Restless

Xzibit isn't as singular a rapper as an elder statesman like Snoop. But Xzibit's subsidiary lineup of producers, like DJ Quik and Rockwilder, are inclined toward leaner textures than most.

With Xzibit coming with nothing but raw and uncensored lyrics, Restless is not for those with tender ears. Formerly one of hip hop's most underrated artists, it's gonna be hard to continue to sleep on him after this album. Xzibit is finally poised to get the credit he deserves.

While Restless is not the crowning achievement many predicted, it is X to the Z's most-consistent effort to date.

For all his flexibility, Xzibit's Restless is more skewed to the cars and clubs than the basement, due in no small part to Dr. Dre's influence as the album's executive producer. Restless rolls in the same kind of fluid funk that Dre's brought to both his and Eminem's recent albums -- fat electric bass lines and synthesized symphonics.

Restless isn't quite the metatextual running commentary on fame and persecution that The Marshall Mathers LP is, but, like Eminem, Xzibit has gone from addressing the dire circumstances that created him to focusing squarely on life as a rap star.... A weak patch roughly halfway in slows it down, but Restless accomplishes exactly what it sets out to do: It consolidates Xzibit's new fan base while retaining enough classic flavor to avoid alienating Likwit Crew diehards.

What's so impressive about Xzibit is his rhyme flow, which is one of the smoothest in rap and provides a wonderful contrast to his profanity-led ghetto dwelling lyrics. With Dr Dre providing beats for three of the tracks and overseeing the whole project, Xzibit now has the perfect musical canvas to accompany his underrated skills.

Judging by the funked-up grooves and the hardcore-with-heart rhymes, he's got the goods to satisfy both the faithful and the fickle.

Restless isn't about explicitly depicting the good, bad, and ugly of street life. It's more like a hip-hop carnival, with Xzibit acting as both ringmaster and main attraction.

From the stark bass-thump to the low-riding pacing, from Erick Sermon's blaxploitative strings on "Double Time" to Dre's tinny march on "X," the tracks complement his tales of 'hood trivia. [2/2001, p.107]