In The Deck

   The word "nigger" is defined as (1) a hateful slang term for an African-American person or (2) a member of a socially disadvantaged class.  Perhaps the most derogatory term in the English language, it managed to become a term of endearment, a symbol of comradory, an in a sense, instilling the feeling of social/emotional acceptance.  So is it still offensive?  That depends on who you ask and that is one the most significant characteristics of Nas’s groundbreaking and exceptional untitled album.  The artist also know as Escobar creates an opus that touches on every aspect of the word; its usage, its meaning, but all the while leaving it up for the interpretation of the listener to develop their own opinion.

    With strong lyrics, a unique concept with relevant subject matter, and beats tailor made for the artist, you are taken on a voyage through the Black Diaspora both past and present to explain why the N-word is still a relevant word, positively and negatively. Beginning with the Salaam Remi produced “You Can’t Stop Us Now” feat. Eban Thomas of the Stylistics and the Last Poets, Nas navigates the vessel via word play, “…witch doctors, good ol’ pick pockets/Sip on moonshine/So called coons, shines, and darkies/I love y’all/Pyramids to cotton fields to Wrigley Fields/Forgotten men who did get killed/Crispus Attucks/The first blasted/Peace to the rich lady purse snatcher shot in the back…”  On the DJ Toomp produced “N.I.G.G.E.R. (The Slave and the Master),” Nas describes the lives of everyday people as he sees it, “We trust no black leaders/Use the stove to heat us/Powdered eggs and government cheeses/The calendar with Martin , JFK, and Jesus/Gotta be fresh to go to school with fly sneakers/Schools with outdated books/We are the forgotten/Summertime coolin’ off by the fire hydrant/Yeah I’m from the ghetto/Where old black women talk about their sugar level…”  He magnificently paints a picture of ghetto life where miracles are made from nothing and the very magicians who made it all possible are considered to be nothing more than, quite frankly, niggers. 

    But at the same time Nas compares “niggers” to roaches on “Project Roach” feat. The Last Poets, that clearly states that a word cannot be “buried,” let alone its usage and instead one should learn from it and not aspire to be one.  On “Y’all My Ni**as” God Son takes on the meaning of the word head on, questioning its meaning  and the treatment of the people who are called it while speaking from a personal standpoint as he rhymes, “Yo, I was thinkin’ a lil’ bit/What would it take for me to authenticate my nigganess/Ball ridiculous/26 inch rims when I call the dealership/Ah, that’s some nigga shit/We only out for our own benefit/we havin’ too many kids/We Claudines/Welfare recipients/ The infamous free clinics is the sickest shit/Make me wonder what the hell they cleaning their syringes with…”  

    On the lead single, the Polow da Don produced “Hero” feat. Keri Hilson, Nas addresses the controversy over naming this LP its original title stating, “…still in musical prison/And jailed for the flow/Try tellin’ Bob Dylan, Bruce, or Billy Joel they can’t sing what’s in their soul/So untitled it is/I’ll never change nothing’/For people to remember this/If Nas can’t say it, think about these talented kids/With new ideas/Being told what they can and can’t spit…,” questioning not only his own individual right, but how it effects society as a whole.

    Nas also takes the time to address some of his own personal indictments.  On the Stargate produced “America,” he touches on this country’s unfair practices while linking it to its some of the most degraded groups of people as he describes the some of the struggles of women, “…split her navel/Took her premature baby/Let her man see you rape her/If I could travel  to the 1700s/I’d push a wheel barrel full of dynamite through your covenant/Love to sit on the senate/Tell the whole government/Y’all don’t treat women fair/She read about herself in the Bible/Believe she is the reason why sin is here/You played her with an apron like bring my dinner dear/She’s the real nigga here…” or on the Stic.man of Dead Prez produced “Sly Fox” describing the “fair and unbiased” coverage of not only the channel, but the business practices of the NewsCorp conglomerate, striking a cord with the current times like a true revolutionary.

