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In 2007, the Floridian rapper Plies released "The Real Testament", and it was to initiate a spree of releases from him as he would go on to quickly record new ones directly off the back of this. It was also his breakthrough record as it saw him hit it big with such club bangers as "Shawty" and "Hypnotized", where he works with other big names in the club scene to get to this point, so that he could throw out some f his preferred Gangsta Rap cuts.
1. "The Real Testament" (Intro)
2. "100 Years"
After an introductory piece which is bound to remind Rap fans of the nineties when the worst lyricists in the Hip Hop world ever made their rise as Louisiana's Rap sound became popular, and this continues through this one as he comes with more rhymes which have flow to them, but get him on heavy beats to make you brush over this issue to some degree as here he takes on the police and talks of his disapproval for them.
3. "I Kno U Workin'"
The theme of the music is seen to persist through this one as here you see that on production which uses an emergency siren, you have the rapper coming with straight hate raps where he just rages with his rhymes about how he can't be doing with life around his ends when their is a continual threat from the police that they are always out to get people such as himself (what do you expect when you're always taking of how willing you are to kill).
4. "On My D**k"
With this one you have him on some pounding Dirty South beats to guide him as he gets down to some general raps which don't seem to hate any specific drive to them. I felt that having him do such a track was a big mistake as he accent is so thick that only locals would really be able to understand what he's actually on about as he talks whatever he does. Its production is moderately improved, but without any real substance to the rhymes, you can't really like it.
5. "1 Mo Time"
Here as J.R. Rotem gets on the beats, you find that there is a significant lift in the quality of the production which you get here, but as Plies still isn't making much of an effort to make his points clearly, it doesn't really matter. Here you have him getting to one where he tries to apologise to his girl for cheating on her, and although they are splitting, he asks o take it to the bedroom for a final time. It is a mad tune, but really I can't see how anyone could enjoy it.
6. "I Am The Music"
This was one of the singles from the album and I felt that it came as a tune which really took things to new places as he takes it right to the clubs as Rotem is behind the production here too and he is seen to get down to one where he talks of how he always own the clubs when he and his 'Goons' step up on the scene. It's beats are pretty big, but the verses loose the high standard that you get from it.
7. "Runnin' My Momma Crazy"
With this one you have a tune which I knew wasn't going to work (going off the title alone) as here you find that he chooses to get into some emotive rap where he is backed by a piano and light synth to do some flows towards his mother and express how he wishes that he didn't have to get up to the things he does to get sent to prison so often and force her to become distressed at pretty much every hour of the day.
This is a killer tune on the album and came as the debut single for the rapper. I have to say that because I heard it long before the rest of his material, I felt much more of it as it is a banger that its composed very well as T-Pain takes control of things on the hook, and from here he couldn't really go that far wrong as he sets it u[p well with a ice hook, with an infectious melody and Plies' raps seems relevant here.
Following that smasher, you see that he gets into a hype and takes things to even bigger places to really rescue it. You find that in this one you get more references to the nineties sound of New Orleans (which was a heavy influence upon the Florida Rap sound) through its production, but with such heavy drops from Rotem, he makes sure that the club atmosphere is kept up as hey get don't to a funky Bounce tune.
10. "Goons Lurkin'"
The pace drops right down for this one as you get a track which has him turning back towards the Gangsta Rap material where in this case he talks of what hi 'Goons' are willing to do. It beats are laughable as they contrast so much from the hardcore lyrics which the rapper comes out with and so I really don't know what Midnight Black was thinking when he gave this to him as it has no appeal whatsoever.
11. "Kept It Too Real"
On this one you get Plies turning towards raps which seem to take on the same sort of drive as what came with the tune prior to this, but instead of the light, cartoony beats which were heard before, you get a tune which has him taking things down an dirty, right down to the gutter as he talks of what 'real' is around in Fort Myers, Florida as he raps directly to one person from his Goon squad who needed to be taken out the game.
The R&B singer (and songwriter) Tank joins him here, and I felt that this unexpected name was a nice addition as he gets down into one where he is able to explore the seductive raps as he gets down to things on some freaky Bass which takes you back to the late eighties Booty Bass music of Miami. It does its job and seems to improve the quality to bounce things back from the low where it was just at before.
13. "Money Straight"
Here you have him going form a low-paced tune track one which contrasts significantly with this as he gets into one where he is able to rage through with an energetic display and take it all back towards the clubs to keep up the high standard of things whilst the momentum is in his favour (at least for this moment in time). It is one which you will like if you like the southern club rap scene and fits in with the trends of the time.
This was his breakthrough to the majority of people as it finds him doing a killer club tune where he is able to o come up with a fly display as he collaborates with the R&B singer Akon. The influence of this established name means tha the is able to show how well he is able to do things which is directed towards the mainstream (in spite of the rest of his music tending to contrast with all of this).
15. "Murkin' Season"
The album comes to a close with a rather weak track which has him getting down to a tune where he moves on from the raps which concentrate on the girls in order to get down to some deep and dark rhymes which focus their attention on taking things towards the streets. I can't say that I felt that it competed with other key name sin the Southern Rap game of the time (such as local Rick Ross), but it is better than some of the early material on the album.
This album is hugely inconsistent as you find he tries out too much all at once and flops quite hard at times. I felt that it was good to see a rapper getting out their without another guest (rapping) tracks in the whole thing to show that he is going to put it all out there at first, but really he hasn't got the lyrical capabilities to sustain this for a full album. I would recommend this as the club tunes are some killer tunes, but be aware that there are real lows here too (especially poor if you can't understand what he's on about).
Disc #1 Tracklisting
1 Real Testament Intro
2 100 Years
3 I Kno U Workin
4 On My Dick
5 1 Mo Time
6 I Am the Club
7 Runnin My Momma Crazy
8 Shawty - Plies, T-Pain,
10 Goons Lurkin
11 Kept It Too Real
12 You - Plies, , Tank
13 Money Straight
14 Hypnotized - Akon, Plies
15 Murkin Season