EBK4

by Jason BirchmeierUnderground gangsta rappers such as Brotha Lynch Hung seem to struggle with their attempts to gain recognition in an increasingly crowded rap game. On past albums -- particularly the infamous Season of da Siccness album -- the Sacramento rapper used shock tactics to get attention, taking the generic gangsta motifs of violence, drugs, and misogyny to their furthest limits. With Ebk4, Brotha Lynch Hung stays true to his style, again turning to these same motifs: romanticized urban tales of grotesque murder ("Blood on da Rug"), blazing up insane amounts of chronic with Snoop Dogg ("Dogg Market"), and speaking of women as though they are mere commodities waited to be exploited ("Every Single B*%#$"). Of course, by the year 2000 these topics have become very tired. Sure, NWA and the Geto Boys rose to fame using this same formula, but by the end of the '90s, any seasoned rap listener had heard these same stories countless times. If only Brotha Lynch Hung had some striking beats or a smooth delivery, this could be decent record; unfortunately though, the lumbering, dark soundscapes aren't going to make anyone bounce, the Sacramento rapper doesn't come close to any proven rapper in terms of skills, and, ultimately, none of his guest rappers -- with the exception of an incredibly sedate Snoop Dogg -- elevate this album beyond its amateur sound. Most probably don't expect Ebk4 to compare to the work of Mobb Deep or Master P, but one must see this album for what it is: yet another poorly produced record of second-rate rappers trying to come off as hardcore gangsta as possible to the point that it seems just far too contrived for an experienced listener to take seriously.