   With only a few guest appearances, this album makes the most of it with The Game and Cool and Dre co-produced “Make the World Go Round” feat. Chuck Taylor himself and Chris Brown and on the highly entertaining Mark Ronson produced “Fried Chicken” feat. Busta Rhymes extend the metaphor to venomous vixens that are so bad for you, but taste so good....  But the shining moment on the album has to be the DJ Green Lantern produced “Black President.”  Maybe one of the most historic events to take place in modern history, Nas expresses his pride and reservations of Sen. Barack Obama  possibly becoming leader of the free world, “…but on the positive side/I think Obama provides hope/And challenges minds of all races and colors to erase the hate/And try to love one another/So many political snakes/We are in need of a break/I’m thinkin’ we can trust this brother/But will he keep it way real/Every innocent nigga in jail gets out on appeal/When he wins, will he really care still…”  It is this context that defines the album, looking at two sides of something and having to come up with a viewpoint for which to see it, often a very difficult and stressful situation.

    The only flaw (if you really want to call it one) of this album is no fault of the artist.  While today’s average hip hop listener is caught up in who is the latest so called up and coming king or what new trend is taking place, this LP will more than likely go over their heads due to its revolutionary content.  And that is where the dilemma starts to form, should one try to conform to the appeals of the mainstream and convey their message around that premise, or should they speak from their heart even though it might not be statistically successful, offending many, and ostracizing them from the general hip hop/music audience?  Honestly, that is up to the listener/buyer to make that decision.  But one thing cannot be denied, lyrically and conceptually, this album is superior to any project that has came out as of late and Mr. Jones should be commended for this magnificent album, like it or not. - Ryan Harrison

       Coming somewhere off the Chicago-Detroit expressway is buzz-worthy new act, The Cool Kids who recently signed to local indie imprint Chocolate Industries. Poised to move on the majors any second now, the duo made up of Mikey Rocks and Chuck Inglish have ironically caught a huge buzz, named as one of 2008’s top 10 artists to watch by Rolling Stone, and acting as the opening act for M.I.A. They did this, not by trying to duplicate whatever the popular radio sounds are, but instead taking back to basics. But is this something new and original, or merely a cheap knock off of the styles of yesteryear? Within The Bake Sale is the answer.

    The opening track, “What Up Man”, a minimalist track made up of 808 bass and repeating vocal samples, sounds like something from the golden era of hip-hop, the 1980’s. This track sets the tone for the entire album, as the retro production and playful freestyle rhymes more or less vibe throughout the project. Thumping beats on “One Two” or “Mikey Rocks” evoke memories of early bass oriented artists – whether Sir Mix-A-Lot or Too $hort, while songs like “88” and “What It Is” throwback to more East Coast styles of production, say Schooly D or Eric B & Rakim. This proves their loyalties aren’t to either coast of classic hip-hop, but all of it. 

     Ironically, today’s Southern and Bay Area sounds have become so reliant on 808-keyboard production over sampling that this approach works two-fold for The Cool Kids. The chopped and screwed hooks of “Black Mags” (a BMX bike anthem) and “Gold & A Pager” allow the duo to brag on their fresh haircuts and limited edition Nikes, sounding old school, but not dated. 

    The only problem that The Cool Kids have is the monotony of their sound. With such a simplistic approach to making hip-hop, their laid back deliveries and minimalist tracks can begin to wear thin at times, so it’s better in small doses, like in the case of this EP.  That being said, it will be interesting to see what the Kids will come with in the form of their full-length album, When Fish Ride Bicycles. 

     So is it a gimmick or isn’t it? Yes - it is - but all in all, we can’t be mad at The Cool Kids. For a sound that has pretty much disappeared over the last twenty years, it’s good to see someone bring it back in this era of bounce tracks and bling. There have been far worse attempts at being retro in hip-hop - usually involving blatant ripping off of classic beats – but these cats have made their brand of old school hip-hop from scratch. Props are due. - D.T. Swinga

     Pace Won first got notice with a guest spot on The Fugees' The Score back in 1996.  That's right, 12 years ago.  Dude's been around for a minute.  He served as one of the front men for the group The Outsidaz and if you're wondering where he's been or surprised he's still around, it's been four years since his last solo release, Telepathy. 

    New Jersey MC and DJ duo Pace Won and Mr. Green's The Only Color That Matters Is Green gets off to a better start than most hip hop albums for the simple fact that it actually starts with a song.  A full-fledged, meaty, five-minute-plus track with Mr. Green (not to be confused with DJ Green Lantern) laying down some rousing strings as Pace comes in to get it "bangin' like Billy Bob Thornton."
 
    It sets the tone for the fairly tight package this album delivers.  The Only Color... is somewhat of a rare thing these days—a hip hop record you can just enjoy.  Put it in the deck, press play, and bob your head.  It's not innovative or socially conscious or even that gangsta, but at only a little over 50 minutes, it's not bloated with the requisite club tracks, southern-flavored tracks, intros, outros and skits that have you constantly hitting the skip button.
 
