By Malice Intended

Ice Cube returns as conquering hero on his ninth solo album I Am the West with impressive force. An amusing skit featuring Keith David and Mike Epps opens the album which ties Cube’s cinematic career in with the career that made him a legend.

The Bizness-produced “Soul on Ice” eases the listener into things with Ice Cube’s patented brand of gangsta shit. Though the horns seem to be announcing the return of Ceasar, the easy mid-tempo range of the track conjures images of a veteran boxer sizing up his opponent for the first few rounds before going for the knockout.

Cube reunites with Sir Jinx for the Crip-walk ready “Life In California.”  Menacing hand claps and a slinky keyboard bass slither across the fault line of the track.  Never one to shy away from controversy, Cube takes a shot at another gracefully aging vet:

If Jay-Z can rap about the NYC Why can’t I talk about the shit I see?

Without Alicia Keyes Without going R&B

This ain’t Motown this is R-A-P

While it could be interpreted as a diss, it plays more like Cube pledging allegiance to his hardcore West Coast roots.  The track itself is indistinguishable from mid 90’s G-Funk, but injects Cube’s chest-pounding stoicism and creates something a bit different.  “She Couldn’t Make It On Her Own”, employs aqua-boogie keys courtesy of Bangladesh and Doughboy, who appears on the track.  It’s mid-level track quality wise, but it doesn’t slow down the momentum of the album.

“Y’all Know How I Am” has Cube going for the jugular. Produced by Willy Will and Doughboy, the track is the perfect meld of West Coast and Southern sensibilities.  Cube shows off his adeptness as an MC, fitting nicely over the track without changing a single thing about approach.  Dub-C and Dough spit some energetic verses, matching Ice Cube’s energy and keeping up with the pace.  The earthquake sound effects propel the listener forward.

“Too West Coast” makes it clear that the gloves are off.  The imposing, intimidating track features glowering horns that warn the coming of a monster.  Cube, Dub-C and Young Maylay deliver left coast attitude as only they can.  Chunky Blues sounds courtesy of Brandon Alexander give “Drink The Kool-Aid” a wholly different sound, and the ever-versatile Cube is game.  At this point any doubts about Cube’s remaining ability as a rapper should be shut down.  “No Country For Young Men” emplos Wild West saloon piano keys.  Cube makes it clear how he feels about the current state of the game and just how he feels about the youngsters who think that old heads like him should step down.  He isn’t going anywhere, and this track dares any upstart to reach for the crown of his head.

“Hood Robbin” grants us a visit from the politically active and socially conscious Cube of Death Certificate.  Like the other iterations of this classic character, his muscles have not atrophied.  The mournful contemporary gospel track carries Cube’s voice along as he describes the folly of how the system treats those lowest on the economic totem pole.  They are portrayed as being victims of strategic jackings by the rich.

As strong as the album is, it’s not without its missteps.  “All Day, Every Day” contains synthesized strings and triangles that would be better suited to the musical score of Friday After Next or some other Christmas themed-hood comedy.  “Urbanian” just plain tries to hard to be cute and contemporary with Cube urging “Bitches” to Google him on the hook.  It’s not whack, but somehow it seems misplaced.

I Am the West is yet another addition to the potent latter half of Cube’s discography.  There’s no need for a comeback when you continue to be in top form.  Though it is more Westside Connection Cube than the classic Cube of the early 90’s, he has clearly come to play.  While others celebrate the coming of the “new” West, Cube defiantly reminds us of the Golden State’s gangsta heritage and continues to march in that direction, be it to victory or off a cliff.  Ice Cube for president in 2012.     

Out of 5

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