"Grand Pu", featuring vocals by Khadijah Mohammed, was produced by Grand Puba. This is basically an intro for the album while Khadijah sings..."oooh... It's Grand Pu...." It's actually a decent introduction compared to most mindless intros on typical rap albums. It's cool that Puba gives a shout out to his Brand Nubian brothers.

"All Day", featuring vocals by Khadijah Mohammed, was produced by Grand Puba. This reminds me of a Kool Keith track because of the low budget, keyboard-type beats. The electric bass chugs along as the computer snares pound. Puba chants the hook: "All day - word to mother- We gonna freak this - We gonna freak it - Keep it moving, baby! - All day..." Khadijah sings and Grand Puba complete the line or thought. Khadijah: "You know it's got to be"  [Puba: "Grand Puba" ] -  Khadijah: "We don't do shows for free" [Puba: "we need paper"] -  Khadijah: "handle your B-I-Z" - [Puba: "at all levels"] -  Khadijah: "in this industry"  [Puba: "watch the devil"] -  Khadijah: "Like, they don't like me" [Puba: "so whatever"] -  Khadijah: "That's just how it be..." The hook is very plain. Khadijah sings more (as she does throughout the album). Puba's verse doesn't come on until about a minute and a half into the 4 minutes song. Puba does kick a nice verse though: "There ain't a problem that I can't fix / T.V. and navigation up in the whip / So if a bird give me trouble, put her ass out on the double / Give her bus fair and call it a day / I don't play - with these chicks who have conscience / That's why my 2-way have caller I.D. / To block the chicken head nonsense / So let's get it on (let's get it on, get it on) /  What you sipping on? (something strong, something strong) / It's the Grand Puba to the T-O-P / Honey throw them curves like El Dukie / Came up from the food stamps to big shopping sprees / I'm only speaking French to chicken heads , Oui! Oui! / Cuz' I was caught up in all this physical attraction / Now I'm strictly Benjamin and Jackson / It's all day, every day, we don't play / Watch me and shorty bend like we hitting Alize'..." Yeah, it's a party verse but that's what Puba is good for. I always thought that Puba had the 2 kinds of verses: Party verses and social conscience verses. There's always verses about "chicken heads" but they go back and forth between the two kinds. His 2nd verse is short and sweet and basically the same type of rhymes. This is not going to be a big hit but it's a fun song.

"Issues", also produced by Puba is a more socially conscience song which delves into the thought processes and problems of his brothers and sisters. The beat sounds bery cheap because of the keyboard sounds but Puba's lyrics hold the song down. The hook is sung by Puba: "Now if you're tired of being poor - every time you walking out your door - Or you got no place to live because your moms bounced you out the crib - woah, woah, woah, woah - you got issues..." Now, this is the stuff I like Puba doing. He kicks a decent and thought provoking verse: "...Now don't you feel absolutely dead / With no bread / Smoke head / With eyes red / Ready to fill that metal up with led / And get you some / Spit that dum-dums and flip yums / Stuck in the slums / Because all your pocket got is bread crumbs.../ ../... I know it be hard to do your thing when you living like a peasant but be feeling like a king...." Puba has some positive and realistic verses about ghetto life. This is good track but the beat may turn some people off.

"What U Gonna Do For Me", featuring Tiffany Johnson, was produced by Grand Puba. This is the worst song on the album but it is also very catchy. The beat is just cheesy and cheap sounding as format-wise, it's similar to "I Gotta Man" by Positive K. The hook is sung by Puba and Johnson. Puba: "What you gonna do for me? If I spend this doe?" Johnson: "N*gga, don't try to think - that I'm just one of these hoes." Puba: "I'm just trying to holla at you - to see where your head is at." Johnsonn: "Don't think that you bought me a drink- that you gonna have me on my back." Puba tried a man-woman conversation song called "Back Stabbers" in his previous album ("2000"). This one is not as good but more catchy. Tiffany Johnson is nothing special on the mic either: "He loves me? / Nah, he loves me not / He probably thought I was in love but I loved his knots / It's hard to resist / What type of offer is this? / N*ggas drive me nuts cuz all they offer is dick.. / Dick don't pay the bills / Dick can't get a crib and dick can't get a car / ... / I act like an only child and play with myself..." Pubs does flip some funny verses but it's his delivery that makes it humorous: "Is you a gold digger? / Or is you digging a n*gga? / dig the way I put it down or are you digging my figgas? / .../ Bounce more chicks out of my cypher than immigration..." Overall, the song is lame.

