When given the assignment to review Fabolous' "Street Dreams," I was excited. Fabolous took the hip-hop world by storm last year with his mixtape assault and guest cameos where he made sure to spell his name out every time he opened his mouth. After his platinum selling debut album, "Ghetto Fabolous," I was certain that Fabolous was one of the few artists who could walk the thin line between underground and commercial appeal. "Street Dreams," however, disappoints in that aspect.
As many hip-hop artists, Fabolous struggles throughout his sophomore album. Opening with an obnoxious DJ Clue shout-out, it's shaky from beginning (am I the only one who never wants to hear him screaming on another album again?) "Street Dreams" abandons the supposed source of its aspirations --- the streets. The album is crowded with choruses by generic females singing about relationships. On "Into You," Ashanti lays down a chorus that rips off Tamia's "I'm So Into You" as much as its identical beat does. Unfortunately, Ashanti comes nowhere close to matching Tamia's vocals and Fabolous' lackluster rhymes aren't enough to redeem the song. "Damn," a song that is currently getting radio play all over the nation, reeks with commercialism, but is saved by Fabolous's sick rhyme play ("All you gotta do is swallow some kids like that witch did Hansel and Gretel"). "Can't Let You Go," a similarly popular Just Blaze production that nicely splices a hard hitting snare with guitar strings, tells about the perils of a man who is trying to balance his girlfriend and girl on the side. Lil' Mo and Mike Shorey's collaboration on the chorus make the song more soulful than the typical marriage of rap and R&B that is saturating the airways. Yet, tracks like "Call Me" and "Bad B*tch," stories of groupies and Fabolous' sexual episodes, are delivered in such a song-singish flow, that nightmares of a new Ja Rule creep into your mind. Not quite.
Fabolous tries to emit an outlaw persona on "Not Give a F*ck," but the syrupy chorus and Fab's carefree flow do not fit with such a rebellious topic. A Rick Rock produced beat that sounds like the old electronic game "Simon Says" makes the song sound even more illegimate.
Luckily, Fab shifts his light airy flow and spits hard going back and forth with Paul Cain on "Why Wouldn't I." The two have incredible chemistry that also is showcased on the "Keepin' It Gangsta" remix where Styles, Jadakiss and M.O.P also shine on an ill beat composed mainly of guitar shreds.
And to give Fabolous some more credit, the album isn't flooded with guest cameos. Unfortunately, the few that he has are mostly devoid of chemistry. On "Sickalicious," Missy Elliot's bubble gum hip-hop flow is a mix match with Fabolous. Fab tries to save the song by going into his arsenal of Biggie bites ("It's the f-a-b-o-l-o-u-s, you just lie down slow") that mirror Biggie's "It's the N-o-t-o-r-i-o-u-s, you just lie down slow" that appeared on "Going Back to Cali" from "Life After Death." On "Up On Things," the West coast beat and Snoop Dogg's presence are too obvious in trying to woo Californian fans.
"Street Dreams" is balanced out with songs like "This Is My Party," an infectious club banger, and "Change You or Change Me," where Fabolous pours his heart out, professing his undying allegiance with the streets.
Yet in whole, the marketing strategy of "Street Dreams" is too blatant. Fabolous tries to follow a blueprint of club songs, chick songs and catchy hooks to ensure sales. The album doesn't, however, display any artistic growth and sounds the same as "Ghetto Fabolous." And yes, Fabolous is a great lyricist (another twisted sample: "I've been hiding cause this girl been looking for the kid like Bush was looking for bin Laden") but his punch lines, precise timing and syrupy delivery need new subject matter besides guns, drugs, women and money. Hopefully, Fabolous' third album will regain the street credibility that he recklessly abandoned in hopes of another platinum plaque.
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