The familiar elements are here: Premier reprises his role on "Hand It Down"; likewise Foxy on "Paper Chase"; and Too $hort on "A Week Ago". As previous efforts, Jigga doesn't stray from the usual big willie/playa/pimp subjects, but the difference is that he has the talent to make even these mundane and oft-used styles sound original and fresh. His rhyme style is unique as is his voice, and even after two albums, he still sounds new. The quality he possesses is his clever lyricism, and also the generous splattering of guest spots. Most of these are introducing or consolidating the reputation of his up-and-coming Roc-A-Fella proteges: Memphis Bleek acquits himself admirably on the afore-mentioned Premier track, as on the previously available "It's Alright", as well as "Coming of Age"; Da Ranjahz feature on "If I Should Die". Guess what ? Jay-Z is head and shoulders above them, and this explains why Jay-hovah's still in the game.

More high profile counterparts turn up, for instance "Money, Cash, Hoes" is a good example of the generic subject matter, but the astute observations and the beat (starts off kinda like Nore's "Banned From TV") with the pounding bass line and the incessant keyboard loop coupled with DMX's hypeness make up for it. "N***a What, N***a Who" features Jay-Z's mentor, Big Jaz, trying out a different rhyme-pattern, more in the traits of say a Bone Thugs or even Da Brat on Missy's "Sock It 2 Me". There is actually only one solo track, "Ride or Die", displaying his talents, and the posse cut is over the Erick Sermon-produced, "Shaft"-inspired "Reservoir Dogs". The obvious sample here is obliterated with the help of The Lox, Beanie Siegel and Sauce Money.