“What Is It” is a good indication of what Ja-Rule would sound like singing if he were from the south and wasn’t smart enough to cater to a pop fanbase. “G-Shit” is a bland explanation of the gangsta lifestyle, which for the record – includes plenty of bitches, bad or otherwise. But the main problem is Webbie himself, who’s shortsightedness and ignorance cloud any talent he may have. It literally sounds like the producers could only afford one sound bank for the entire album. Part of the problem is the repetitive synth-horn production found on almost every track. When Webbie avoids thrashing females, his music still fails to rise above average. Even when Webbie managed to be creative enough to not include the word “bitch” in the song title, he still manages to say it with such consistency that one would think the CD was skipping. Maybe anticipating “Bad Bitch” would not work out as he planned, Webbie included “Gutta Bitch,” “Come Here Bitch,” and a “Bad Bitch” Remix to ensure the word “bitch” would make it on the Bill Board charts one way or another. On top of that, the Ying Yang Twin’s “Badd,” which is currently in heavy rotation, addresses the same concept but adds the energy and strip club bounce necessary to make such a song work. Even if the beat was hot (which it isn’t), Webbie’s ignorance would ruin the song. The second single, “Bad Bitch,” features another “boast” by Webbie that he wants and gets the baddest of the bitches. It’s actually quite ironic that a person who seems to think so little of women finds it necessary to mention them on almost every single song. Track after track Webbie finds it necessary to disrespect women and measure his worth through the badness of his bitch. Sadly, Webbie’s misogynistic ways are the central element of the savage life. The highlight of this album is the single “Give Me That,” which sports one of the hottest dance beats since Lil Jon’s “Yeah!” I won’t front, the beats melodic “oh – oh – Oooooh” is straight fire and Bun-B is tight over the beat, but otherwise Webbie’s misogynistic dribble is neither new nor creative. The first major release finds a young and ignorant Webbie celebrating the “Savage Life.” This release is as generic as the grill Webbie sports on the cover, with the difference being that his fronts are gold while his CD will never be.
But the reality of today’s rap game delegates Trill Entertainment to the latest of a string of southern labels to get courted by the majors, and in the process has made it nothing more than a cookie cutter label. As Pimp C’s label, at least on paper, Trill Entertainment would have represented the next generation of U.G.K.’s raw underground sound.
In years past, Trill Entertainment’s first major label release would have caused much more excitement for this reviewer.
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