OhGeesy, “GEEZYWORLD 2.”

Shoreline Mafioso OhGeesy is back with the sequel to his debut album. The 23-track GEEZYWORLD 2 offers no shortage of braggadocios raps, as he details his rise in hip-hop, his time as a drug dealer and his tumultuous relationships with the women in his life. But quantity doesn’t amount to high-quality on an album lacking in substance to chew on.

These themes are all worthy of exploration and can make for exceptional material, but OhGeesy struggles to break beyond the mold of the young rapper bragging about his newly attained wealth. He’s been open about his battles with substance abuse, as well as new fatherhood, yet neither topic makes an impression as Angeleno Alejandro Carranza goes on and on, reminding listeners of how rich he is and has everything a person could want.

The album is front-heavy, with some the best songs within the first leg. OhGeesy kicks it off with “Intro (GW2),” showing how his taste for power, wealth and women have only grown as he’s gotten more over the years. The choral intro transitions in a pairing of violins and heavy bass while synthetic snares rattle on. “Max Payne” carries the same sentiment, with OhGeesy rapping over a faint piano melody and heavy bass grooves and synthetic percussion. The song invokes the video game series off the same name as OhGeesy raps, “Two guns on me like Max Payne.”

Cash Kidd makes an appearance on “GEEKALEEK,” which also gets a remix at the end of the album featuring BIA. The crunk-style production immediately recalls Usher’s “Yeah!” It’ll throw you back to the mid-aughts. On “Saturday,” Kalan.FrFr offers up a gorgeous hook, crooning over the melody while OhGeesy talks about his womanizing wiles; early foreshadowing of the majority of the album’s focus.

The followup track, “Top Model” feels like the first hard misstep, with a phenomenal instrumental featuring sharp piano chord strikes, rapid hi-hats and grooving bass lines wasted on OhGeesy rapping about how he doesn’t want to be caught with a gorgeous model with whom he’s fooling around. It reminded me of the “Boondocks” episode where Gangstalicious writes a song called “Homies Over Hoes.” I don’t think I’ve ever heard a song where a rapper complains about being around an attractive woman, and it boggles my mind when OhGeesy spends so much time talking about his passion for sleeping around.

We’re then treated to “Rock,” featuring Chrishan, with a light, bass-laden melody that sounds like it was made exclusively for the strip club. OhGeesy again drools over women dancing around him. “Tour Bus” feels like a good course correction, kicking off with a soft acoustic guitar melody and shimmering synths and strings. The song is about knowing your worth and not doing anything without pay—understandable for a major musical artist.

Kamaiyah makes an appearance on “Droptop” and “Perky,” with the former dedicated to OhGeesy talking about his target audience and the latter a take-out track where instead of talking about drugs—it turns into another flex track. Ominous piano chords guide us into the seedy “Ghost Gun,” where OhGeesy and Guapo talk about going on a rampage against their competition.

The rest of the album blends together with similar-sounding production; piano-led beats with either sinister or somber melodies, heavy bass line pickups and synthetic percussion. The next seven songs are about the rapper’s relationships with women—and they’re effectively the same song. Even features from Tyga, 03 Greedo and Dino Rideaux don’t make any stand out. OhGeesy sounds bored rapping through his verse on these tracks.

GEEZYWORLD 2 picks up with “Gallery,” yet another flex track but one that offers a change of pace with some strings and low, rumbling synth tones. “Knock Knock” starts off about the risks of dealing drugs (raids, rivals and junkies) but is deceptively another braggadocios number with OhGeesy flaunting his wealth. He allows himself to take indirect shots at other MCs on “Not A Sound” (featuring Mozzy), where he levels accusations of performative gangster lifestyles that these rappers just aren’t really about. We get one last flex track with “Shoebox” bringing in fantastic production with the help of a regal string composition.

The album has numerous missteps, and the biggest problem is its bloated length and repeat themes. At the very least, he could’ve tackled different angles. But OhGeesy seems content to treat the same path.

Follow hip-hop critic Tim Hoffman at Twitter.com/hipsterp0tamus.