"Skit 1" is a little skit about the record label schemes and promises... It's been done before.

"Don't Lie To Me", produced by Grand Puba, is a short track about the shady side of the record industry. The beat pounds nice and the high-hat cymbal sound is very quick giving it a wild feel to the song. The hook is chanted right from the beginning: "You ain't got to lie to me, got to lie to me..." Puba breaks down his drama with previous labels and teaches us a thing or two about the record industry. Puba uses one of his best verses for this song: "Everything was good / We signed on the dotted line / Bullsh*t advancement, thinking everything is fine / Up in the studio, working every night and day / For some strange reason, the work don't match the pay / Now I'm feeling like a slave, Kuta Kintay / An A&R telling me what we can't say / 'Brand Nubian, ya'll on some different sh*t B - It's gonna be kind of hard to get y'all on Mtv' / Now we on the road, promo, trying to blow / Family can't see em' living on bullsh*t per diem / Running around the country - assed out and half naked / 3 n*ggas splittting a dollar fifty off a record / Listen here yo! / this sh*t better blow / Cuz we ain't gonna see no paper till they get back all their doe / From the studio, photo shoots, and doe for clothes / Advancement for sh*t and not to mention videos / They way we gonna eat - then we gotta do these shows / I'm a keep it real with you, that's how the sh*t goes / The name of the game is tough luck if you don't know / I wish somebody would have schooled me a long time ago / About the sampling and sh*t / How much those artists get / The mechanicals of royalties and publishing and splits / We was happy y'all just being on tour / Until we learned the game and then, the attitudes enflame / House hold names / Pockets didn't match the fame /  And at the same time, dropped knowledge for your brain / Before you sit down, sip the 'Chris and celebrate / Be sure, for sure, n*gga, that you got your business face / Because once you signed on the dotted line, it's too late / The next 5 years, the record label got your fate..."  This is the kind of verse that I expect and love from Puba. It's serious but has humor while it teaches the listener. Too bad the song is only 2 minutes but that makes it perfect. It's not boring. Even though it's not an incredible beat by today's standards, it's one of the best beats on the album. Anyway, this is a lyrical driven track and Puba drives it well.

"Skit 2" is just an answering machine message of some guy giving him props... decent.. short and sweet.

"What's Up Wit It", featuring Sadat X, was produced by Puba himself. This is one of the best tracks and beats on the album. It hits hard and does not have that cheap sound. It reminds me of a cross between Jay Dee of Slum Village, due to the hand claps, and Rockwilder, due to the electronic nature of the beat. Puba brings an incredible energy to the track. The hook is yelled by Puba as you hear him chant "Get Up!" in the background: "It's you an me - On the floor - doing things - so, what's up with it? What's up with it? -What's up with it? -What's up with it?..." Puba kicks the first verse with some cool lines like "been making classic joints way before the Source existed.." and "Watch me scramble words like they be chicken abortions..." Some unknown emcee actually does a decent job on the second verse. The sleeve says Tiffany Johnson is on the track but I don't hear her and the 2nd verse is not from some guy named Tiffany that's for sure. The true jewel of this track is Sadat X. The great Dotty X spits: "I think I just found the sound that we was looking for / It's what I have to go downtown to the booking for / My four eyes could of saw right through her thighs / Intertwined bodies / I don't' really play the party / These fraudulent n*ggas handshake me to death / The industry types try to mop up what's left / By the code of my dead ancestor's, no doubt / All four wheels, so we can be out / I drink the mean green six pack / Keep police back at bay / Work or play, I stay a beast / She writing on my ear, telling me to release / I'm for this winner's side / Straight rims and Chucka Tims / Black leather, black all weather skullies / And 20's of dro, I'd thought I'd let you know / That I'm a be here till the black wax melt / I'm felt like the Garden fight / On my arm is something tight!..." Sadat X kills the track due to his delivery. His lyrics are like a puzzle to figure out. It makes the track great.

