Featuring sweet group vocals and tender memories about Afroman’s childhood visits to relatives in Mississippi, "Hush" shows how this artist has more than just a naughty sense of humor going for him.

Afroman is obviously buzzed a good deal of the time here, but not too out of it to be oblivious to what’s really going on around him. Near the close of the album, the songs "Palmdale" and "Mississippi" compare and contrast circumstances of the modern-day black man in two widely differing subcultures.

In "Palmdale," Afroman feels out of place as he brings a little urban lifestyle to the suburbs. But in "Mississippi," he must deal with backwards ideals, years of social decay and the Klan. Neither locale provides ideal living conditions, but Afroman sings about trying to make the best of these less-than-perfect situations.

The album closes with the slightly confusing "The American Dream." In it, Afroman lists various social misfits -- like single moms and ex-cons -- and then states that these troubled ones are still living the American Dream. But it’s hard to determine if Afroman is undermining this American Dream, or if he is sincerely giving these forgotten ones props.

Sonically, this recording relies only upon the bare essentials. Afroman is a one-man band. His human voice is the instrument front and center here, is usually backed only by electronic bass and percussion.

He may be little more than an urban soundtrack for High Times magazine now, but in his straighter moments, Afroman give hints that he has a great musical future ahead of him.