    That said, the second track, "Children Sing," employs what's become, if not a cliché, than a hip hop staple, the children's chorus.  It's apparently a study in contrast producers can't resist:  Glock-toting MC's and the little kids who sing their hooks.  Still, Mr. Green makes it work as Pace Won takes shots at weak rappers and proclaims, "I'ma just push and push until I get it."  
 
  Pace seems to have become a sort of journeyman of the underground.  While he gives lip-service to gettin' cheddar ("The Only Color That Matters is Green," "I Need Money"), he's not ever going to be Jay-Z or 50 Cent.  On "I Need Money" he talks predictably about his spot on the Forbes list but he's more truthful when he spits:  "Pick my pen up and just let the nouns flow/and earn/like Nature did with The Firm."  Yeah, Nature, that's more like it.  
 
   Like most rappers, Pace is obsessed with the past, and the middle portion of The Only Color is heavy on nostalgia.  On the piano-laced "Who I Am," he takes us through a timeline of his hip hop influences: "I'ma take you back with a heavenly rhyme/to me in kindergarten back in '79/back to the essence/when hip hop was precious/first I heard Rapper's Delight, then The Message."  
 
    On the next verse, he fills us in on how he used to eat more junk food than a candy-fiendin' Derrick Rose:  "Five-cent candies they called 'em Jingles/who didn't have the fever for the flavor of some Pringles … Swedish fish, Blow Pops and Chico Sticks/all before evil chicks or ego trips."  It's not exactly a childhood reflection worthy of Ghostface talking about plucking roaches out the cereal box, but it'll do.
 
    The second-to-last track, "She Be So Cold," is the unequivocal gem of the album.  Mr. Green brilliantly samples The White Stripes' "Denial Twist," and Pace weaves a 'why she wanna go and do me like dat' tale of woe worthy of Mos Def's "Ms. Fat Booty."  Some girl jerked Pace around for months but, refreshingly, instead of calling her a bitch he went the Project Pat route ("Don't Call Me No Mo") and told her to delete his number from her phone. 
 
    Unfortunately, the record closes with a not very creative diss of Eminem (who had been affiliated with The Outsidaz and didn't exactly put Pace on his back when he reached stardom).  What might have been a bold attempt at starting a beef ends up smacking of jealousy, and threatening to "get Tiger Woods to putt you" doesn't necessarily strike fear in the hearts of men.  Pace does raise one good point, though, where is Eminem?

    The real star of this record may be Mr. Green's startlingly consistent production.  The unheralded producer's DJ Premier-like sound proves that you can make quality hip hop by taking a sweet sample, looping it, scratching it and letting it bump.  With so much filler and garbage out there, these beats and a solid performance from a rather seasoned MC make you wonder, is this game really so hard?  As Pace says on "Four Quarters," the album's opener, "It's like fightin' some dude that got a glass jaw/you hit him in the chin and you win/your old life ends and your new one beings."  - Stefan Schumacher

    In 2006, will.i.am helped reinvent classic Brazilian samba/bossa nova pioneer Sergio Mendes with the release of Timeless, after a ten year absence from the artist. Bringing out some of the biggest and best names in the industry to help modernize his sound, Timeless had an extensive guest list, including The Black Eyed Peas, John Legend, Justin Timberlake, Q-Tip, Black Thought, Chali 2na, Pharoahe Monch, Jill Scott, Erykah Badu, Stevie Wonder, and Mr. Vegas, among others. The result was a surprisingly dope LP that resonated with a lot of people, finding it’s way into various commercials and other media. 

    Two years later, Sergio and will.i.am have joined forces again to team up for Encanto (translated means “charm” or “loveliness”), a joint venture between will.i.am Music Group, Concord Records, and...wait for it.... Starbucks! Yes, Starbucks is determined to save the music industry by playing this album on their stores all day long until unsuspecting soccer moms ask “hey, what is this?” and buy the CD on the spot. But, taking that into account, this time things are different. Either the budget is lower, Sergio wants to stick to his roots a little more, or Starbucks doesn’t want potty-mouthed rappers on their products, but Encanto isn’t nearly soiree the that Timeless was. 

