Popularized by a Run-DMC and Aerosmith wallop that went on to create a patented niche in both genres, the relationship between rap and rock music has since gone wayward over the years; a lack of originality being a chief factor. Former Blink-182 drummer Travis Barker stands as one of the few rockers of the present day able to be widely accepted in Hip-Hop’s current roundtable of superstars. Not only does his give-a-fuck demeanor align perfectly with this generation’s band of rebels, but his animated stage performance on the drum set has become the ideal alternative for rappers looking to spruce up their live performances during awards shows.

Officially cementing his name in the Hip-Hop laurels (read: those with studio albums), Barker puts his clout and BlackBerry contacts to use with his solo debut, Give The Drummer Some. Edgy and charged just like the image he’s portrayed in his extensive career, the long player pits some of Hip-Hop’s heaviest hitters over unique production for a fairly consistent compilation.

Even amongst rap’s premium crop of guests like the Lil Wayne’s, Rick Ross’ and Snoop Dogg’s—literally—the most satisfying quality of Barker’s freshman enterprise is how it manages not to polarize any particular audience, leaving casual fans of either genre to tune in agreeably. Barker, more than just a tatted symbol of rebellion, keeps both hands plugged on the dial; one with the Zildjian drumsticks he brandishes, clashing hi-hats and snares in real-time, and the other firmly operating the mixer board, having a say in all the production for the album. As a result, fervency is emitted from the unique studio sessions. Pharrell and Lupe Fiasco pack more wattage than AEP for their exciting duet “If You Want To” through a series of electronic drum abuse and horns gone haywire. The Eminem-endorsed quartet, Slaughterhouse, take the opposite approach for their set time, playing with hellfire over subtle piano and an Exorcist-themed melody for “Devil’s Got a Hold of Me.” The variance in sound combined with the matching up artists to their accustomed formatting work well for Drummer’s replay value. A track like KiD CuDi’s “Cool Head” probably shows the best the example of balance in the force, with grungy guitar licks overlapping the stoner’s acid raps to act as a stimulating depressant.

Being that it is a predominant Hip-Hop exploit, the lyrical and creative attributes are definitely present but never rising above expectations per designated talent. A lightning-fast hybrid of 808s and guitar breaks is a suitable highway for Yelawolf, Twista and Busta Rhymes to run amok on while Lil Jon calls out the laps for “Let’s Go” and The Cool Kids provide the most obvious choice for a single on the peppy “Jump Down.” While Give The Drummer Some is largely above average, rap ‘n roll frontrunners Cypress Hill inexplicably come a little weak to close things out for the unoriginal “Beat Goes On.”

Minor skirmishes are expected—and allowed—on introductory efforts, however. Already equipped with a veteran’s handle, presume Travis Barker to take what he wants if Give The Drummer Some is only the beginning.