- reviewed by Chris G

Tony Yayo is the wild cowboy of G-Unit. You need somebody slapped up, pockets fleeced, or just some general verbal disrespect, as he does regularly to Fat Joe, then Yayo's your man. As is such, the best songs on Thoughts of a Predicate Felon are those that play to his strengths; reckless, gritty, street talk that brings to life the aroma and imagery of the action in front of pissy corner store bodegas scattered around New York City. 50 can park down south, get horizontal in the west or midwest but Yayo's NY street soldier ways reveal his origins immediately.

The album sets off with "Homicide," ironic since the intro skit reenacts entering the prison walls; nevertheless it's one of the strongest tracks on the album. more..

- reviewed by Chris G

Tony Yayo is the wild cowboy of G-Unit. You need somebody slapped up, pockets fleeced, or just some general verbal disrespect, as he does regularly to Fat Joe, then Yayo's your man. As is such, the best songs on Thoughts of a Predicate Felon are those that play to his strengths; reckless, gritty, street talk that brings to life the aroma and imagery of the action in front of pissy corner store bodegas scattered around New York City. 50 can park down south, get horizontal in the west or midwest but Yayo's NY street soldier ways reveal his origins immediately.

The album sets off with "Homicide," ironic since the intro skit reenacts entering the prison walls; nevertheless it's one of the strongest tracks on the album.

Bouncing up and down over the Domingo produced track he flows into an erratic offbeat chorus, "There's a clip in the nine. Bullet in the clip, bullet in the chamber, round on the ground and that's why homicide all around. There's a hole. There's a hole. There's a hole in his head. Hole in his leg. Hole in his "?" Holes everywhere. And that's why homicide all around. There's a body. There's a body. There's a body in the drop. Body in the lot. Body uptown. Body downtown. And that's why homicide all around."

"It Is What It Is" bubbles over a bass line that could fill a city N.O. style (is it to early to use that as a reference?). I'm talking about blasting this song so it floods the town, knocks down walls and shaking building foundations. "I'm crippin. Heaven's gates open, meet your maker. My pistol get it poppin like the Pistons and the Pacers. I'm the messenger of misery, I move the street. You kidding me my victory is in the jaws of defeat."

That one line doesn't say much, but delivered with the urgency in Yayo's voice it's a rewind moment, followed with a barrage of lines that featured guest Spider Loc, G-Unit's next West Coast artist, just can't touch. I've been waiting to hear something from Spider Loc; he is not impressive on this song. It's said he has a solid rep on the streets of Los Angeles, the verdict on his legitimacy as an artist remains to be seen.

When Yayo reaches for the silk robe and house slippers, talking about pimpin, chicks finding him sexy, and all that gobbedly goop, it throws things off course. "We Don't Give a Fuck" anchored by an Olivia sung chorus marks the first mood changer. It leads into a double up of "Pimpin" and "Curious", which while not horrible, dilute the strong opening of the album. He jumps right back in the drop with "I'm So High" and "Love My Style" but then it's back to the chick songs. On "Project Princess" the revulsion is complete when he promises to eat the 'fur burger.'

"Eastside, Westside" bangs in with those ear shattering drums that 50 and Eminem say Dre has in a secret vault, but this song is produced by a kid named Focus. The beat is dying to be taking advantage of. Unfortunately, Yayo doesn't develop the song further than the chorus. He has a good introduction line: "I'm in the black GT with the earthquake tweeters. I ride through your hood and I shine like Jesus." From there he slowly loses your attention until all you hear is the chorus ringing in your ears and the beat fading out as you wonder what just happened.

Focus produced "Project Princess," which we touched on, but he also produced "Live By the Gun." Leaked months ago, without knowing it was Yayo, the raw lyrics and real feel behind those words, had me thinking, 'this is what NY hip-hop needs right now.' The sparse piano evokes Genius's "Cold World" but the spaced out keyboard sound takes it to another level and Yayo jumps all over the track. The imagery of soldiering on the crooked city streets is clear as the night sky. Lyrically it's his best song on the album.

All in all, the album is a so-so effort in that it's a collection of songs that don't combine to define his dominant personality traits.

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