Tony Yayo's Public Enemies Mixtape: A Review

After releasing the relatively solid Swine Flu and Swine Flu 2 mixtapes in the last two months to follow the three mixtapes released in the third quarter of last year S.O.D., Black Friday, and Bloody Xmas, the self-proclaimed "Talk of New York" Tony Yayo of 50 Cent's G-Unit just dropped his latest: Public Enemies inspired by the recent Johnny Depp movie (read review).

The most energetic of the three remaining G-Unit members does a relatively good job of setting himself apart from 50 Cent - without of course offending 50 Cent. Rather than partner with too many non-G-Unit affiliated artists, he portrays himself as a grimier less polished version of 50 himself, uber-gangster, but more concerned and involved with the streets than his boss would be. There is no crossover fare here; in fact, you get the sense that if you suggested he add a record with an R&B hook, he might throw something at you.

It is rather generic, it is clichéd, and it lacks the excitement of earlier G-Unit mixtapes, though it largely follows the same formula of G-Unit members running roughshod over current popular beats [notable ones include Eminem's 3 A.M. off of his Relapse LP (read review) and Square Dance from the rapper's The Eminem Show]. The collaboration with Queensbridge legend Cormega is a nice touch though, as is Rep Your Set and Bing Monsta.

Part of the issue with the tape is the over saturation of 50 Cent. You can go to ThisIs50.com right now and likely catch a live vlog of 50 Cent, Tony Yayo and Lloyd Banks touring overseas right now. This is emblematic of the waning demand for gangster rap (rather than emo-rap, or progressive rap, or other new styles): real-time recording tools remove the mystique from most rappers, and so it is harder to buy into their claims. You do not have to worry about this with emo-rap; the most Bobby Ray or Kid Cudi or Charles Hamilton will claim is that they are either flyer than you, deeper than you, or more depressed than you.

Public Enemies is posturing from someone who, while possessing perhaps a longer criminal record prior to his debut album than his G-Unit compatriots, is clearly not the uber-gangster he portrays himself. 50 Cent is upfront in interviews with the fact that his music is kayfabe [though his considerable charisma and knack for catchy hooks gets him over; see his recent War Angel LP (read review) and Forever King (read review) mixtapes]; but without similar disclaimers from Tony Yayo (or songwriting ability - he actually yells some of the hooks), the mixtape feels a bit uninspired. However, he does say on the tape he is only doing this for the money, so that feeling is understandable.

The beats are strong. His signature choppy flow provides a gleeful outlandish portrait of street life and his role within it. Unless you are still buying what G-Unit was selling circa 2003, you will likely not like the mixtape. If you, on the other hand, prefer somewhat hyperbolic, definitely unadulterated gangster rap to the Kanye Wests and Drakes of the world, then this is likely the mixtape for you.

View my other Associated Content music reviews here.