This is the album of collaborations that should’ve happened if the late, great B.I.G. was still alive. His mentor Diddy, trying to restore some luster to his waning Bad Boy label, pieces together Biggie verses alongside the likes of Tupac, Snoop Dogg, Missy Elliot and Bob Marley, to name a few.

Immediately, the first track drags you through the dungeon with a warrior-themed beat produced by Eminem, along with verses from the blond bandit, his protege Obie Trice and an unapologetic Diddy responding to critics who say he’s profiting off of Biggie’s legacy. Surprisingly, Obie outshines the two veterans, but the song lacks the impact of Biggie’s previous catalog.

Jay-Z reunites with his “Commission” cohort on the track “Whatchu Want.” Although Biggie’s two verses had never been released before, references like “slam Larry Johnson and his grand mama” date the material. Still, the verses are classic Biggie: clever and raunchy enough to make a jaded pimp blush.

Other highlights include tracks pairing Biggie with Big Pun (it would’ve been nice to have them both writing songs from scratch) plus Tupac and Nas on “Living In Pain.” The latter is the best track on the album – somehow, producer Just Blaze’s studio magic results in Tupac and Biggie ending their respective parts with the same “living in the house of pain” line. The haunting string ensemble and Mary J. Blige’s raspy cry for help make you feel as if you’re living in the same house.

The album has its share of disappointments. Why are Juelz Santana and Lil Wayne rapping on a track with Big Poppa nowhere to be found? And “Wake Up,” featuring the suicidal nu-metal group Korn, feels out of place – it’s hard to believe B.I.G. would have chosen to do this type of song.

Biggie created songs on the spot according to the feel of the sound coming from the speakers, developing a flow or cadence that set him apart from all others. Essentially, he was made for the beats. On this album, the beats are made for him and don’t capture the magic he used to create his classics.

Although the soundscape of the album reflects what’s going on today in the club and on the radio (which Biggie might have changed if he was around), all the verses sound dated and familiar. But his lyrics still hold the standard that most of today’s rappers can’t follow. The album does it’s best to give us Biggie alongside the best, but it falls short of the art that was Notorious B.I.G.