"Skit 3" is about the Lottery and losing it...it sets up the next track in a nice way.

"Dreams", produced by Puba, is about the aspirations of ghetto people. The slow beat chugs along with some thick keyboard sounds. Puba sings the chorus: "Now everybody wants to be rich - Nobody wants to be poor -  Everyday yyou hope to hit the Lotto - So you don't have to slave no more - In the hood we flip things to them fiends - Cuz even hood n*ggas got dreams - Everyday we get caught up in the struggle- So we can live life, love, and bubble.." This is one song where Puba's sung hook actually works. At first, I didn't like this track but it grew on me. Puba's verses are what truly shines on this song as he goes down the list of the different types of people in the ghetto and their dreams. Puba raps, "....Some jump up in the music game to get the green / Some do the acting thing to blow up on the movie screen / Some play ball hope they're drafted by a pro team / Some say 'man, I'm a play the hood and serve the fiends' / Some go to school and after that, do that college thing / Some drop out, get high, play the hood and bang / Some do the Wall Street, investors in stocks and bonds / Some don't do sh*t and still home, chilling with their moms..." There is an important truth to this song and Puba is very observant of his surroundings. This is a very good song but some people may be turned off by his sung hook. I'm glad I looked past it and gave the song a chance.

"Skit 4" is another answering machine message.

"Understand This", featuring Khadijah Mohammed on vocals, was produced by Puba. The beat attempts to hit hard and be upbeat at the same time. The electronic keyboard beat does come off sounding cheap though. It does have the same energy as a rock song. The only problem is the lyrics and the production.  The hook is sung by Khadijah with Puba rapping in the middle of the sung lines: Khadijah: "Let's get it cracking!" [Puba: "That's that sh*t!"] Khadijah: "We get it popping!" [Puba: "All night long"] Khadijah: "Tell me what you're waiting for!" [Puba: "Shake that sh*t"] Khadijah: "No need for hating" [Puba: "On our sh*t!"] Khadijah: "Keeps it raw, and that's for sure! Get on the floor - what you waiting for?... understand this right now!..." Puba does have a good energy on the song but the cheap electronic keyboard noises and the weak chorus drags the song down. In the start of his verse, there is a cool scratched slice of another song. It's so short that it made me want more of that stuff. The best part of the song is Puba's energetic verses. He does pull out a couple of nice lines like: "Used to cruise the projects in my toy car tinted / With the next door neighbor's daughter in it..." Unfortunately, it's not one of the better songs.

"Skit 5" is a telephone conversation about a woman telling her man that she's pregnant. I don't want to ruin it for you.

"Baby Mama Drama", produced by Puba, is basically a song about getting women pregnant. It's a warning for guys to be careful. The beat is better here. The mid tempo rhythm glides along with some cool organ sounds and a light guitar sample noise.  Puba sings the hook by himself again but for some reason, it works. Puba sings: "If you have a kid with a chick, then I hope that you love her - There's no stress like Baby Mother - Some of these girls use a baby to get back at a brother - Cuz it ain't the same as it was - Some cats bounce to leave the chick to play the daddy and the mother - It's all about the kid and not her - If you and her don't work out then you still got to handle yours n*gga - So handle your business n*gga!..." At first, some may think the song to be tacky or down right rude but the man has a point. This does happen. Not all babies are born out of love. Puba's verses share a humor with a does of reality: "... She got you for everything / The crib and the whip and the bling / Ka-ching! / now if you ain't feeling shorty like that you better put it on, put it on, put it on, put it on.... / /...It be a whole lot of seeds made from Hennessey and trees / Once you raw dog hit it then you ass done committed / Cuz you d*ck thinking / Too many trees, too much drinking / A one time resentment got you a lifetime commitment / you hate her now / You tell her 'get rid of that sh*t' / But she had 3 abortions already, so she keeping it..." He must speak from experience because he goes in-depth into the whole situation. This song is focused and the theme is stuck to. I'd rather hear songs like this than weak party tracks without substance. This song, as tacky and arrogant as it is, has substance and is a decent track.

