Black & King Stamina), where it seems like Middleton has concocted a throwback Daz/Dre track that would have fit right in on 'Dogg Food'. He even shows a nod of respect to the Deathrow days on 'West Coast '96' (feat. Black), which is basically an unofficial sequel to 'Feel So West Coast', 'Gettin Paper In Cali', and 'Another Summer', an uber-smooth summer anthem for the cynic in all of us (it sounds weird, but check out the lyrics and you'll see what I mean). Vintage XL also surfaces on tracks like '4 Tha West' (feat. Another likewise comparison - 'Wouldn't Wanna Spoil That' (featuring Mista Mil) stretches XL's former musical boundaries and delves into a highly experimental mix of swooshing pads and 808 claps, while 'Let It Bump' revels in its Funkadelic-inspired soundscapes. Low-D into the mix to let his Japanese fans know that he really sees them!). XL is simply at the point where he's found his niche and is now trying to expand it, while pleasing his core audience at the same time.ДЇor example, the lead single 'Ah Yes' features a dark, slow-rolling groove and a screwed-and-chopped hook that would fit in on any Down South mixtape yet on 'G-House Party', he takes it straight to the excesses of 80's retro funk with an uptempo groove that Quik would be proud of (and for good measure, he throws Japanese MC Mr. Essentially this record is devoid of major label influence. 'The Refill' is definitely not a 'money' album, with no recognizably radio songs to speak of. Of course, there have been a slew of rappers who have titled their albums as sequels to their magnum opus, some in hopes of rekindling the magic, and others only in search of monetary gains. 2: The Refill', you can actually feel a chill in your bones, as it seems that XL is once again conjuring up the same formula that made the first 'Drunken Evening' album an underground classic. Once you press play and hear the dark, haunting intro to XL Middleton's 'Drunken Evening Pt.

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