    That doesn’t necessarily mean its not a good party, just a lot of the cool people didn’t show up this time. Will takes a back seat to production values this time, as the ball is more in Sergio’s court, collaborating more with artists of his own genre than those of hip-hop and R&B. Will does have four contributions, but with hit and miss results. “The Look Of Love” has been done many times over the past forty years, so Fergie’s new rendition is contrived and nothing special, starting the album off on a bad note (literally, Ferg!). “Funky Bahia” fares better however, as Will’s moving, acoustic drum driven track helps animate former Michael Jackson/Brand New Heavies collaborator, Siedah Garrett’s, festive vocals. Will also contributes to the album’s final pair of tracks, “Acode”, featuring popular Brazilian vocalist Vanessa Da Mata and “Agua De Beber”, featuring Will himself. “Acode” is a funky-yet-atmospheric up-tempo jam sung completely in the native tongue, and it works. “Agua De Beber” finds Will on top a set of Sergio’s pianos, while Will recounts the story of how the collaboration came to be. 

      As far as tracks produced by Sergio’s own hand, the results are also a bit hit and miss. The first of these is the vibey “Waters of March”, where New Orleans vocalist Ledisi gets ultra-descriptive over Serg’s funky rhodes 73 keys and layers of percussion. More native to his land is “Odo-Ya”, which pulls no punches as Carlinhos Brown goes full force, abandoning any attempt at modernizing or Americanizing Sergio’s signature sound. Much of the rest of the album follows in this direction, while other tracks allow Sergio to enchant his female listeners with more romantic selections like “Dreamer” (feat. Lani Hall & Herb Alpert) or “Catavento” (feat. Gracinha Leporace). Surely you’ve heard of them? 

      Make no mistake, this is a world music record, not a pop record like Timeless. But, while the big names of Timeless made for some great collaborations that of which made it easier for the average listener to grab onto, Encanto is a slower build. But if Timeless got you open, and you yearn for some more of that Brazilian funk that only Sergio can deliver, this is worth checking out, despite its minor inconsistencies. - Pizzo

    Embarking on a cult classic with their debut, In Search Of..., The Neptunes' rock-band alias, N*E*R*D, has yet to recapture the success of that first record. Perhaps it's the ever-changing styles of the Chad and Pharrell, always pushing the envelope to turn the industry on it's ear, whether producing for Clipse or Madonna. After amazing audiences with their recent Madonna LP, one could only guess what they had in store for the new N*E*R*D album, Seeing Sounds. 

    Well, we hate to break it to the Madonna fans who loved The Neptunes' interpretation of what pop music should sound like, and we hate to break it to the In Search Of fans who wanted another extra smedium t-shirt club-dude record, as this is something else entirely. As you might be able to tell from the album's lead single, "Everybody Nose", the duo have thrown caution to the wind in regards to producing anything close to what you would expect. Here, the beat packs a heavy cello bassline and horn stabs, perhaps more suited for a 1994 Rakim than, well, all the girls standing in the line for the bathroom. Despite the fact that its a dope single with a great concept behind it (there's a coke machine in the women's bathroom at every club, apparently), the single has failed to make any significant impact outside of the cool-people circles. 

    But that's fine with N*E*R*D, as they've got their hands in everyone else's pockets. An album like Seeing Sounds is looked at as an offshoot project where they really can allow their creative juices to flow. That being said, we get to see all kinds of sounds on this LP, for better or for worse. 

    "Windows" is a bit of a catchy, radio friendly contemporary rock song that channels a bit of Lenny Kravitz with Pharrell's wailing, despite it's overdone eyes / windows metaphor. They flip the script without warning, diving headfirst into "Anti-Matter", a strange culmination of sleezy guitars, dirty south bounce, drum & bass rhythms. Here Pharrell's condescending rhymes mesh perfectly with the rest of the beat, making perhaps one of the albums best tracks. "Spaz" is another curve ball, again utilizing jungle beats and off kilter, NIN-esque guitar licks, complete with trademark N.E.R.D. soft-rock breakdown.

    The jazzy "Yeah You" is a humorous rant to the text-happy groupies that won't leave Pharrell alone; and it works in some capacity despite P's usual strange language and sentence assembly. "Sooner Or Later" is another piano ballad, in the tradition of last album's "Maybe", however comes off as a rehash of that track.