"Up & Down" was produced by Lord Jamar. The beat is dope and possibly one of the best on the album of weak beats. The snares hit hard and the keyboard sound effects drill into your head. It even changes for the second part of the hook and gets pretty crazy with wild horn samples.. Puba brings a tremendous energy to his verses: "....Right now, Grand Puba  'bout to blow this mic out / Got'cha movin like roaches with the lights out / Finger-lickin like chicken in a dyke's house / Don't stop, get it poppin like Redenbacher / Move more feet than Koreans in a nail shop / Keep it ghetto like Bodega's after twelve o'clock / Shorty shakin like a chick up in the booty spot / That's what's up, can't you smell what the Pub-ah cookin /   Got a girl with a wife on his side and still lookin / You know my style is +Always+ like Coca-Cola / I flip out like Skytel-Motorola / In two-thou, my new Benz is ridin solar / And my seed got a V8 in the stroller / You know the 4-1-1, see it's time to make the paper pile / Ain't no need to act funny style..."   The hook is also handled by Puba and it's just as energetic. Puba handles the hook: "...Ain't no need to stop (Uh) -Puba 'bout to drop (Yeah) - Get that ass (What?) Out on that floor (Uh-huh)-  Know we keep it hot (Yeah) - Give it all ya got (Uh) - Move it up and down like a Chevy 6-4 (Yeahh)-  You know how it's going down - Grand Puba is back in town - Baby ain't no time to climb - Go up and down and up and down...." Sadat X is listed on the sleeve but he is NOT on this song. He's in another song later that he is NOT listed on. (At least the tracklisting is not as messed up as the new Ghostface Killah album.) I wish more of the songs were produced by Lord Jamar. This is one of the best tracks on the album.

"Skit 6" is just another answering machine message over a cheesy beat.

"What U Want", featuring Tiffany Johnson, was produced by Puba. This is a typical filler track where Puba sings the hook. The beat is mid tempo with synth melodies that are very simple and very common sounding. There is a vocal sample or voice in the background that does make the beat sound full. This is a great addition to the track and makes it somewhat decent.  Puba sings: "Just feel me now, it's time to do this here - Pop the clutch and put that ass in gear - 2K2, baby it's our year - No need to fear because the Puba's here - So ain't no need to be curious - Listen, llove - This is something serious - Don't stop girl, just hurt sh*t - Work it!! Work it! Work it! Work it!..." Although this is considered a filler track, it's good. Puba displays a good energy in his verses too even though there isn't an important theme. Tiffany Johnson flips a somewhat annoying verse: ".. Miss Prissy / Straight from the big titty committee / Low down and gritty / Hicky-ed up / Plus strictly d*ckly...." Sure, there's some funny lines and her voice is not that bad but she brings nothing new to the table. As a filler track, this is actually pretty good.

"Keep It Movin", featuring Lord Jamar, Sadat X and chorus vocals by Khadijah Mohammed, was produced by Puba. The beat is actually quite full. There are both the snares and the rolling high-hat cymbal sounds. The organ is nice and the backing vocals by Khadijah actually work well. She sings the hook: "...How far would you still feel me - If I didn't make these hits? - Couldn't get you what you're used to sipping Chris and taking trips - Would you still be in my corner or on some other sh*t? -  But if so, then I don't need you so let's keep it moving b*tch!..." She sings this hook and it actually works because of the hardcore attitude in the lyrics. The true jewel is Sadat X in this track but Lord Jamar and Puba do a good job too. The song is about friends or romantic relationships staying together because the money is coming in. Once the money is gone, people split. Sadat X brings the usual dopeness to the 2nd verse: "...We can play home / As long as you can play with the dome / A cold killer, drink a cold can of Miller / .../... Riding in the 2-seater, riding with the heater / If I meet her tonight, can I beep? / Do it taste sweet? / Can I really eat? / Bon appetite! / Is it facts or fake? / Me and old girl could always swing / But why every time got to be on me? / Cuz y'all b*tches know that sh*t is free / Now I'm back in the streets / Before 10:30 / Gotta take a shower, can't leave my d*ck dirty..." It's his whole delivery and ghetto vibe that makes this song dope. I truly wish he was on more tracks but 2 is good. Lord Jamar gives an excellent verse too. He paints a vivid picture of a hard situation where he is let down by a so-called friend or lover. Lord Jamar raps the final verse: "....Now when a n*gga had money, you was there / Funny how every time I turned around, you was there /  When it was time to get your hair, your nails and your gear / But with my court date, you failed to appear / For my case on appeals, it took over a year / In that time, a n*gga didn't see nor hear / Got to the point, there was no respect at all / I was shocked when you did not collect my call / Spent nights in my cell just beating my d*ck / Thinking 'bout, how we used to f*ck and sh*t / I took you out - bought your ass a bunch of sh*t / When I get out - I'm gonna f*cking punch this b*tch - right in her mouth / Cuz she don't understand the rules / You don't bite the hand of the man who dipped your hand in jewels / You were there when I bought the rock that blinded you / Now a n*gga locked and I can't find you..." Jamar flips one of the best verses he rocked in a long time. This song makes me want to hear another Brand Nubain album because it's one of the best songs on the album.

