Lil Wyte The One and Only Review

Most of y’all probably don’t know who the hell Patrick Lanshaw aka Lil Wyte. There are probably a few faithful Three 6 Mafia/Hypnotize Camp Posse fans that are familiar with his work including debut Doubt Me Now and follow-up, Phinally Phamous, which are both respectively decent efforts. For those of you who don’t know jack shit about Lil Wyte here’s a brief spiel. Lil Wyte is known for two things: being the white boy in the Hypnotize Camp Posse and being noticeably better (lyrically and flow-wise) than his Hypnotize Camp Posse brethren. Oh also, he was that grungy looking white guy off of MTV’s Hollywood—the reality show with Three 6. With The One and Only, Lil Wyte plans to establish a name for himself nationwide as a solo artist and most likely get some greenbacks for more drugs.

“The One and Only”
Lil Wyte’s voice is grating, really grating. Wyte uses this intro to let detractors know he hasn’t overdosed (no, seriously; apparently, there was a rumor he had croked), also how much money he’s been making and announce his clique affiliations. He also claims 07 will be his year; something we haven’t heard 100 times already this year from other rappers.

“We Ain’t Kool”
This track sounds like good ole Three 6 Mafia, punch a n***a in the face chant/crunk music. Lil Wyte in this track raps about (surprise, surprise) whooping people’s ass. This track is one of those fight music tracks. It’s dark, angry mood music, but not really that good.

“I Got Dat Candy”
“Got Dat Candy” is Lil Wyte’s ode to candy-coated paint, rims, flexin’ (Memphis’ version of Texas’ swangin’ aka reckless as fuck driving) and loud beating speakers; a Southern staple I suppose. The only highlight of this track is the production which is done by DJ Paul and Juicy J. The beat is infused with sirens, synthesized piano strokes and strong bass and has a section where it breaks into marching band-esque drums.

“That’s What’s Up”
Lil Wyte rhymes on this one about purple Sprite aka lean but does manages to address cynics of the South. He does so with “I feel Bun B and Pimp C when they say y’all need to stop hatin on the South/cuz’ we just tryin’ to make it like the rest of the muthafuckas is/I got talent and raw skills to pay the bills so I’m gonna rock the biz.” He also talks briefly about selling albums internationally and how Memphis has built him mentally, physically and spiritually.

“Talkin Ain’t Walkin”
Paul and J put together another murky, dark beat. “Talkin” is another fight song; not much else to it.

“Get High”
The track title tells the story here. Lil Wyte displays why people may have suspected he overdosed with this track delving into his obsessive weed smoking habit and the different varieties of weed he chiefs on.

“It’s On”
Lil Wyte on this one raps about his trapping habits. He talks about the money he makes, his drug transactions and what’ll happen if you don’t have his money; dismemberment and death.

“Feel Realin Pimpish”
Wyte talks about cleaning it up (fresh clothes, jewelry and clean shoes) and the feeling associated with it on this track. Project Pat makes a feature, but only on the hook which sucks as I am growing tired of Wyte’s shrill and annoying voice.

“Get Wrong”
Another “fight music” track; not really talking about much more then get fucked up and punching somebody the fuck out.

“Choppa on the Back Seat”
This ought to say it all: “you deep down in the dirty/you chirpin nervous like a birdy, birdy/did you heard me/don’t ya worry/let me cleverly reword it.” Granted this is not a lyric-driven album, but the above is ridiculous. Kids write better things with crayons.

“Gettin’ Money Boy”
Lil Wyte goes on to describe how people tend to hate once you start making guap and about boast his monumental acting career (Choices I & II).

“Cake”
Wyte provides a mini biopic and manages to provide a quasi-positive message saying:

if you hatin’ cuz I got it/you’re a got damn dummy/put your brain in some books and quit worryin’ bout these hoes/either get a nine to five or start sellin’ dro…I ain’t always have cheese I used to be very broke/that’s when I realized I could flow and I jumped up on a track/I was only 17, a studio is all I lacked/now I’m 24 and got currency by the stacks/M-town rebel, liquor sipper and the South’s on my back.

“Got’m Lookin’”
You can skip past this track and not miss anything in particular.

“Fucked Up”
Juicy J recycles his “Maker’s Mark, cranberry vodka” quote for the hook on this track about binge drinking.

“Suicide”
“Suicide” is a unique track where Lil Wyte rhymes about purposely overdosing because of the overwhelming issues he has to deal with in life. Although the tone of the track is very bleak and depressing, it does deserve some merit for delving into a topic that is taboo in rap music.

“Ghostin”
“Ghostin” is dual ode—ode to ghostridin’ and chopped and screwed music—although Wyte barely talks about ghostridin.

“Do It Fluid”
Lil Wyte explains what “do it fluid” is here: “I need my do it fluid/what’s your do it fluid (adlib)/I knew you would ask/whatever liquid you put up in yo body whenever you wanna get trashed.” So, I suppose this is another drinking song.

“Dat Boy”
This track talks about career (album by album) and he explains that this album is going to be his breakthrough album. I doubt it.

“Gun Do Da Talkin’”
The lackluster conclusion to a terrible album.

“Outro”
The typical Three 6 Mafia outro where the guys go through their future efforts.

The One and Only is a prime example of how drugs can warp your mind until it’s a sack of dust. Most of the track lack focus, coherency or any type of direction whatsoever. The lyrics are kin to 10 year old scribble and well…I could go on for days trashing this album but I’ll just say it sucks. I’m just mad that DJ Paul and Juicy J wasted 19 beats on this effort and gave Project Pat (Juicy J’s brother) some real shitty tracks for Crook By The Book. Most of this album I spent wishing Juicy J, Paul or Pat would rap but they never did. Instead, I received about an hour and some odd minutes of Lil Wyte which is an hour too many for me. The fact of the matter is if your music is not going to touch someone in a profound way it should at least stimulate you to feel or do something (drink, smoke, dance or fight) but this album fails to do that. Avoid listening to this, unless you're masochistic.