Plies | Da Realist

Although over saturation can be a gift and a curse, Plies would probably prefer you view the releasing of his second album in less than a year as a product of pure genius. Having captivated audiences with such hits as “Bust It Baby (Part 2)” , “Please Excuse My Hands”, & “#1 Fan”, Definition of Real was only released a short while ago (it dropped the same day as Tha’ Carter III…if you can believe that) and, arguably, some would say that Plies is rushing things a little bit when it comes to this new album of his, Da REAList.

Personally, I could care less; but from a marketing standpoint, it makes all the sense in the world. A rapper’s visibility is his most important characteristic and unlike some artists who stay away for far too long, Plies makes for a worthy exception to the rule. Not only has he garnered much success via immense fanfare but, generally speaking, his music has had such a crossover appeal that it’s hard not to give credit where credit is due.

However, we are all subjective to constructive criticism and the biggest problem with Da REAList is that it seems too watered down even for Plies. Maybe it’s just me but, in my opinion, Plies seems to be following a formula. I’m all for the “if it ain’t broke, don’t fix it” approach but I’m [also] very limited in what that pertains to. In this case, Plies relies too heavily on these “ghetto love anthems” when really the heart of his subject matter is in his “realness”. For instance, “Family Straight” is open enough to be considered an emotional look inside the mind of a quote on quote “goon”; but where this track works is in that it’s coming straight from the heart. Regardless of who you are, everybody has problems and can relate and I think that’s why a lot of people gravitate towards Plies’ music.

On the other hand, tracks like “Me & My Goons” & “Fuck U Gon’ Do About It” are your typical Plies records and the simplistic production is enough to proclaim Hip-Hop as officially dead. Which, arguably, it is but Plies’ relentless hustle circumvents that notion. Ever since he exploded onto the scene with “Shawty”, his particular brand of sex induced, ghetto love anthems have gotten him much play with the ladies; and for further proof of that, look no further than his current lead single “Put It On Ya”. Featuring newcomer Chris J., Plies spits his sexual seduction over a No. I.D. produced track and the chemistry between him and Chris J. balances quite well.

The same could be said for “Want It, Need It”. Featuring Ashanti, Plies and The Princess of Hip-Hop and R&B deliver a solid collaboration over a J.R. Rotem production and is, by far, one of the few standout tracks on the entire album.

Not to be outdone, Plies holds his own throughout this 16-track opus but, ultimately, this album suffers from a lack of focus and [somewhat] feels rushed. If anything, it feels like a bunch of leftovers from The Real Testament and it’s a shame because I, myself, praised Definition of Real for being the album that served Plies his validation. Now, not so much. Not only is Da REAList a step back, but it also creates doubt in one’s mind of whether or not Plies is a one trick pony. Don’t get me wrong, I understand how important it is to be real; but, at the same time, I respect real music just as well and this is just not it.

Rating: 5.5 headphones out of 10