    It's pretty easy to pick up on the group's influences this time around. The sound of The Police is heard in the droning "Happy", and later on the discoed-out and better executed "You Know What". "Killjoy" is a lot of fun, the theme song to the imaginary film of the same name, playing like a deep, early Jamiroquai album cut, with a funky, moving bassline and percussion drums galore. 

     All in all, Seeing Sounds has it's moments, but doesn't play that well as an album. There is definitely a lot of creativity here, and they are pushing the envelope in the sounds they toy with here. However, it's obvious they don't care about the outcome of this record, using it is almost an experimentation ground for what kind of styles they can (or cannot) flex on the next Justin Timberlake album. After developing a signature sound on their first record, In Search Of, it's hard not to yearn for that early sound that they have obviously moved far beyond from. - Pizzo

    Sampled by everyone from Eric B & Rakim to Kanye West, classic soul singer Al Green has been around for over 40 years now, with perhaps his biggest and best known hit "Let's Stay Together" still relevant to bedrooms and dessert commercials alike. While he made his career out of slow, sultry love jams like this one, he turned to Gospel music during the seventies and eighties. While this move lost his core audience, he returned to R&B in the late eighties, but since has not been able to successfully recapture his early levels of popularity. Until now, that is. 

     Lay It Down, his third album on Blue Note Records debuted at #9 on the Billboard pop charts - the first time he's broken the top 40 chart since 1975's Greatest Hits LP. What's so different this time around? Al has taken a back to basics approach with this album, aided by producers The Roots' Ahmir "?uestlove" Thompson and James Poysner. As fans of his early works, the duo understands what people want to hear in an Al Green record, and they successfully deliver. 

     He gets right down to business with the title track, "Lay It Down", which sets up the record perfectly, as never-too-old-to-woo-the-ladies Green instantly captures the attention of his audience with this beautifully executed slow burner. Anthony Hamilton backs him up here - and again later on "You've Got The Love I Need", another classically penned love ballad that captures the lost innocence of Green's era perfectly. 

     Corinne Bailey Ray joins in on "Take Your Time", a duet that finds the two sinking into the sheets, professing their (performed) love for one another, over ?uestlove's slowest BPM ever. Obvious influence John Legend also collaborates with Green on "Stay with Me (By The Sea)", another smooth-like-butter  heartbreaker, finding the two Don Juan's effortlessly finding the perfect words for their female counterparts. Who wants to put money on an '09 Grammy duet for either track? 

    The collaborations are excellent, and add some star power to the record, but the true star here is Al himself. The majority of the album plays at a super relaxed pace, and Green is a natural at sliding back into his niche. ?uestlove and Poysner are perhaps the most important cog in the machine here. Rather than attempting to update Green by adding rap lyrics or modern hip-hop beats to his tracks, they instead see no reason to fix what isn't broken. Instead, they provide classic backdrops in the tradition of his early records and successfully channel the sound of yesterday.

     The only two out of place tracks here are "Standing In The Rain" and "I'm Wild About You", a pair of of uptempo tracks that seem as if they would go over especially well at your grandparents' wedding anniversary. It's evident that Green was attempting to "get the party started" with these two tracks, so to speak, but both come off more dated than timeless. But at this point, he can do what he wants, so who are we to judge?

   This is a record for the lovers, so despite these minor missteps, the first nine tracks of it play through flawlessly. 40 years into the game, Green gets the success he deserves once again. - Pizzo

    This isn’t Lil’ Wayne’s first album, clearly you knew that by the Roman numeral “III” in the title. But by the way it’s been hyped up over the last year, you’d think it was. What it is instead, is the first album that establishes Wayne as an official superstar, joining in the ranks of Jay-Z, 50 Cent, Kanye, etc. But why now?

   Early in his career, Wayne was looked at as the “kid rapper” of the Ca$h Money Millionaires family, and nobody outside of their fanbase really took him seriously. But during that time, Wayne perfected his craft. It wasn’t until the release of The Carter II, as well as his Dedication series of mixtapes that he carved out his own identity of super-emcee. 

     Wait, super-emcee? Isn’t this the guy that made “Lollipop”? We’ll agree with you that the song “Lollipop” sucks (well, the remix with Kanye that features actual rap lyrics is hot). On paper, it seems like more disposable bullshit. He’s got “Lil” in his name, he’s on every third R&B song, he rapped on “Bling Bling”, and was a member of The Hot Boyz. This checklist screams not to go anywhere near this album. 

