Afroman, as his name kinda hints, is a hero. His archvillain, Universal, is an evil empire bent on conquering the world with an army of bling-blinging Southern and Midwestern rappers. First, Cash Money from New Orleans, then Nelly and Co. Just last year, though clueless about how to low-ride his vato-ass into mainstream radio, Universal drafted South Park Mexican out of Houston. He sparked a local buzz with some of his homegrown material, and as expected, Universal minions appeared in a cloud of red smoke to claim him as one of their own. At first listen, The Good Times plays as amateurishly as you might expect considering its hurried, conscienceless origins. Without the benefit of even a Mannie Fresh, a Timbaland, or any musically adept sidekick, Afroman is left to support his clownish, old-school rapping and warped doo-wop with a basic arsenal of guitar, drum machine, and pilfered influences. He wants his shtick back. The rest of The Good Times revolves around Afroman slinging yay and inhaling his profits, but he laces his crop with something few of his high-living rap peers care for: clear-cut consequence. Or, at least, better about loving that stupid song?
