Swagger Right: Bass heavy, chopped hook that repeats, simple synth line and Mike Jones' "haha".
Houston Oilers: Houston sounding production, claps and plucking synths, as well as rising keyboard couplets. A reference to the original football team, but represents more the of H-Town drank referred to as "oil" and attracting the ladies as well.
Boi!: Collab with relatively unknown Young Problemz, sounds like "A Milli" as far as drum patterns. Screwed repetition of "Boi I got so many".
Cuddy Buddy: Smooth guitar and supporting strings. Wayne, Pain and Twista hop on this, smooth commercial look.
I Know: Light Trey Songz hook, feel good beat that has Jones staying true to his girl.
Drop & Gimme 50: Club banger with Hurricane Chris, Collipark handles the beat, uptempo and high energy style. Works off production.
Give Me A Call: Devin croons on the hook, Jones and Dude share their desire of "horniness" for a lady.
Happy Birthday: Uncreative track that has a typical club bass production, but overly repetitive and random.
Next To You: Nae Nae croons softly on the hook, as Jones delivers another one for the ladies. Guitars smoothly glide, heavier bass in this one though.
Swagg Thru Da Roof: Autotuned hook that is repetitive, mainly autotune, with Jones and Essay Potna finishing each others rhymes. Luckily the production is upbeat enough to hide the horridness of the track, but its still pretty bad.
On Top Of The Covers: Jones turns cliche joining the autotune singing and the hook is also autotuned. Forgettable.
Scandalous H**s II: Essentially the same production, as Kojack produces, same sample and similar hook. Its mainly an upgrade, same hook (for the most part), same beat, more commercial hookman (T-Pain compared to last album's Lil' Bran) and Jones less annoying vocals.
Hate On Me: Tanya Herring acts as backup vocalist while Jones lightly croons on this, of "why do they hate on me". Guitar laden with a fluid bassline, musically its intact, worthy reflection.
Grandma II: Ballad-midtempo range, as Jones offers sing songy heartfelt vocals compared to its predecessor which was an uptempo and completely believable track that worked thanks to the sample and Jones' rhymes. Here its more of a laidback appeal and mainly talking from Jones, Kai croons the majority of the track (she also recently lost her grandmother hence Jones placing her on the track), Amadeus knocks out the smooth vibe, but it isn't quite as appreciable as the past version.
If anything the albums more commercial than his past, his last album was strictly H-Town style and represented a hungry emcee, despite his lack of lyricism, had bangers-production wise that hid his weaknesses. Here Jones comes in more experienced, far more commercial appeal that is both bad and good, some tracks are smooth and likeable, however Jones turns soft on about half the tracks which is why it gets tiresome. His hit, "Flossin'" was a smooth track but had a loveable Jones rapping, here there's rarely that, he's singing and lightly rapping which often is forgettable. The bangers don't touch the past hits and overall its merely decent, but does not move Jones very far for his career.
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