The term “backpacker rap” usually refers to an artist of the underground variety. But is that same artist still considered a “backpacker” if they’ve written smashes for some of the most commercial artists in the game? Well that’s a question you should ask Shaquan “Skillz” Lewis. The artist formally known as “Mad” is back with his third offering titled The Million Dollar Backpack.

This album proves that three times can be a charm with the Virginia native recruiting some of the biggest names in the biz to lend a helping hand. Unlike his first album From Where??? which was doomed from the start due to the fact that it came out the same day as Tupac’s All Eyez On Me and Fugees’ The Score, Skillz can now breathe easy knowing that he doesn’t have to compete with heavyweights like again on his release date.

The album begins with the intro track, ‘Million Dollar Backpack.’ After what sounds like people getting interviewed on the street about what’s in their backpack, Skillz adopts the phone voice (via ‘Phone Tap’ with Nas and AZ) and gives a brief history lesson on one of the most convenient sources used to carry your personal belongings.

Seattle-based producer Jake One gets behind the boards for ‘Where I Been.’ Over the poppy drums and piano loop, Skillz lets folks know that he’s been here the whole time with lines like, “Well listen up my friend/I’ve been in the lab gettin’ it in/if not there, then I’m out gettin’ trill/in Miami doin’ it up with Will.”

Freeway jumps on the exceptional production that makes up ‘Don’t Act Like You Don’t Know.’ The beat itself seems to light a small fire under the MC who sounds just as hungry as ever and metaphors like, “Friday 13th, time to face the fire/and these young’ns wanna act like Michael on The Wire/till they realize Michael just a actor on The Wire” can attest to that. But the Muslim MC from Philly does a decent job at keeping up by brandishing his unorthodox flow pattern, “Free get cash, whip ass Ike Turner/with whips through the city, nothing less than a S-Class/here I’m up in the best class, you can’t last.”

After the hyper tone of ‘Don’t Act Like You Don’t Know’ dies down, Skillz slows down the pace a little with ‘So Far So Good’ (feat. Common). The title of the song fits the concept of what they’re both trying to get across to the listeners; with them basically talking about their lives up to this point and time.

‘Sick’ is a punch line filled creation with Skillz using other MC’s as examples to show just how long he’s been “sick” with it, “I was sick before the South had hits/sick before you knew how to download something this sick/so sick, and slick with the tongue/sick before ‘Ye and Swizz Beatz knew how to chop them drums.” On ‘My Phone,’

Skillz takes the ‘Just Playing (Dreams)’ notion used by The Notorious B.I.G., but harmlessly rhymes about getting the phone numbers of the famous females instead of talking about sleeping with them. 

The Roots are in full effect on ‘Hold Tight’ with ?uestlove on production and Black Thought helping out on the MC side of things. Over the trademark sound that makes The Roots who they are, Skillz discusses his dislike for the law, “You policing the police, when they ain’t legit/no need for a notepad officer, I don’t know sh*t” while Riq Geez displays his capability to dish out descriptive subject matter, “What my man Norm can’t stand/he’s being ordered around, by some clown/that’s besides the point/he just paroled from five years inside the joint.”

‘I’m Gon Make It’ (produced by Bink!) is a story about the ups and downs the MC had to endure before his backpack ended up being worth million dollars. Over the organs and loud drum kicks, he shares a slice of his life, “Now I done—been broke been poor/no bread, no eggs, I done been next door/next meal, I done been unsure.” For the remainder of the project, Skillz does a good job in choosing the right beats to fit his content. Songs like ‘Yeah Ya Know It’ (feat. Truck North), ‘Be Alright,’ ‘(For Real) He Don’t Own Me,’ and ‘Crazy World’ are all good additions to a solid album.

Skillz can be guilty of being his own gift and curse by penning hits for other artists, but falling short when his time comes to shine under his own talent. It could be because the people he’s helped to keep relevant already had the commercial appeal that’s escaped him. But whatever the reason is, Skillz makes a solid case on why he shouldn’t be overlooked in a game that is becoming less lyrical as the years go by—while showcasing the rhyming ability that has kept him in high demand with artists who are in desperate need of his services.