Thus, Whitey's best moments concern the singer himself. "Black Jesus" lays down four swaggering bar chords and lets Everlast growl about his multiple-personality image. The somber "I Can't Move" addresses his well-publicized brush with death (he had a heart attack immediately after wrapping up Whitey Ford Sings the Blues). But most hip-hop fans prefer fear to lazy complacency, and Everlast ultimately indulges in too much of the latter. The rockin' "Babylon Feeling" trots out Carlos Santana for more of his tiresome guitar work, while yawning, lovestruck soul jams, such as "Love for Real" and the uncharacteristically corny "Mercy on My Soul," fall flat. But "Children's Story" hurts the most. Rahzel, the Roots' priceless human beat box, kicks it off with a South Park Cartman impression and an energetic, bass-driven beat, but then Everlast shows up and delivers a cautionary tale about a young kid who turns to crime and winds up shot down by the cops. The track would work great as a whimsical beat-box romp or a heartfelt, streetwise eulogy, but here, it fails miserably. Everlast used to eulogize the downtrodden and hopeless, but Whitey's finds him exploiting them instead.