     Despite some questionable beginnings, Wayne has transcended all of that and really begun to take up the art of rhyming. He’s a bit of an anomaly, because most other rappers that have a rap sheet similar to his simply aren’t that dope. 

     Listening to Tha Carter III, new listeners of Lil’ Wayne will quickly see how effortlessly Wayne can rip a mic – when he wants to. He selectively turns it on and off, at times dumbing things down to a level that makes you wonder why he’s considered one of the best out right now. Case in point is obviously “Lollipop”, as well as the album opener, “3 Peat”, which lets his core fanbase know that he hasn’t abandoned them, rhyming “fuck” with “fuck” and such. 

     He turns a corner quickly however, on “Mr. Carter”, his second collaboration with Jay-Z, as the two compete two see who can come off the illest over a soulful beat by Just Blaze. Truth be told, Wayne does his thing here, but Jay delivers one of his most lyrically complex verses in a while, never being allowing anyone else to Eminem him again. “A Milli” follows, his “Eye Examination” if you will, that features Wayne simply rhyming his ass off over a minimalist track, and addressing the answer to the long-debated what’s-a-goon-to-a-goblin argument. “Got Money” (feat. T-Pain) also finds him in top form, as the album’s quintessential club-banger, and sure to be next hit single. 

      Interestingly, he tiptoes in backpack territory in several places on the album, with hit and miss results. The corny “Phone Home” finds him over a spacey beat - more suited for Black Elvis than Lil’ Wayne - but with added thump from Cool & Dre. Here, he puts himself in another category of emcee completely, saying he’s beyond an “animal” or “beast”, claiming to instead be a “Martian”. Fairing better is the David Axelrod sampled, Swizz Beatz produced “Dr. Carter”, where he checks up on three dying patients, showing them how they can step their rap game up. The classic sample and tightly knit concept of this song makes it easily the best track on the album. Later on “Let the Beat Build”, he does just that, rapping over a drumless Kanye West track, which kicks in at the final moment with a lyrical payoff that does the first half of the song it’s justice. 

     Naturally, Wayne has to succumb to the pressures of the major labels, so he does pull back at times, delivering plenty of more radio friendly tracks in the same vein of “Lollipop”. Perhaps one of the most tasteless, not-cool-at-all extended metaphor tracks ever is “Mrs. Officer”, where Wayne and buddy cop Bobby Valentino suggest they are going to ...uh... beat that pussy up like the police. Tasteless, but make what you will of it. The Babyface assisted, Kanye produced “Comfortable” is a bit of a response record to Beyonce’s “Irreplaceable”, acting as a radio jam with a little more substance than “Lollipop”. Both “Tie My Hands” (feat. Robin Thicke) and the dreary “Shoot Me Down” find a more introspective Wayne, and fare better than the other songs that feature sung vocals.  

    Whether or not Tha Carter III will mature into a classic album remains to be seen, but there is one glaring problem with the record. While it is filled with lyrical gems, in many cases you can almost “catch” Wayne doing one-take sessions, where it’s very obvious he is freestyling. Sure, that may be impressive to some extent, but this isn’t a mixtape. At times, he is feeling himself so much that it’s like he assumes that he doesn’t need to fix the sloppier parts of his verses, which many times find him going off into weird tangents and never returning. But sure, he’s a Martian, and again, it won’t matter years from now if these lyrics become embedded in our brains. But we know he can do better. 

    All in all, Tha Carter 3 does not disappoint, and for the most part lives up to the hype. Make no mistake, Wayne is easily one of the best emcees holding a mic, sketchy past or not. Anyone who disagrees clearly isn’t listening. Sure, Wayne had albums before this one, but Tha Carter 3 truly is his debut. - Pizzo

   It’s safe to say that J-Live is one of the most consistent emcees in hip-hop today.  Maybe this writer is getting old or is tired of hearing “Lollipop” 72 times a day on the radio, but J-Live has never done anything this writer didn’t like.  We all know his beginnings with Raw Shack and his label struggles, so no need to elaborate on that any further.  And Then What Happened finds J opening up a little more about his heritage, the lack of a father figure in his life, and his affiliation with the 5%.

