James Todd Smith, better known as LL Cool J (Ladies Love Cool James), has been atop the rap scene for longer than most of us have been alive. Since ’85, he has been slating hip-hop history with tracks including “I Can’t Live Without My Radio,” “Mama Said Knock You Out” and “Doin’ It”. He’s conquered both the fashion scene with FUBU and the acting scene with his charm and good looks. For 24 years, J’s yet to let us down...
Until now. Exit 13, the final album on his record deal with Def Jam, failed to satisfy rap fans looking for an astounding masterpiece in what’s likely to be the G.O.A.T.’s concluding release.
The album was initially set for a 2006 release date, with rapper 50 Cent signed on as an executive producer. But two years later at Exit 13’s release, the fellow Queens rapper’s name was merely featured on the album’s third track, “Feel My Heart Beat”.
Had LL decided to go through with 50, his album might have had the hip-hop-roots feel he was seeking in tracks such as “Dear Hip Hop” and the single, “Rocking With the G.O.A.T” (Greatest Of All Time). Instead, the album is penetrated with pop tracks resembling those from the unsuccessful and superficial Todd Smith.
The simple lyrics and minimal rhythm found in “American Girl” make the track sound like a stolen record from an un-produced Will Smith collection, while “Like a Radio” fits shamefully in my playlist next to some R. Kelly and Usher jams.
There are a few pop cuts, however, that might be worthy of a YouTube search later down the road. “Mr. President,” featuring Wyclef Jean, incorporates solid lyrical flow atop a fast-paced, high-hat beat and a catchy Wyclef chorus. Despite the track’s political accusations, the song really stands out among the rest of the album. But then again, when has Wyclef ever let us down?
In addition, the big-band horn line in “Feel My Heart Beat” gets me tapping my feet and bobbing my head — although 50 Cent’s presence is weak and unnecessary.
Similarly unimpressive guest appearances pop up throughout the album. Fat Joe, featured on “Come and Party With Me”, fails to come anywhere near his and J’s combined potential. And while the title track “Speedin On da Highway / Exit 13” highlights the talent and rapping ability of LL, it does little to show off one of my all-time favorites, Funkmaster Flex.
But for all LL Cool J’s female fans, you need not worry, for he is steadfast (as always) in singing about ladies and love. He supplies a radio-prone love song in “Baby” and a neat, exotic track in “I Fall in Love,” arguably my favorite of the album.
Where he failed most blatantly was in trying to take his old-school, high-quality rap style and adapt it to resemble today’s preferred hard-core taste. He wanted to sound like Nas and 50, but was simply unable.
Exit 13 is not bad by any standard; it plainly fails to meet what we would have expected from the final album of LL Cool J, one of the longest-lasting rappers of the last three decades. He will remain a hip-hop icon, but one known for his boom-box style ‘90s rap, not for his mediocre-to-say-the-least finale.
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