Stalley begins his appropriation of Common's excellent "Blue Sky" with the assertation that "they sayin' I'm the next up/A lot of new rappers/ But I'm the best up." While such bravado is not rare in rap--indeed, it is crucial to the lifeblood of the form--the ubiquity of the claim means that it requires a certain level of talent to prevent it from becoming suicide.

With the indisputable success of The Throne's "Niggas in Paris," the legion of remixes was inevitable. What sets 2 Dash Tone's apart is his somewhat unique viewpoint; the Harlem bred rapper currently finds himself living in the Eternal City of Light.

It takes a special kind of aplomb to hop on another rapper's track. The courage needed is often dictated by the fame differential between the original and the newcomer: if both are equally famous, the second can feel free to step in, but better be swinging hard lest they look like a fool. If the freestyler is well below the other rapper's radar, the pressure is off, and there is nothing to lose from putting a famous beat on your tape to build buzz. But when the second is just barely on the peripheral, jumping on another's track can seem like a challenge.

Styles P provides a few bars over an unlikely source on "Float Good." The subdued sounds of Frank Ocean's "Swim Good" seem to play well with Styles P's loose, faded flair at first, until one begins to listen to the lyrics and comes to the realization that he is saying nothing. Lines which should seemingly hold weight about religion, the nature of good and evil and the perpetually changing, slippery grasp the apex exerts on the throne are simply flotsam bobbing along on the surface. There is seemingly no heavier meaning, despite a somewhat cryptic and admittedly enjoyable delivery.