G-Unit - Terminate On Sight
All said and done, this is not a good album. There are a handful of tracks worth checking, a few that are forgettable and too many that should be avoided like the plague.
Has any other entity ever ridden the success of one album as far as G-Unit has with 50's debut? Let's face it, in between the crew's few quality releases there have been some serious abortions. One of the foremost duds in the G-Unit catalogue was their first group effort Beg For Mercy. Despite coming on the heels of Fif's monster debut, the top-notch producers and not having the then incarcerated Tony Yayo weighing them down; the album was completely uninspired and unoriginal. Aside from the Curtis worshipers who will soon be calling me a hater for this review, few could argue that the album wasn't thrown together to capitalize on 50's world takeover.
Terminate On Sight comes under very different circumstances though. After being crushed by Kanye and losing his spot as the "it" rapper of the moment several times over to the likes of T.I. and Lil' Wayne, 50 is far from the Hip Hop kingpin he once was. And unfortunately, Young Buck - who has a welcomed unique sound - only appears on a few tracks since he was sent the way of Jayceon.
The album starts off pretty well with "Straight Outta Southside," the rugged pseudo-cover of the N.W.A. classic. "Piano Man" does the trick too as the Unit and their ousted member talk moving keys, hence the title. Things start to slide downhill with the throwaway misogynistic romp "Close To Me," and the cookie cutter "Ryder Pt.2." The latter does win points as everyone is on point with their flows (which doesn't happen a lot on this LP), and it is catchy as hell. But it sure isn't good. "Casualties of War" is cool, if only memorable by 50 bringing out his inner bully on the mic.