Time'll Tell
label: madd
production: psycho les, just blaze, reef, antonio, self mills, others.
guest: big pun, ice-t, cuban link, the beatnuts, others.
year of release: 2004
website: seisbx.com
 
tracklisting
1. Harsh Reality feat. Big Pun
2. Krazy feat. Veronica
3. Scared Money
4. Drinks Up feat. Cuban Link & The Beatnuts
5. Love Put Me
6. La Shortie
7. Hustler
8. Time'll Tell
9. Take That
10. Coast 2 Coast feat. Ice-T
11. Be About It feat. Cuban Link
12. Pray For Me
13. Godfather
Bonus Track
14. Skully (Remix) w/ 24K, feat. Mashonda
Triple Seis - Terror Squad alumni - has a big, heck, a huge problem: too many of the beats on this album suck. There's no sugar coating, no beating around the bush, no diplomatic or pure bred Swiss neutrality that could put it any other way. Plus he really struggles to find much of interest to say; something that we haven't heard a million times before, by worse and by better rappers than he is. So while there are a couple of tracks on here that are okay or even pretty good, when the milk is sour, it's full fledged flaky.
The album actually starts right, as we get "Harsh Reality" including a guest appearance by no other than Big Pun. And it's good to hear Big Pun again, spitting the chorus. However, there's no verse from the man. So it's still mostly Seis, who is speaking a combination of tales about the 'harsh reality', as well as braggadocio's answers to the questions reality asked. The beat itself is still hopeful in the face of harshness. After that we have to wait for track number five to hear something similarly good. The song is "Love Put Me", it features one of those starting-to-become-a-gimmick sped up hooks, but an overall good feel. The lyrics are some of the realest, if you can consider 'real' to be things a normal person can relate to. The topic is l-o-v-e and with the sadness of the beat, we feel with Seis.
On the other side of the spectrum, there's the dramatic and more intense title cut "Time'll Tell". Again, Seis rectifies the attention we give him, by speaking real words of real happenings, rather than sticking to a fictitious thug world, that's the issue on too many other songs. Even more hype is "Coast 2 Coast" featuring Ice-T and a good Reef beat, with everyone spitting hard. And if you compare it to a "Pray For Me", which tries to achieve the same thing, you can tell the difference and why the first is good and the latter is not. But we're not getting to the bad just yet, because there's still "Skully (Remix)" by 24K and Triple Seis, with Mashonda on the hook. This is very synthetic, and Just Blaze borrows a couple of other people's styles. It is aimed at the clubs and nowhere else, but it achieves that musically, while it's not distracting the dancer with any intellectual (or intelligent for that matter) rhymes.
But that's it. Five beats. Okay, let's say six, because two more are half decent: Psycho Les pulls off something aight on "Drinks Up" (also featuring Cuban Link) and Reef again hovers above the horrible rest with "Godfather". But then, oh man, then there's the other songs. And some deep sighs are appropriate.
Let's start with the sex you up song of "Krazy". Seis says "I got this far, so I'm doing something right." Well, he did. His lyrics are okay, but Rob Maya's beat is bad. Really bad. The keyboard sounds are uninspired, trying to sound like Lil Jon, but fail by a margin. And Veronica on the hook strangles the melody of Madonna's "La Isla Bonita", and the whole song is not even average, but securely worse than that. As is "Scared Money", with an unmentioned guest, who says: "you ain't a thug, you're a fan of rap", as if being a thug is anything one should be eager to be. As for the beat by Hell Raisin, it's not even just what is played on the piano: the melody, the tones. That itself is bad. But the sounds chosen are horrible too. It's hard to describe the song, because you don't want to waste too much of your energy in the face of such bitter, weak music.
And it gets even worse: "La Shortie" is of the most horrible that ever got a review on this website. The lyrics are standard thug/player rhetoric, without charm or creativity and the Self Mills beat is a blueprint case of wackness, with the worst of keyboard sounds, and no idea what to do with them. On "Hustler", Evil Twins gets his claviola out (as he does on "Be About It" featuring Cuban Link) and this would be a step down from any other song. But not on this album: It's scary enough that such a weak song can be a step up. And there's even a couple of steps we can walk up to reach "Take That", which almost takes us back to an okay average.
It sounds like fun: really dishing it out to an album. But it's not. So if anything, give this album the benefit of the doubt. As the fact that I hate several of the songs so much, can only mean that this style was not meant for me. Hence it maybe was meant for you. Find out. Listen to the record. But be careful, because I might just be right.
review: tadah
 
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