Here we have a unreleased track from E-40 and “the gang.” That’s how the track was tagged when we received it. It features Roscoe Umali and MIM’s with production from Dem Jointz. Wondering if this is a left over track or something from a project that was scrapped or maybe not completed yet. Check out the track below, and check out the reviews of E-40′s new album here and here.

E-40 + MIMs + Roscoe Umali – “Makin’ Money” (MP3)

Barrington Levy + Snoop Dogg + MIMS – “Murderer” (MP3)

Nice to see that Bad Seed is still doing his thing, grabbing both Talib Kweli and often-hated-yet-underrated Mims for this local anthem. They on their New York shit.

Bad Seed + Talib Kweli + MIMS – “Yankee Fitted” (MP3)

Listen: KRS-One feat. Redman & Mims – “How To Be An Emcee 2010″

The album jumps off with the title track produced by The Kaliphat.  Mims explains what he has gone through the last year or so and relates it to one word, “Guilt”.  Next up is a hilarious skit where Mims not only embraces the fact that the public thinks he is a one hit wonder, but plays off it and calls himself a “none hit wonder”. Which leads this critic to believe he is still the same emcee we heard on “I Did You Wrong”, as opposed to the soulless, commercial emcee we heard talking about “saying nothing on a track”. Newcomers Da Internz come through with “On and On” which could have been the initial single for radio. Mims once again shows the listener he is not afraid to confront the fact that he was once a conscious rapper and now he’s on that “commercial shit”.  Producers Blackout Movement or Winston and Danny Boy are not near as prevalent as they were on the debut, but they really show their diversity on “One Day” featuring Ky-Mani Marley. Mims shows how well rounded an emcee he is by relating to the struggle and how bad things really are in this country and abroad.   “Chasing Sunshine” featuring and produced by KVN once again shows another Mims, this time over snapping snares and a distorted guitar riff reminiscent of Linkin Park.   The other stand out track is “I Do” featuring the always entertaining Nice and Smooth. It’s great to see new age emcee’s grabbing those who paved the way, and showing that much needed respect.

As with most commercial releases, there are some major flaws. Whether you can bounce to it in the club or not, “Move” is a pathetic attempt at radio airplay, and even worse is “Love Rollercoaster”.  Jim Jonsin’s nearly unlistenable “Rock ‘N Rollin” featuring Tech N9ne has no place on this album as the same can be said for “Makin Money”. Mims and his production staff show flashes of classic material, but then revert back to what can only be attributed to an A&R’s wet dream.  Towing the line in 2009 is nearly impossible to do. 2pac and Notorious B.I.G. were the masters at this craft and Mims is well on his way, unfortunately the attempts at commercial music fall flat on Guilt while the heartfelt, conscious raps shine through.  To call Mims a one hit wonder is an uneducated statement.  Yes, he had a hit, but after listening to Guilt he might just have a classic down the road.  - DG

   One of the biggest flaws is the sheer lack of creativity.  Rather than make a complete album, MIMS attempts to make a collection of singles formulated to have the same type of pop appeal as his lead single.  He even refers to “This Is Why I’m Hot” on three other songs, not to mention actually sampling it on “They Don’t Wanna Play”.  Lyrically, MIMS leaves much to be desired.  His flow and word play are very elementary (think Young Jeezy) and often come off as predictable and corny. (“I travel the globe/ but no I’m not a trotter.”  Ahem.) The hooks also share the same simplistic characteristics.  On “Girlfriend’s Fav MC”, singer J Holiday belts out, “She’s all into me, like a wrist in a bracelet.”  Often using the same words to end punchlines and at times not even rhyming them, it’s clear that his lyrics were a secondary focus. 

   There really isn’t anything that a listener can hang his hat on.  The production on the album is average at best.  Other than the lead single, most of the beats are mainly interchangeable and that gives the album a monotonous feel.  Nearly all of the tracks are regurgitated Hip-Hop clichés and without a strong lyrical performance to support his swagger, MIMS’ braggadocios attitude is annoying and overbearing.

   This album is the result of an artist chasing album sales rather than creating quality music.  You have to wait until the 15th track, “Don’t Cry (Outro)”, to get an idea of who MIMS actually is.  On this song he illustrates his humble beginnings and inspires others not to give up when times are tough.  The other beacon of light is the soulful, “Where I Belong”, where he describes his view of a perfect world a la Nas in “If I Ruled the World”.  These are the only two songs on the album where the content has any depth. 

   For an emcee to say that he plans to “bring New York back”, you’d expect to leave with more than how fly MIMS feels he is.  The first few lines of “This Is Why I’m Hot” pretty much sum it up, “This is why I’m hot/ I ain’t gotta rap/ I could sell a mill/ sayin’ nothing on the track.”  This album is great if you are looking to add a ringtone, but expecting more than that will leave you disappointed.