David Banner Albums (6)
'The Greatest Story Ever Told'
Release Date 1/1/2007
Tracks 22
Label SRC/Universal Motown
See Album Tracklist and Review
What The Critics Say
The pre-release hype for The Greatest Story Ever Told claimed the album would find David Banner "connecting on a larger scale," with "social commentary at its finest" being the heart of the album. On the opening "So Long," the underappreciated rapper connects and offers compelling commentary at a furious rate, whipping through topics such as 9/11, the shooting of Sean Bell, and the war on Iraq before landing on the apathy he sees everywhere: "This is Banner's middle finger!" is aimed not just at the oppressors but the generation that won't fight back, all done over a Get Cool 3000 production that's as busy, layered, and fascinating as the track's lyrics. This promising opener gives way to an album that never dips below good, and often borders on excellent, but it's almost as if two very different full-lengths were mixed together. Greatest Story never figures out how to mix Banner's brave new world with the comfortable tracks it falls back on, allowing listeners to bail whenever they feel like it and undermining his apathy argument in the process. When the brilliant rebirth of "G.S.E.T. Intro" gives way to the predictable club track "Suicide Doors," it diminishes the power of both. Even more unbelievable is how "A Girl" offers the unsettling "Do you like it when I grab your neck?/And squeeze it til your face turn blue?/Could you please come and sign this waiver/If pass out girl you can't sue" (a female voice answers all these questions with a "Yeah Daddy"), and then "Syrup Sipping" gets deep and ponders how "we then subliminally became what they think we are anyway." Banner is a complex man who skillfully testifies in front of Congress on the most dangerous of issues -- the impact of gangsta rap lyrics -- and his ability to balance his intelligence with his brutish side is what has made his previous albums so memorable. Here his Hulk half brings the topical "wake up America" message to a halt, creating an experience that's beyond frustrating. Dismantle, reconstruct, then split, and The Greatest Story Ever Told earns decent marks -- it's just hard not to focus on the handful of cuts that point to what could have been. ~ David Jeffries, All Music Guide
What The Critics Say
The money rolls in, the inspiration drains out. It happens to a lot of artists. David Banner, however, does not fall into that camp. Now that he knows he has a lot of people paying attention, built on the popularity of Mississippi: The Album and MTA2: Baptized in Dirty Water, he's more fired up and outspoken than ever, fearlessly and descriptively expressing the rage he feels for the way his people have been treated throughout history, whether the events went down centuries or weeks ago. (Needless to say, the aftermath of Hurricane Katrina, going down as he was promoting this album, must be giving him loads of thoughts and feelings to work through for his next release.) As on his past albums, Banner has all the bases covered, so there's also plenty of material to soundtrack an orgy of any variety, and even those moments are intense and sound like very pointed protest songs. Every other chorus seems to be have been written for a mob of some kind, while the production work -- handled mostly by Banner, along with contributions from Jazze Pha, Lil Jon, Maestro, Get Cool, and a couple others -- takes on a number of dimensions without making for a disjointed listen. If Certified has one problem, it's the overabundance of features that eats up too much time. Banner could hold down every aspect of an album on his own, no problem, so all the guest spots show that he's actually the one being supportive. Scanning the list -- from Lil Boosie to Talib Kweli, from Jagged Edge to Too Short -- also demonstrates his range rather than desperation to appeal across styles and ideologies. If the album has a second problem, it's that "Play" is a little too similar to the Ying Yang Twins' "Wait (The Whisper Song)" (also produced by Michael "ColliPark" Crooms), even if it's no less amazing, fitted with screwed-and-chopped sirens and frenzied electronic squiggles (and with that, Ludacris' "Splash Waterfalls" is almost completely erased from existence). Certified certifies that Banner is as crucial to hip-hop in the early 2000s as any other MC. Whether in conscious mode or not, he's at the top, and he's taking all his family and friends with him to celebrate. ~ Andy Kellman, All Music Guide
'MTA2: Baptized in Dirty Water'
Release Date 12/23/2003
Tracks 18
Label Street
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What The Critics Say
Returning quickly in case hip-hop fans might forget him (not likely), David Banner's sequel to Mississippi: The Album has the productions and the beats to match the original, plus a long parade of diverse featured rappers that prove two things: Banner's beginning to move up in the rap world, and he risks wasting his considerable power striving for the mainstream. Mostly MTA2 capitalizes on the Banner phenomenon, flaunting a distinctive, nearly schizophrenic viewpoint that finds him playing the baller on one track and questioning that life on the next. And his production style remains one of the most intriguing in the crunk side of rap, led by "Talk to Me" (featuring Lil' Flip) and its twisted modem-disconnect noise for a hook. A remix of "Like a Pimp" is a likely hit as well -- though the production only barely improves on the original, it hardly needs to, with new guests Twista and Busta Rhymes stretching the usual crunk stumble into a lyrical marathon with every line. The long line of guest spots, however, tends to dilute the record's power. "Pretty Pink" (featuring Jazze Pha, T.I., and Marcus) works well and "Pop That" is an exercise in OutKast boundary-stretching, but features for Scarface ("The Game") and Devin the Dude ("Gots to Go") descend into the type of bland genre exercise that Banner would've easily exploded on his debut. Just like the first, MTA2 has two sure-fire hits and an assortment of tracks that illustrate Banner's not just the best rap artist in Mississippi, he's becoming one of the finest in the South. ~ John Bush, All Music Guide
'Mississippi: The Screwed and Chopped Album'
Release Date 6/17/2003
Tracks 19
Label Universal
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'Mississippi: The Album'
Release Date 5/20/2003
Tracks 19
Label Universal
See Album Tracklist and Review
What The Critics Say
As the lone Mississippi rapper with a major-label deal, David Banner (formerly of Crooked Lettaz) has a lot to prove, even after his 2000 solo debut became a critical success. Mississippi: The Album is a very schizophrenic record, alternating a parade of one-note thug tracks ("F*** 'Em," "What It Do") with more reflective material concerned with the realities of down South living ("Mississippi," "Cadillac on 22's"). No matter the situation, Banner's an excellent rapper, capable of moving from hoarse, harsh, in-your-face rants to fluid speed raps with no trouble (or change in quality). The productions are top-drawer as well, most by the man himself, along with high-profile contributions from Lil' Jon and KLC. Listeners may find it difficult to resolve the conflicts inherent in a character rapper who moves from rampant misogyny and ultra-violent behavior to more conflicted themes, but those willing to spend some time with Mississippi: The Album will find it giving them much more than the average hardcore gangsta. ~ John Bush, All Music Guide
'Them Firewater Boyz, Vol. 1'
Release Date 8/15/2000
Tracks 21
Label Big Face
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What The Critics Say
David Banner comes correct with this album. Intelligent lyrics from start to finish, a developed lyrical delivery and some of the best beats heard from the south -- this album has it all. The first track suitably opens with fellow Crooked Lettaz partner Kamikaze featured on a slow thuggish gangsta track, and sets the mood for that raw Southern rap experience. Other notable tracks include "Twerk Something," "Trill," "Spazz Out" featuring Ras Kass, plus a surprising appearance by New York's Noreaga (from Capone N Noreaga) on "Firewater." One thing's for certain, with so many albums released in 2000, Banner had the right idea here by putting his heart and patience into his record to ensure its success -- his fans will certainly appreciate the extra effort. ~ Brad Mills, All Music Guide
