Coming two years since his last, "Category F5" came as the seventh solo album from the Chicagoan rapper Twista in 2009. It finds the speed rapper, who made his breakthrough with a collaboration with Kanye West in 2004 on "Slow Jamz", coming with more of his typical work that he has producing since his 1992 debut (when he won a Guinness World Record for his rapping speed).
In a track that includes an introduction to the album (and why this was given as its title) you see that a rough tune comes through as he works with Buk and after a nice little flow, you see that Tista gets a chance to lay down the speedy style that he has stuck with since his debut (when it was popular) and so sounds original at this time, when in fact he just hasn't kept up with times. However this one works here.
2. "American Gangsta"
He moves things on with a track which features some production, which felt was a little overpowering as you find that its odd structure forces the rapper to come out with some flows which are guided by the composition behind it, and as a result the thing is quite difficult to engage with (as it has so many trips within it) and it didn't really make for that good a track, not that Twista was offering much in his rhymes.
Here you have him coming to work with the Louisiana 'Ratchet' rapper Lil' Boosie. You find that just as he had hopped on the trend on Chopped & Screwed raps on his 2007 album (and also chipmunking two albums ago), he chooses to take on the auto-tuning on the chorus at a time when it is really wearing thin for Hip Hop purist and it seems to ruin what he has going on in the rest of it as he comes out with some fly material as he gets into some laid-back weed raps.
4. "Talk To Me"
Here Twista, once again attempts to hide the fact that really his rhymes aren't saying much at all by flowing in a fast manner to the point where you simply cannot understand a word he says, thus forcing you to go back and listen to it again, and I felt that it wasn't really the way he should be going with his music as instead of this, it is much easier to just ignore it (which would be best since he comes with the same old stuff that has been heard for years (with no real purpose at all).
5. "Yellow Light"
Working with the most well-known Chicagoan R&B singer, R. Kelly, you see that the two of them come together, as they have on many occasions over the years, but with both of them in a state where they have tailed-off, for some time, they needed to come through hard with a track actually worth something, but as Kells resorts to auto-tuning on a typical slow jam, it doesn't come (although it does have mainstream appeal).
6. "Walking On Ice"
With two of the most popular Atlanta Trap-Rap artists on his side, you see that Twista uses Gucci mane and OJ Da Juiceman's guest appearance to his advantage by getting down to the style that is popular down in A-Town as he takes on the typical structure, with Juiceman 'aying' his way through it and getting Zaytoven on the beats. It shows Twista's desperation (as he works with two of the worst lyricists in the game just to try out a popular sub0genre, and it flops (as expected).
This a a big single from the album and one on the thing that I really can't argue with (unlike amny of the others on the release) as you see that here when he directly appeals to the mainstream listeners, he comes through strong (not wishing to return to the underground where he started from) and so builds up an effect slow jam with an unknown female R&B singer in Erika Shevon on his side.
Here you get a bit of a surprise track on the album as, seemingly out of nowhere you have Busta Rhymes coming to perform so guest raps with him (however when you listen to the actual track) it isn't such a surprise as you have Caution & Velly coming with some Ron Browz-esque club production so that Twista can once again take it to another fad style and jack from hits such as "Pop Champagne and "Arab Money" (which has already passed over by this time).
9. "Yo Body"
Here you get a tune where the artist changes his approach quite a bit here as he moves away from the themed work and instead tries out one that really doesn't any defining features to it or anything that makes it stand out on the release at all, as a result it sounds like a filler tune and I can't really see where the appeal comes here as he tries out some classy rhymes but doesn't seem to take it anywhere.
You get another uneventful track in this one and I felt that it was a big disappointment when you consider that the Miami producer StreetRunner is behind this one, but it just turns into a kind of tune that could easily have been found on his last album (had he jumped on the Florida style at the time) and so it seems to bring things down yet again and show his lack of originality this time around.
11. "Gotta Get Me One"
The late R&B singer Static Major (known for his role in Lil' Wayne's "Lollipop" and his time as part of the R&B trio Playa) is seen to join the rapper for a tune that gets Twista coming out with more of the material that it designed for the female listeners, and I felt that it wasn't really a good direction to go in as it pushes away his core fan base when he doesn't really do all that well (as the only highlight is a melody from Major where he takes from a big late nineties Whitney Houston track).
12. "On Top"
As I found out that Akon would guest here, I knew I wouldn't like the results, simply because he is so annoying, and I hadn't even thought of predicting a possible direction in the music here, but as it is played, it immediately becomes apparent that Twista has got on another fad, and this time not even a very popular one (outside the casual Pop fans) as he does the Euro-Dance-styled Rap here and takes it to a new low.
13. "Jump Off"
It appears that, to some degree, he is able to recover things slightly wit this one as he comes out with a track that has him coming out with pretty decent results as he works with Chad Beatz and you get a fly composition that enables him to come up with some fresh and original ways of riding the beats and to surprise the listeners in how he is still able to change things up a little at this stage (although coming it to major players sees it sit as a rather average track).
14. "Wanna See 'Em Buss"
Sampling Lil' Wayne's "Lollipop", this one has Toxic taking control of the production and guiding him through the thing. You see that there is a bit of a change to the music as the rapper is able to move way from the general themes of the album and get down into some of the material where he is able to freely let his rhymes go wherever he wants it to and here he decides to incorporate a little Gangsta Rap to the mix.
The album ends with Twista on some Marlin Mookman beats here he gets down to a Bay Area style and so takes it right to northern California for a Hyphy tune. It samples Ciara's "Goodies" and finds draws attention to the fact that here aren't manner club tunes on the record, but does very little other than this and I felt that he needed a guest vocalist to help him get something out of it in the way he wants.
Although it does have "Wetter" as a heavy lead single, I knew what to expect on this album and it seemed to come out in the same way (although I didn't expect it to sound so desperate and obvious as to his plan in attracting as many listeners as possible). His rhymes have never been special, although many tend to mistake speed with quality, and this continued through this album as he seems to make it his aim to try out every popular style and trend of popular times and succeed in so few.
Disc #1 Tracklisting
2 American Gangsta
4 Talk to Me
5 Yellow Light
6 Walking on Ice - Gucci Mane, , Twista
7 Wetter - Erika Shevon, Twista
8 Billionaire - Busta Rhymes, Twista
9 Yo Body - Do or Die, , Johnny P., Twista
11 Gotta Get Me One - Static Major, Twista
12 On Top
13 Jump Off
14 Wanna See 'Em Buss - Liffy Stokes, Twista