Xzibit Albums (6)
What The Critics Say
Bitter about Sony and the label's handling of his career, Xzibit split from the major and went indie, taking his Open Bar imprint and himself to Koch. In 2006, there are plenty of other major-label rappers in exile at Koch, but few of them have exploited the freedom of indie life as well as Xzibit. With a wide range of topics being covered and former Bomb Squad member Keith Shocklee's name in the credits, Full Circle is an uncompromised album in the classic hip-hop style, with Xzibit eager to get back to business on his own terms. There's a reference to his job as the host of Pimp My Ride, but there's no ridiculous capitalizing on it and the guest list doesn't pander to who's on top. Hot superstar the Game is on here, but like most of the other choices, he's hard West Coast and fits in perfectly with folks like Daz, Kurupt, and DJ Quik. Surrounded by like-minded artists, Xzibit sounds more comfortable than he has in a long time. Comfortable enough to deliver "Thank You," an ambitious, sincere, and moving thank-you to his fans that lays out the emotions and doubts in an honest and vulnerable way few other rappers would attempt, fearing they'd get those "gone soft" accusations. Xzibit is fearlessly mature elsewhere, with "Black & Brown" calling for unity between the young people of those colors, because the way he sees it, if a kid's out on the streets rioting, he "ain't learnin' sh*t about math and science." "Family Values" finds the rapper outgrowing hoes ("Do you have anything to offer me besides some ass"), but if you want that visceral, N.W.A type of anger, "Ram Part Division" is hard to the core, with the rapper taking on the cops and their ultimate power ("And if you try to come back with a civil suit/I sit back and watch my system take a sh*t on you"). The worthy single "Concentrate" represents the less heavy side of the album, and a couple misogynist and downright sleazy moments show Xzibit hasn't clamped down entirely or forgotten how to have irresponsible fun. The wise-ass moments are dispensed perfectly among the wise ones, the hooks and engaging productions are plentiful, and his words paint a vivid picture, be it of booty or revolution. It's strange that the title Full Circle implies the man has returned to square one, because this is grown man's business and just what veteran, enlightened thugs should sound like. ~ David Jeffries, All Music Guide
'Weapons of Mass Destruction'
Release Date 1/1/2004
Tracks 16
Label Sony
See Album Tracklist and Review
What The Critics Say
Not nearly as star-studded as his past two albums, Restless (2000) and Man vs Machine (2002), Xzibit's fifth album, Weapons of Mass Destruction, is a more focused effort, boasting an aggressive tone, a high-quality production roster, and a potent club track by Timbaland, "Hey Now (Mean Muggin)." There are several other highlights, including "Lax," "Criminal Set," "Tough Guy," and "Klack," but there's also a substantial amount of filler. Xzibit clearly is trying to distance himself from his last album, Man vs Machine, which proved a bust commercially, despite its roll call of well-known talent, including Dr. Dre and DJ Premier. Weapons of Mass Destruction does sound a lot different from its predecessor, though it's not necessarily an improvement. Rather, it sounds as if Xzibit is unsure of which direction to head creatively: back to his roots as an underground rapper, or for a contemporary commercial sound that appeals to a mass audience? Parts of Weapons of Mass Destruction, particularly the Strong Arm Steady collaborations, are reminiscent of Xzibit's first two albums, At the Speed of Life (1996) and 40 Dayz & 40 Nightz (1998); yet other parts of the album, particularly tracks such as the aforementioned Timbaland collaboration, featuring R&B singer Keri Hilson, are reminiscent of his post-stardom albums, Restless and Man vs Machine, when he was shooting for the charts. The end result is an album that doesn't gel together well as a whole, albeit one that thankfully includes a handful of highlights worth checking out for fans. ~ Jason Birchmeier, All Music Guide
What The Critics Say
