Juvenile Albums (8)
'The Beginning of the End...'
Release Date 1/1/2004
Tracks 14
Label Rap a Lot/Asylum
See Album Tracklist and Review
What The Critics Say
Juvenile returned in late 2003 with a slightly atypical album, Juve the Great, after having dropped off for roughly three years, which is a long time in rap years. A lot of wonder arose during his absence. In fact, a lot of wonder had arisen at the time of his previous release, Project English (2001). At that time, rumors circulated widely that Cash Money Records' top gun was breaking away from the pack, which was indeed what happened in the end, as Juvenile returned to the underground and formed his own collective, the UTP Playas (Uptown Project Playas), with whom he recorded a posse album, The Compilation (2002). Well, not much came of that album (for instance, very few people even knew it was released), and a year later, Juvenile returned to the Cash Money fold under hushed circumstances. His return effort is somewhat of a hybrid and thus mighty curious: for half the album, Juvenile collaborates with his UTP crew (rappers Wacko and Skip; producers Griz and Slice Tee), while for the other (and better) half, he collaborates with his old Cash Money comrades (rapper Baby and rapper/producer Mannie Fresh, but no Hot Boys). Despite the hybrid nature, Juve the Great plays as a whole surprisingly well, mainly because Juvenile remains Juvenile throughout, regardless of whom he's collaborating with. It's a fine effort on his behalf, more thoughtful than usual (this is clearly his album, not just another product churned out by Cash Money). Even so, except for the standout song "Bounce Back" (a Fresh production crafted around a brilliant Cameo sample), there aren't any clear-cut highlights -- Juve the Great is clearly not a chart-topping effort à la 400 Degreez. Granted, a few songs do stand out -- among them the album closer, "Slow Motion," a simple yet appealing collabo with Soulja Slim -- but they are few and far between. The end result isn't a return to form, but rather an atypical album for Juvenile that may not be remarkable, but is at least interesting, which is more than what can be been said for some of his previous efforts. ~ Jason Birchmeier, All Music Guide
'Project English'
Release Date 1/30/2001
Tracks 16
Label Uptown/Universal
See Album Tracklist and Review
What The Critics Say
Juvenile and Cash Money in-house producer Mannie Fresh try a fresh approach on Project English, the follow-up album to Tha G-Code (1999), which had been an uninspired remake of the rapper's breakthrough album, 400 Degreez (1998). Though Project English is indeed an improvement, graced with a strong lead single, the trunk-rattling "Set It Off," it's still less than great. In particular, Juvenile sounds disinterested on much of the album, as if he's merely reporting for rap duty rather than bringing exciting ideas to the table, not to mention a sense of enthusiasm. Thankfully, there's enough strong material here, especially in terms of production, to make Project English worthwhile for fans. ~ Jason Birchmeier, All Music Guide
What The Critics Say
Released in the wake of Juvenile's coast-to-coast success with "Back That Azz Up" and its accompanying album, 400 Degreez (1999), Playaz of da Game repackages old, early recordings by the artist and tries to pass them off as new recordings. The Juvenile of this album, who dates from the early '90s and raps in the local bounce style of New Orleans, bears little resemblance to the Juvenile that recorded for Cash Money Records in the late '90s. Consequently, Playaz of da Game should mainly interest die-hard Juvenile fans curious about the rapper's early beginnings as well as fans of early-'90s bounce music. ~ Jason Birchmeier, All Music Guide
What The Critics Say
Following up his tremendously successful third full-length 400 Degreez with an album of similar themes and sounds, Juvenile relies on the Southern bounce style, heavy on the polished synth and percussion, to push his gangsta tales. ~ Keith Farley, All Music Guide
What The Critics Say
Among the flurry of Cash Money releases during the late '90s, 400 Degreez certainly stands out, and not just as Juvenile's shining moment but also as the album that forced everyone to suddenly take this Dirty South collective very seriously. Before 400 Degreez, Cash Money had been operating relatively well, securing a distribution deal with Universal and broadening its audience with every successive release. But nothing prepared anyone for the success of 400 Degreez, particularly its two anthemic singles, the tongue-twisting "Ha" and the booty-calling "Back That Azz Up." These two songs alone make 400 Degreez noteworthy. They're absolutely two of the best songs to come out of the late-'90s Dirty South boom. Moreover, two remixes of "Ha" come late on the album, one with the Hot Boys, the other with Jay-Z. These four highlights -- "Ha," "Back That Azz Up," and the "Ha" remixes -- break up the album, somewhat concealing the filler. And, yes, there is filler here, as with any Cash Money album, but even it is worthwhile, either because of Juvenile's carefully structured rhyming or producer Mannie Fresh's seemingly bottomless well of hot beats. Among the singles and the filler here, there are also a few great album tracks as well. In particular, "Flossin Season" features some incredibly brash boasts from the Big Tymers, and "Rich Niggaz" features an absolutely frantic beat that ricochets on for five breathtaking minutes. All of this, along with perfect timing, dropping just as the Dirty South broke into the mainstream, made 400 Degreez a phenomenal release for Cash Money, quite arguably the label's crowning achievement. This album, of course, made Juvenile a superstar and, in turn, towered over him for years as the achievement by which he would always be measured. ~ Jason Birchmeier, All Music Guide
What The Critics Say
Juvenile's debut album, recorded for Warlock, features the New Orleans rapper working through his distinctive bounce music with emphasis on club grooves and MC chatter. Though the sound is similar to Master P.'s No Limit posse, Being Myself fulfills the promise in the title for the most part, especially on tracks like "G-ing Men" and "U Can't C Me." ~ Keith Farley, All Music Guide
