Therefore, it's some sort of poetic justice, or just a really good joke, that on his recent hit single, "Oh Boy," the beat itself features a sampled high-pitched voice that chimes in "boy" at the end of every second beat. Of course, writing around that glitch and creating coherent verses is something of a talent, one that Cam and his protJuelz Santana display an adeptness for. But on this track, as on much of the rest of this, Cam's third album, it's the music that saves him.

"Welcome to New York City" is something of a monster, a loud, aggressive rock track that's meant to serve as a riposte to Jermaine Dupri's "Welcome to Atlanta" but is too concerned with its own urban indulgences to truly worry about what's going on elsewhere. The horns that blare throughout "The ROC" (featuring labelmates Memphis Bleek and Beanie Sigel) give the Roc-A-Fella crew a threatening edge that's lost in the blinding glare of Jay-Z's megaplatinum success. But there's little heart behind Cam's ice grill. His deliberate rhyme style makes even his most impassioned rhymes, as on the otherwise excellent "Live My Life" and "Come Home With Me," sound a bit perfunctory. No amount of vocal tic can save him.