It seems that even after his stint in jail after catching a murder charge, Philadelphia’s Cassidy is still stuck in the hustler mentality as he releases C.A.S.H. Cassidy has been on record stating that it stands for Cass A Straight Hustla, but whatever the acronym’s meaning, it’s clear that money is on Cassidy’s mind as most of the tracks end up taking on that C.R.E.A.M. subject matter.
The problem is, Hip Hop is inundated with emcees that rap about exactly this same thing. So unless they’re extremely good at what they set out to do, they’re going to blend into the background. Chances are unless someone is a die-hard fan of Cassidy, C.A.S.H. will indeed suffer this fate, as most tracks stay at a stagnant average status. “Face 2 Face”
, which starts out with a sing-songy nursery-rhyme-turned-Gangsta Rap quip which is better left to the Dancehall singers who make hits out of the easily-recognized tunes, is an effort that falls short. In concept it has potential, but when Cassidy spends over a minute and a half just calling out names of who he would like to see battle, boredom overcomes any point that Cassidy was trying to make.
Certain standouts show face in the form of the self-produced (with assistance from Neo da Matrix and Top Notch, respectively) “Paper Up” and “Hate Me or Love Me.” Cassidy rhymes over a feel-good, electric guitar-dominated instrumental on “Paper Up” , “I stay countin’ paper up, that’s why I stay with a paper cut, money don’t grow on trees, but we rakin’ up, I’m cakin’ up it ain’t greed but I need more, ‘cause I’m the best thing smoking like my weed store.” On the hustler’s anthem “Hate Me or Love Me” Cass spits braggadocio between singing hooks, such as, “I ain’t selfish y’all / I’m more of a boss than y’all / I look better got more cheddar and more heart than y’all / You from the projects but you ain’t never walked the hall / Plus you wasn’t in the streets, you only hustle in your sleep.”
A few features from notable names such as Mya, Red Cafe, and Game switch things up and give listeners a break from the punchline-driven, and sometimes toeing the line of corny, raps that Cassidy spits track after track. Potential club rotation comes in the form of “One Shot,” produced by Vinylz, and the official single “Drumma Bass” , which is also one of many tracks co-produced by Cassidy himself. Even when Cassidy attempts to get deep over some Boi-1da production on “Peace,” his questioning of street violence seems insincere after he spent a whole album talking about pushing drugs, busting guns, and various sexual exploits with the looser women of society.
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C.A.S.H., a Kross Over Entertainment (under the supervision of the NBA-famed Carmelo Anthony) release, stands as an underwhelming addition to Cassidy’s discography. His listeners know he’s a hustler, but now need to be reminded that he’s still capable of being the emcee that he once was.
