One Monkey Don’t Stop No Show

Artist: Goodie MobTitle: One Monkey Don’t Stop No ShowRating: 3 StarsReviewed by: Paine

As Outkast’s status has continually snowballed since their debut a decade ago, Goodie Mob’s rep has gone in the opposite direction. Despite an unmoving cult following, Goodbie Mob has struggled to explore new audiences despite the cross appeal (mostly critical) by ex-member Cee Lo’s solo efforts. While World Party had a few irresistible joints, it’s been five years since the Goodie Mob collective has made an impression. Having left the label that cultivated the Atlanta sound, LaFace, will Goodie Mob’s independence yield them a timely return?

Goodie Mob was at onetime, revered as one the most musical groups in Hip-Hop. In the past half decade, a lot of unexpected names have caught up. This album does do some great things, as far as flows. “Goodiadvice” offers insights on being a real, independent, human being. The quick verses use impeccable timing and still manage to offer quotable jewels while flowing faster than most. This album also splits into the two directions the South has taken in the last half decade. Some joints appeal to the softer side, like “What You See”, which uses acoustic strings and soft singing to create a laid back mood. Goodie Mob were pioneers of crunk. Granted, it was a different, more funky spin than recently. But tracks like, “123 Goodie” and “Shawty Wanna Be a Gangsta” follow an updated, 2004 type of crunk, with memorable hooks and bangin’ bass.

Some of Goodie Mob’s strongest musical experiments are lost in this album. At times, the daring genius is there. Other times, this album seems to be searching for singles, and wider appeal. “Grindin’” is a shallow effort that reduces a very talented group to mere screamers and chanters. While the South has rightfully diversified, it can be easily argued that Goodie Mob is at their best with the music style they’ve always presented. Keeping aligned with that rich tradition, “God I Wanna Live” and “Big City” maintain as nice updates to the Mob we’ve always known. “Play Your Flute”, the highest profile track of the album, teaming fellow Organized Noize endorsee, Kurupt with Goodie Mob sits on the fence of the old and the new. A fan’s reception of the single may be a good indication of the album itself.

Very rarely do heavily pushed back albums ever amount to much. If only the overly precautious record labels would take note but they can only assume so much blame. Goodie Mob as a group, didn’t make the authentic album that listeners have come to expect. While the experimentations and extended styles may reel in some new fans, this album does not bode well for a proud mention in the otherwise reputable Goodie Mob catalog.

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