Like 2002's {^I Phantom}, {^Mo' Mega} has a concept behind it, but unlike {^I Phantom}, there's no board-game-style liner notes to follow along as {$Mr. Lif} excavates the musings of his mind on culture and politics. What {^Mo' Mega} does have is {$Lif}'s brief statement that the album concerns the intersection of lower-class culture with an increasingly modernizing world, and how the latter is adversely affecting the former. {$Lif} scores hits on dozens of targets, both specific ({$the President}, the FCC, the United Nations, McDonald's) and non-specific (the Feds in general, the global community as a whole, materialism, TV, and, it seems, anyone in a position of authority). Laden with caustic commentary, his tracks are lyrically obtuse but rhythmically effective, and with the weight of eight hard-hitting {$El-P} productions behind him, listeners won't mind taking a couple of spins to digest everything he says. And {$Lif}'s own productions, for a pair of {\comedy} tracks ({&"Murs Iz My Manager,"} {&"Washitup!"}) that appear halfway through the program, are just the icebreakers needed to leaven the funky gloom and doom earlier in the record. At the close of {^Mo' Mega}, {$Lif} looks inward. First he questions his father's abandonment of him ("It's pain like this that makes a grown man crawl"), then he wraps up the record, ironically, with a tribute to his child that was written on the road ("I'm on the highway in Montana and it's 7:42/And Daddy wrote a rhyme just for you"). With political tracks and {\comedy} and confessionals, {$Lif} easily covers more ground than virtually any other rapper on record, and he makes his tracks entertaining, but he occasionally falls prey to a common trap -- educating the listeners but not enlightening them. ~ John Bush, All Music Guide