"Spazz Out 2" features The Restless and was produced by Puba. Grand Puba is not even on the song. He only produced it and it's not that good at all. This is part 2 and I have no interest in hearing part 1. The Restless just sound like another typical rap group. They do not bring anything new to the table. The beat is also very cheap sounding due to the very cheesy synth melody and the weak snares. The hook is chanted by The Restless: "...This is for my n*ggas on the block, yo, spazz out! - Everybody in the spot, yo! - Spazz out! - you feminist cause it's hot you wanna spazz out! - Just wild out to this cause we don't give a f*ck!...." I can appreciate the energy but the lyrics and flows are truly nothing special. The lyrics are typical as they rap about money, ice, rims, and 'getting drunk to this!'. The whole "feminist" line in the hook sounds lame too.  This is a hard song though because of the hunger and sinister lyrics of the emcees. It just does not fit on this album. There's a song by The Representativz called "Spaz Out". I suggest you listen to that one.

"How Many More", produced by Puba is a nice way to end the album. The beat sounds like the other beats on the album but it's just a little more full. Also, lyrically, Puba put some thought into his verses. The electric snares and high hats actually work well with the synth melody. "... Too many shorties dieing everyday / too many brothers being locked away / Realize what's really going on / And how the black community got so torn / How many more mothers got to mourn? /  He didn't make 18 and he's living in the lawn / Somebody tell me - what's that all about? / there's too many shorties checking out / My n*ggas locked up for a lifetime / Didn't even get a chance to use his life line / The game is set up for you to lose / so watch to po-po because like Tom they cruise ..." Puba sings the hook but there is a sincerity and passion in his voice that has to be respected : "How many more got to die? - How many more mothers got to cry? - How many more locked away for life? - Just trying to get a piece of the pie - the struggle continues - (we hate each other) - and we don't know the reason why -  Crabs in the bathroom - until the day we die..." It is evident that Puba loves his people and it breaks his heart to see them this way. This is an important song for Puba because of his sincerity and subject matter. It's not a party track but ends the album with a thought provoking sentiment. This is another excellent track and I wish this album had more songs like this one.

The BEATS are main weakening factor of the album. There are a couple of very dope beats like “What's Up Wit It” and “Up & Down” but for the most part, they sound very repetitious and weak. The cheesy electronic snares and keyboard synth melodies not only sound simple but cheap. There are some cases where Puba does works well with his beats. “Don't Lie To Me” is great because it’s short and the high hat cymbal sound is extremely quick. The repetitious beats that have the very boring and cheesy sounding keyboard sounds does give the whole album an underground feel but makes it hard for the listener just to ‘feel’ the song.

The PRODUCTION is almost totally handled by Grand Puba himself. The beats on this album remind me of Kool Keith’s latest work. (but I would rather hear Keith’s beats than these.) It’s a shame too because Puba’s “2000” LP had decent beats produced by Alamo, Minnesota and others. Here, Lord Jamar is the only guest producer. His beat “Up & Down” is one of the best beats on the album. Puba’s last appearance was on the Brand Nubian album “Foundation”. That album had production by Premier, Alamo, Buckwild, Lord Finnesse and more. “Understand This” has poor production quality because of the lack of variety in production. Not only does the production get repetitious but it sounds cheap and cheesy at times. Gangstarr can have a whole album produced by Premier but it always sounds thick and hard. Here, Puba is an inexperienced producer compared to the producers he has worked with in the past. It drags the album down. The snares do not hit hard and the synth keyboard melodies are very simple and very cheesy at times. Still, “Up & Down” and “What’s Up Wit It” along with “Keep It Movin” and “Baby Mama Drama” displays the good production. As a whole, “Understand This” has very poor production.