Four albums deep, Xzibit's presence on the microphone rivals that of the better MCs of the latter day. However, on Man vs Machine, Xzibit seems to have lost some of the edge on his lyrical blade, which once tested in underground fires more than a half-decade before he hit the mainstream in 1999. The man who brought listeners "Paparazzi," "Foundation" (from his 1996 debut, At the Speed of Life), and "What U See Is What U Get" (from the 1998 release 40 Dayz & 40 Nightz) managed to avoid the sophomore slump, but instead found the junior jinx with the disappointing 2000 release of Restless, even with Dr. Dre in his corner. While X is still in cahoots with the good Dre here, unfortunately Man vs Machine is a continuation of his lackluster spiral rather than the masterpiece that X fans thought to be inevitable when he linked up with the likes of Dre, Snoop Dogg, and Eminem in the Y2K. Things start off with dark zest on the cleverly worded and sinisterly composed "Release Date," produced not by Dre, but by East Coaster Rockwilder. Dre chimes in with lyrics for the awkward and clunky "Symphony in X Major" and beats for the delightfully raunchy "Choke Me, Spank Me" and the slightly above-workaday "Losin' Your Mind" featuring Snoop Dogg. Also, taking a somewhat shameful page out of P. Diddy's book, producer Jelly Roll turns to early-'80s Toto ("Africa") for inspiration on the painfully inane "Heart of Man." Things pick up some on the Dre camp's retort to a Jermaine Dupri dis on the Eminem-produced "My Name" (featuring some patented Slim Shady punch lines and a G-hook from Nate Dogg) and the cross-continental banger "BK to LA" featuring Brownsville sluggers M.O.P. The heartfelt ode to his mother ("Missin' U") notwithstanding, after the floss and gloss of this release is peeled away, there's a lot more of Xzibit the MC caught in the machine of the hip-hop industry than there is of Xzibit the gifted man. ~ M.F. DiBella, All Music Guide
What The Critics Say
It's only appropriate that Xzibit's highly anticipated, and often-delayed, Restless concluded hip-hop's millennial melting pot. After all, Xzibit's association with Dr. Dre and his Aftermath regime attached very lofty expectations to Restless; X was publicly anointed as the next MC expected to blow up. Surely, with Dre as executive producer and guest shots from Eminem, Snoop Dogg, and Dre himself, Xzibit was virtually assured of acquiring the mainstream success that eluded him on previous efforts (At the Speed of Life and 40 Dayz & 40 Nightz). Thanks largely to Dre's knob-twisting input, Restless became aural kin to Dre's own 2001 comeback vehicle, as the head-nod factor is immediately established on "Front to Back," the heavenly synth stabs "X," and "Get Your Walk On." The main flaw in Restless' formula lies primarily with Xzibit's extensive list of guest collaborators. While contributions from Dre ("U Know"), Snoop ("D.N.A."), and Eminem ("Don't Approach Me") are all welcomed, appearances from DJ Quik and KRS-One, among many others, take the focus off Xzibit's formidable lyrical boasting, which precludes Restless from forming a desired level of cohesiveness. On "X," Xzibit pledges to "Rearrange the game with my rugged sound," and he periodically delivers on that promise. However, it would have taken nothing short of a masterpiece for Xzibit to appease hip-hop's finicky masses. And while Restless isn't the crowning achievement many predicted, it is X to the Z's most consistent effort to date. ~ Matt Conaway, All Music Guide
What The Critics Say
The dysfunctional member of the Likwit Crew once again re-emerged to lyrically decapitate fake MCs. Xzibit's verbal asperity and rough, blunted diction is unmistakable. The sophomore jinx is null and void as Xzibit rips line after line over a grab bag of sizzling tracks. Sir Jinx and Xzibit combine production duties on the haunting "Torture Chamber," which incorporates elements of Ice Cube's "When Will They Shoot." The propensity at which Rass Kass, Saafir, and Xzibit drop bombs over "3 Card Molly" is sick, with each flipping an exceptional verse. Another gem is the marvelously crafted, Jesse West-produced "What U See Is What U Get" in which Xzibit touches all bases over a fluctuating piano and synthesizer track. On "Handle Your Business," Xzibit and Defari coalesce to show and prove for Cali over an expansive well-constructed track from DJ Pen One. In addition, Xzibit gives you a survival guide for the City of Angels with "Los Angeles Times." When the Likwit Crew convenes on a cut, the results are usually splendid, and "Let It Rain" is no exemption to that rule. The Liks, King T, and Xzibit drench this E-Swift track, with Tash shining in grand fashion. A newcomer to the Likwit family, Montageone touches down on the flame-broiled "Recycled Assassins." Also, Xzibit brings the heat in ridiculous ways on "Focus" and "Deeper." 40 Dayz and 40 Nightz is sure to whet your appetite with a nonstop accumulation of lyrics and a prolific variety of production. ~ Matt Conaway, All Music Guide
What The Critics Say
Xzibit's debut album, At the Speed of Life, is an excellent mixture of hardcore showcases for his lyrical virtuosity and ruminative, reflective hip-hop ballads. Though his rhyming skills are impeccable, the production from tha Alkoholiks' E-Swift, Muggs, and Diamond D gives the album the musical weight it needs to keep it interesting throughout the album. ~ Leo Stanley, All Music Guide
