he's done in the past. But folks, check it out: I listen to new rap records like this: lyrics & flow first, THEN I analyze the beats and production. So lyrics & flow are more important to me, and Yelawolf has really outdone himself on that front, with the exception of a couple of lapses here and there.
While this collection of songs reminds me of the feel of Big Boi's "The Son Of Chico Dusty", it is wholly original and honestly, brave. Yelawolf is a newcomer, despite this being his 2nd release on Interscope. To take steps in this direction is a risky move, but here's the thing... When you try to satisfy everyone on a record, SOME people are bound to be let down. I am not one of those. This is a fantastic collection of songs and a marked improvement over Yela's previous work (which has all been fire already....). Will you like it? Well, put it this way... if you buy rap records for hard beats, no. If you buy hip-hop records with deep inspirational lyrics and utterly impressive lyrical skills & songwriting, yes, you will like it. Now, you know what to expect. Don't kill me, I'm just the messenger.
FINAL VERDICT: (4.5 out of 5). Yelawolf is here to stay. Get used to it, or go do your own thing. Love him or hate him, but Yela is officially not going anywhere any time soon. Great album!
Most Recent Customer Reviews
5.0 out of 5 stars
Shady Records album not Yelawolf's!
I love any work Yelawolf puts out bu this was clearly something the record label wanted more than him. Read more
Published 1 month ago by mik3y305
5.0 out of 5 stars
Beast Mode.
If a rapper is good enough for Shady, then they are good enough for me. Amazing skill for a whiteboy, plus he's got that southern flavor.
Published 1 month ago by Maxim
3.0 out of 5 stars
....meh!
Definitely not as good as "Trunk Muzik" I'm glad to see Yellawolf's success but after joining ol'Marshall i just don't know if his music will be the same.
Published 4 months ago by Charles W. Hicks
3.0 out of 5 stars
Pop Rocks
I've been listening to Yela's last couple of albums and I was impressed by the rock/rap fusion I was hearing. Read more
Published 4 months ago by L2J
3.0 out of 5 stars
Good, not great
Better than I expected, especially gems like the one about his father at the end. Unfortunately, it doesn't carry that level throughout. Read more
Published 5 months ago by Brown1108
4.0 out of 5 stars
Great album
This is another great album from Yelawolf. I really like the intro and most of the songs are really good, I felt that it was alot like Trunk Muzik. Read more
Published 6 months ago by Kryodawg
4.0 out of 5 stars
Good features
He has some dope features, but he said himself that it didn't turn out how he wanted. I still recommend purchasing this if you're a hardcore Yela fan. Read more
Published 8 months ago by David A.
5.0 out of 5 stars
Knocked My Socks Off
You haven't heard a white rapper this good since Eminem. This cd only has a few songs that I have to skip over and got a lot of play time when I first got it. Read more
Published 11 months ago by rdrdinghood
5.0 out of 5 stars
AWESOME
I listen to this CD over and over again! I have had it in my car for months and still have not tired of it! Ive also seen Yelawolf i concert twice... EXCELLENT performer!
Published 12 months ago by Cindy
4.0 out of 5 stars
A lot of character and substance
I do not have much to say about this one, it definitely falls in the middle ground for me. The album boasts solid production, quick rapping and wild hooks but it is not really my... Read more
Published 12 months ago by Dutch
