Timbaland's production, which is surprisingly consistent throughout the album, makes up for some of Bubba's shortcomings such as his delivery. His voice isn't very commanding, and this is a one reason why Bubba isn't the most charismatic emcee out there. Sometimes his flow becomes monotonous and there’s lack of emotion in places where it's sorely needed. When tracks like She Tried – a tale of the trials and tribulations of love – aim for an emotional response and fail to captivate, you can't help but wonder how much better they could have been if recorded by a different emcee.

The title track includes what is arguably the best production on the album. Beautifully looped guitars, the ever-present claps and more violins make for an epic, symphonic beat. The Timbaland's sung hook is very catchy and adds to the atmosphere of the song. The only thing that keeps the track from being the album's best cut is Bubba's enthusiasm. His lyrics can't be faulted, they are very thoughtful, but he doesn't seem very interested in what he's saying.

Not all tracks are impassive, mind you. Warrant features a strong appearance from Dungeon Family’s Attitude, remarkable production wherein rolling violins mesh nicely with strings and light drums, and a very introspective Bubba that seems genuinely interested in his subject matter. On the strong Comin' Round, Bubba raps over catchy fiddles and describes his southern life and the plights of his people. The challenge of bringing together both “urban” and “country” sounds was no big deal for Timbaland as we get some real nice pieces of production. Nowhere is a broody song that benefits from Timbo's use of claps, big bass, beatboxing, orchestrated violins, and smooth strings. Kiley Dean's vocals are very suiting, and Bubba's lyrics are truly heartfelt. This is one of the tracks where we see Bubba's true potential as an artist: his rhymes are crafted with care and honesty, and that's always nice to listen to.

Unfortunately, the second half of the album drags along. Justin Timberlake is featured on Hootnanny, but it’s a wasted appearance: his chorus is neither memorable nor catchy – it’s just annoying. Take A Load Off could work in the clubs. The synthesizer/guitar production and marginally interesting hook ensures that you're not going to pay attention to Bubba Sparxxx, especially since he's not saying anything of consequence. The production on My Tone is annoying; the electric guitars really don't fit on this type of track. You'll surely want to skip it. On the album's closer, Back In The Mud, Bubba tries his hand at a triple-cadence flow and manages not to trip. The production retains the mainstream appeal of most Timbaland beats yet manages to stay fresh.

I was pleasantly surprised by Deliverance. I wasn't quite sure what to expect, but what I got was a solid album full of strong beats and lyricism that won't win awards for complexity, creativity, or humor, but rather score points for honesty and thoughtfulness. This is a recommendable southern rap album that includes enough material to appeal even the most close-minded of hip-hop fans.