It’s been almost two years since the world was utterly under whelmed by Amerikaz Nightmare, but someone was listening. And someone’s eyes were lit up by dollar signs. That someone was fortunately the hardest working man in hip-hop, 50 Cent who couldn’t resist adding Havoc and Prodigy to his G Unit stable. Less than a year later the fruits of their labour are ripe for the picking in Blood Money.

With Smoke It it seems that nothing has changed; the thumping bass is the same, the dark beat is consistent with all their prior releases, and the gritty delivery is instantly identifiable. And of course it’s all about shooting people. Make no mistakes about it this is Mobb Deep telling the world that signing to G Unit won’t change their style.

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Lloyd Banks sits perfectly on Stole Something, revelling in the darkest of atmospheres, however for every shred of style the track oozes it lacks just as much in substance. Lyrics like �Gunpowder ressy on the sleeve of my Pelle/ I had to burn my leather and toss my buddy’ just don’t do the genre any favours, and are particularly insensitive following the fatal shooting of D12 founding member Proof last month.

50 Cent gets his first outing in Creep but his 30 second cameo doesn’t detract from the track’s frankly grating beat. Thankfully Speaking So Freely pulls things back, although having no input on this album it is clear that Havoc’s production is heavily influenced by Dr Dre. The beat could sit comfortably on the seminal 2001, then again, that was released seven years ago.

Give It To Me shows that hip-hop hasn’t forgotten the music of Bollywood but like Backstage Pass it’s misogyny on an indefensible level. Once again Mobb Deep pull things into the black with Click Click’s thump. While every man and his dog, from Busta Rhymes to System of a Down have already sampled the Knight Rider theme it’s always interesting to see how it can be reinvented.

Pearly Gates is a confusing blend of gangsta lyrics, self-censorship and 50 Cent talking about getting to heaven over what can only be described as a “sunny” beat. The Infamous takes a sample from breakbeat classic Gangbusters and as Xzibit probably wouldn’t say, has officially been pimped. 50 Cent’s chorus is sheer arrogance and although the tone is different, lyrically it is complementary to In Love with the Moula

The album officially ends uneasily with It’s Alright, an opportunity for Mary J Blige to exercise her more than competent vocal chords. It’s also a rare moment of equality as the track is surprisingly about romance and to some extent female empowerment.

Ultimately it doesn’t change the fact that the album, like its predecessor, fails to make any sort of mark on this reviewer. The album is a 60 minute blur, and while there are brief moments of clarity there’s just nothing special about Blood Money. It may have the G Unit stamp on it but that doesn’t make it a masterpiece by default.

Blood Money review

Mobb Deep’s strongest batch of work since they laced us with Quiet Storm

Even though Mobb Deep gained enormous street fame in the 90's with their classic The Infamous, the Queens Bridge duo have never quite lived up to that earlier greatness on subsequent releases. They showed hints of again reaching their potential here and there on Hell On Earth and Murda Muzik, but didn’t serve up the thorough follow-ups needed to keep their cult status granite solid. With their last album, Amerikaz Nightmare, Progidy and Havoc were met with another lukewarm response. In customary scorned rapper fashion, they blamed the label and bounced. With a new free agent status in place, 50 Cent scooped the boys up in 2005 and made them G-Unit's first official signing outside the Interscope family tree. When Mobb Deep signed the dotted line to join G-Unit Records, there was much speculation about what would become of their trademark sound. Will Mobb Deep’s dark aura be dulled by G-Unit’s commercial appeal? Will their subject matter be comprised? Will they be overshadowed by 50 Cent's presence? All questions, doubts and concerns are answered with one listen to Blood Money, their strongest batch of work since they laced us with Quiet Storm.

Progidy and Havoc don’t stray too far from their distinctive formula

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Not just a G-Unit album in label name only, Blood Money features crew members Lloyd Banks (Stole Something), Young Buck (Give It To Me), Tony Yayo (Click Click), and 50 Cent himself (Pearly Gates, Creep) flowing over Mobb Deep’s darkly aggressive and deeply mesmerizing signature sound. Blood Money also represents the first instance of the duo's use of outsider producers. Not to worry, though: the list includes heavy hitters like Sha Money XL, The Alchemist, and the heaviest hitter of all, Dr. Dre, all whom approach the Deep sound with respect and a deft touch. These new associations ensure that Mobb Deep will reach a broader audience without sullying the duo's teflon reputation. Overall Progidy and Havoc don’t stray too far from their distinctive formula. The hood drama meets gritty production on the album's first single Put Em In Their Place. Sha Money XL cooks up blazing horns to match the group’s stern demeanor. On Capital P, Capital H they justify their unbecoming ways over a laid back distorted bass track laced with synth. On Pearly Gates Mobb Deep show deeper range as they take an atheist view at life with a show stealing verse from 50 Cent. All three Queens natives converse skeptically over a playful soul sample driven track.

Blood Money is sure to push Mobb Deep back to the forefront

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Sonically, the album keeps an overall dark overtone. On Speakin So Freely Havoc lays some eerie guitar strings over some soft drum kicks, setting a proper backdrop for Mobb Deep's thinly veiled diss to some of their former homeys. Havoc continues showcasing his production prowess when utilizing speedy high hats and kicks with an awkward noise about every two bars on Stole Something. The distorted bass heavy Backstage Pass is sure to get maximum love on the block as well. When draped in G-Unit apparel, Mobb Deep don’t always offer the morose melodies and stark lyrics they have become known for; however, the fusion of the Queens-based cliques shows the Mobb Deep’s street symphonies in a new, refreshing light. Instead of the poppy makeover many anticipated, Mobb Deep's seventh album is a curious blend of gunz-money anthems, G-Unit-ized sex romps, and visions of the great beyond. Throughout, Prodigy and Havoc float through their classic murder rhetoric, while also cursing out God for being ignored and threatening to rough up Jesus. While this technically doesn't feel like a true Mobb Deep effort (the G-Unit influence is obvious throughout the disc), Blood Money still bangs. This album is sure to push Mobb Deep back to the forefront.

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