After dropping the accompanying score to Jay-Z’s mega-successful Hard Knock Life tour, DJ Clue returns with his third major label mixtape endeavor The Professional Pt. 2. Though there is no change to Clue’s loosely scripted formula, his networking abilities remain essential, as his name continues to draw hip-hop’s reigning chart-toppers. However, assimilating these hired guns into a cohesive unit still proves troublesome for Clue.

Like most of his star-studded gatherings The Professional Pt. 2 contains little chemistry. And his fast food mentality of eschewing cohesion, for accessibility, again becomes this mixtapes main Achilles’ heel (a facet his closest competitor Tony Touch has become more adept in). Exemplifying Clue’s cut and paste mentality are “What The Beat” feat. Eminem, Method Man, and Royce Da 5-9, and the uninspired “Fantastic Four Pt. 2″ feat. Lox, Nature, Cam’ron, and Fabolous. Yet, most-disturbing were the assortment of awkward, unbalanced groupings, as less-talented newcomers spoil Beanie Sigel’s “Coming For You” feat. Freeway, and Memphis Bleek’s “M.A.R.C.Y.” which features Geda K. Also, Raekwon & Ghostface Killah’s attempt to update “C.R.E.A.M” on “Cream 2001″, misfires horribly, as both emcees are drowned out by the flossy production of Rick Rock.

While we get the usual smoke, and mirrors, and blase’ collaborations from the usual suspects, there are a few interesting facets to Professional. New offerings from Busta Rhymes & Rah Digga “Getting It”, and Redman’s “RED” (which defies explanation), all bring crazy energy. Likewise, Mary J. Blige flips Caron Wheeler’s vocals lovely on the reinterpolation of Soul II Soul’s classic “Back 2 Life 2001″ feat. Jadakiss, and even a throwaway Mobb Deep cut (“Best Of Queens (It’s Us)”) manages to establish itself as one of the LP’s better cuts.

However, it is the existence of a few disses that really spices up the proceedings. As two of hip-hop’s more publicized, and escalating beefs (Roc-A-Fella/QB, and Lil Kim/Foxy Brown) all resurface here. While Memphis Bleek used Clue’s last release to slight Nas, he has now turned his attention to Prodigy on “Change The Game (Remix)”—-”get your mind right nigga fore’ you mention me, your click ain’t to thorough to mention we.” Likewise, Nas’ indirect lyrics on “Live From The Bridge” are still easily translatable to Jigga’s Camp—-” my words turn the sea red, like the eyes of a weedhead, y’all peep my lead, then hide like Easter eggs, I ride till the beef is dead, cash gets dropped, your soul go up further then astronauts, I talk it and live it, y’all weak dudes should offer forgiveness, cause you fronting like you ill, get yourself tortured by killas.” And Foxy’s diss of Lil Kim on the tropical “So Hot” is the only intriguing aspect of an otherwise grating track—”I’m the reason bitches ride dick, I’m the reason them black cocks stiff, Fox is the only reason, why them bitch wanna run and buy fake tits.”

While Clue does have more creative input, producing nearly half of the LP’s cuts, his repetitive drum-patterns remain monotonous and show little signs of growth. Whatever your take on Clue maybe, his progression from the trunk, to the hallowed halls of Def Jam deserve props for no other reason then being a groundbreaker to the future mixtape slingers that will follow. Though expectations from Clue’s gala-studded gatherings have undeniably been tempered by mediocre product, he is not out to change the world, just to make you forget about it for 70 minutes. Mission accomplished.