The LYRICS on “Understand This” are what keeps this album together. Puba’s delivery is also well executed. He’s not my favorite Brand Nubian member but on a strictly lyrical aspect, he does a great job. He’s tight with his rhymes but there’s a loose quality there which keeps the listener surprised sometimes. Also, “Understand This” has different topics whereas “2000” had more generic songs. On “2000”, there were typical songs like “Keep On”, “A Little Of This”, “Very Special”, and “I Like It” which were just basic braggadocio hip-hop party tracks. On “Understand This”, subject matter is expanded. Pregnancy and the responsibility that goes with it is dealt with in “Baby Mama Drama” while record label lies and politics are exposed in “Don’t Lie To Me”. The truly deep and important song is “How Many More” which deals with how African Americans are killing each other. Still, there are the typical generic tracks like “What U Want” and “All Day”. The album “2000” has better beats but “Understand This” has better lyrics.

It is a little complicated to rate the CREATIVITY / ORIGINALITY of “Understand This”. In a way, Puba has been creative and original by producing 95% of the album by himself and not having tons of guests who are ‘hot at the moment’. Unfortunately, the production is not that great. Puba’s originality comes from the balancing act between him as a typical emcee who loves money and women while being a socially conscience emcee at the same time. Puba is one of the few emcees who can maintain that balance. When it comes to production and beats, the synth melodies and cheap, electronic snares sound like a very cheap version of well known producers. "What's Up Wit It" is a perfect example. Even though I think it's a good song (one of the best on the album), it sounds like it's a cross between Rockwilder and Jay Dee. The creativity has to be sought in the lyrics and even though Puba pulls out some good topics and punch lines, he comes off as an old emcee just trying to make another album.

The ALBUM FLOW is surprisingly high. For 20 songs, the album does flow quickly due to the short length of the songs, the variations of themes and repetition of beats. Lyrically, it's varied. There are party songs placed next to socially conscience songs. Beat-wise, most of the songs sound similar. 6 out of the 20 tracks are skits. If you add an intro track,  you only have 13 actual songs. If you are in the mood for Puba's lyrics and delivery and you can stomach the beats, this album can be listened to in one sitting without a problem. From one song to the next, the album truly flows with grace.

The HARDCORE RATING of "Understand This" is complicated because of the types of songs, Puba's attitude, and the production. One one hand, I respect Puba's ambition for doing it himself but on the other hand, the final beats leave quite a bit to be desired. Also, the beats are not too original sounding because they follow the synth and electronic trend. Lyrically, Puba walks the line between commercial and hardcore. One some songs, he's partying and talking about money and girls. On other songs, he talks about ghetto dreams, the struggle, and pregnancy. "Spazz Out 2" is the most hardcore song and Puba is not even on it. Still, "Keep It Movin" has a wicked sung chorus where the woman sings "Keep it movin, b*ch". This represents the attitude of the album. The hardcore expression is hidden behind the cheesy beats and the RnB sung hooks.

Overall, "Understand This" by Grand Puba is somewhat of a disappointment for die hard Brand Nubian fans. I doubt this will go gold but Puba's ambition, lyrical dexterity and delivery should not be ignored. Those three things carry this album and make it somewhat easy to listen to. Still, as hiphop fans, we are used to Puba rocking the mic over beats like "One For All", "Slow Down", "I Like It", "360 (What Goes Around)" and many others. Sonically, this is a departure from the typical Puba L but as an emcee, he's the Puba we all love. Whereas "2000" has better beats, "Understand This" has better topics and is lyrically, a better album.  This is truly an album for die-hard Brand Nubian or Grand Puba fans. Still, the man loves his people and loves hip-hop, we should understand that.

Beats: 4/10.
Production: 4/10.
Lyrics: 8.25/10.
Creativity/Originality: 5/10.
Album Flow: 9/10.
Hard-core Rating: 6/10.
[ Overall Rating:  6 / 10 ]