You can hear why this sold almost nothing and why it still matters. Marshall is already stacking rhymes three and four deep, but the voice is borrowed: the flow leans hard on Nas and AZ, and the beats from Mr. Porter and the Bass Brothers are warm, jazzy and very 1996. The title track and "It's O.K." hold up best. "Maxine" drags. What's missing is the sneer. Nobody on this tape sounds like Slim Shady yet, and that's the interesting part. He made the earnest version first, it went nowhere, and he wrote it off himself as a record that sold maybe 70 copies. Worth one honest listen if you can find it, since only the title track ever reached streaming.
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