“I’m about to Picasso a new picture for y’all motherfuckers!” These entry lines on “Everybody Rise Again” say it all. This is a new Busta Rhymes. It’s his “Genesis”. He still has that screaming-thing going on, that’s for sure, not to mention the hair, but still, it truly is a new Busta Rhymes. Known for painting apocalyptic pictures on the wall, Busta obviously got used to the new Millennium, and on “Genesis”, Busta prefers joining P.Diddy to rap about cognac brands (“Pass The Courvoisier”). That says it all. But hey, it’s all good. Busta keeps it grimy, just like his new CEO Clive David instructs him during the intro, and obviously seems to enjoy his new role. The album takes off with a real banger. The Neptunes-produced “As I Come Back” is as innovative and electrifying as all the milestones we’ve heard from the toothpaste-man. On “Shut ‘Em Down 2002”, Pete Rock offers a solid remake of Public Enemy’s 90’s hit “Shut ‘Em Down”, but since I grew up with “Apocalypse ‘91”, I’m personally not too fond of the remake. It fits Busta’s mood on the track though, that has to be admitted. “Betta Stay Up In Your House” is the first Flipmode-track, and Rah Digga proves that she’s still the hottest female in the game. If she was Busta’s protégé on previous tracks, she’s now standing eye to eye with her former mentor. Impressive. With “Truck Volume” follows the first of three Dre-produced tracks, but it’s nothing special. It’s still one of the better songs on the album (otherwise it wouldn’t be mentioned in this review) but stakes is high for Mr.Young and this certainly isn’t Dre to the fullest. On “Pass The Courvoisier”, like I mentioned above, Bus joins the Puffster to celebrate french cognac, which is nice, but not earth-shaking. At least, Puff doesn’t really fall off, props go to his ghostwriter. “Break Ya Neck” is certainly the tightest Dre-track on “Genesis”, merciless kicking Busta’s style for three-and-a-half minutes. If it doesn’t break your neck, you’re doing something wrong. But Dre’s performance is again seriously questioned on “Holla”. Don’t get me wrong, it’s a tight beat, but wouldn’t y’all expect someone like…let’s see…Xzibit kicking that shit? This certainly isn’t Busta’s soundcoat. “Wife In Law” presents Bus from a slower, more sexual side we’re not too used to, but with support from Jaheim, the song rises into the top five of the album. Battlecat delivers the clickering, bubbling, slingering “Ass On Your Shoulders” (feat. Kokane), while the Neptunes manifest their status on the infamous “What It Is” (feat. Kelis). Mary J. Blige tries to have the last word on “There’s Only One”, but she falls slightly short to the energetic rainbowhead. Overall, Busta Rhymes celebrates a successful rebirth, the change from Elektra to J Records definitely leaving his mark. But if we look at “Genesis” as a new beginning, the new Busta probably needs a second shot to fit completely into his new role. (HAD)