On his latest effort, The Broad Street Bully, Philly lyricist Beanie Sigel doesn’t show up until halfway through the album. The first track, “Beanie,” is a simple intro with an unentertaining beat and a few shouts from Sigel. The following song, “Why Wouldn’t I,” is not much more exciting. Beanie rap-talks, out of tempo at times, over unoriginal instrumental work.

Tracks like “Why Wouldn’t I” and “Tear Drops” are just good enough to keep you listening, until long-time Sigel colleague Freeway rips through the music with one of the roughest sets of vocal chords in hip hop. Freeway pulls more weight than Sigel on his own album until somewhere around track seven of 12, when production and the album’s feature artist wake up and kick the aural experience up a few notches.

One musical highlight is “Where’s My Opponent,” driven by a fast-paced synth over a funky horn and keys foundation that belongs on the soundtrack for a gangster mystery movie or a film noir. “Run to the Roc,” with its smooth, Caribbean-feel and dancing bass line, is another rare treat. Vocally, “All for It” is the cream of the crop on this album; it’s where Sigel displays the most ferocity in his enunciation and articulation. The Murda Mill assisted “Bang Bang” might be the best vocal-instrumental combination on the whole album. Sigel sandwiches gritty verses in between a catchy, sing-along-worthy hook. All this is layered over the pump of powerful kick drums and the slap of metallic snares.

Aside from a few tracks, Beanie Sigel sounds like he didn’t really feel like rapping on this album. As for the instrumental work, you need to come up with something a little more original to capture anyone’s attention in a world where music is coming from all angles. The album is nice enough to listen to, but doesn’t make me want to listen again.

Beanie drops the ball on this album: If I came away from The Broad Street Bully with one thing in mind, it’s that I gotta go cop Freeway’s latest album, Philadelphia Freeway.