   The album starts off with the Jazzy Jeff produced “One to 31” where J lets people know exactly how great a woman is mother was, and how bad his astringed father was, while showing off his ever increasing DJ skills.   J-Live is not just an emcee but an all around entertainer.  “And Then What Happened” continues with J being slightly more political than usual.  “Be No Slave” has J correlating being a slave to being stuck in a record contract over a funky DJ Evil Dee track.  J-Live enlists Posdanous and Oddisee for the “The Upgrade”, Oddisee rhyming like and an old pro and Posdanous never missing a step.  

   J-Live and hip-hop are here to stay which is stated oh so eloquently on newcomer Yallzee’s “Don’t Stop”.  “The Understanding” has J-Live paying homage to where he comes from while cutting up a perfectly placed Jeru sample.  He states “This goes back further than that/further than rap/it’s weird/because my role models/are my peers now.” Does it getting any more humble than that?   A track that this writer has to talk about is “Ole” feat Oddy Gato.  For an artist to sample a jazz loop is nothing new, but Usef Dinero breaks out of the box sampling meringue guitar and the word “Ole”, J-Live rides the track just like he would a Donald Byrd sample.  Other notable tracks are the scene stealing guest shot from Charli 2na on “The Zone”, the Cap D (of All Natural) produced “Simmer Down”, and the Nicolay produced introspective track “You Out There?”

    J-Live rarely missteps as an emcee, sometimes his choice in production doesn’t move this writer.  The Probe DMS track, “The Last Third” is a bit abstract and Locsmif’s “Why You Holdin” has a little bit too much going on.  Despite these minor flaws, the album is better than 99.9% of the music that is in stores or on the internet. He DJs, he rhymes, and probably somewhere along the way did graffiti and dabbled in break dancing.  Maybe he’ll tell us about that on the next installment.  For now support good music and buy the album. - Darin Gloe

   On the low, the Midwest has been on the rise.  Since the early 2000s, Midwest emcees have been the recipients of both commercial and critical acclaim.  This is evident with the success of artists like Eminem, Nelly, Kanye West, Common, and Lupe Fiasco. So now the gates are open and it is up to the up and coming artist out of this region to take advantage of the newfound notoriety.  With The In Crowd, Kidz in the Hall manage to create an album that showcases the talents and state of mind of middle America while blending well with some of the underground’s better lyricists.

   The album from beginning to end displays a great combination of emcee and producer.  Naledge and Double-O work well together bringing out the best in the other.  This is seen on “Black Out” featuring DJ G.I. Joe and “Paper Chase” featuring an impressive verse from Little Brother’s Phonte.  The album’s lead single “Drivin’ Down The Block” is a sensational ridin’ track that brilliantly samples vocals from Masta Ace and Outkast.  The shining moments come later in the album beginning with the Midwest anthems “Middle of the Map Pt. 1” featuring Fooch and “Middle of the Map Pt. 2” featuring Black Milk and Guilty Simpson. “Inner Me” exposes the battles that Naledge has with himself battling inner demons, vices, and ambitions of success.  The In Crowd takes the listener to a world that is not known to the average hip hop audience.  While one is concentrated on the movements in other areas like the south or New York, there is a scene that is up and coming and one would be best to become aware.

   But one thing that this album lacks is a true connection of identity.  The title The In Crowd does not truly live up to its name for the fact that the Kidz in the Hall do not elaborate on exactly what “in crowd” they are exactly talking about.  Is it commercial emcees, or is it the game in general?  Or is it something completely different, we don’t know and the group lacks to address that question.  But overall, The In Crowd exhibits true lyricism that has been missing while helping to establish their region and brand. - Ryan Harrison

    With the success of The Emancipation of Mimi, Mariah Carey made a comeback that many artists at their crossroads could only dream of, from being on the brink of being written off as a tragic story to returning with one of 2005’s best R&B albums. So to follow up the groundbreaking LP, Carey returns with the E=MC2, a poppy album that takes the listener on a roller coaster of classic material that one is used to hearing from the songstress to the lower dips of experimentation and attempts of crossover appeal, while not living up to its predecessor.

    The album starts with the bounce on Danja produced “Migrate” featuring T-Pain and the albums lead single “Touch My Body.”  But soon after is where Mariah stumbles with the reggae influenced Damien Marley featured “Cruise Control.”  Both artists are great in their own right, but this mix does not fare well as Carey is clearly out of element, but she manages to come back with the strong ballad “I’m Stay In Love,” but once again followed up by the hip hop-esque “Side Effects” featuring Young Jeezy.  This pattern continues throughout the album with where she has her ups and downs as seen on tracks like the strong “Love Story” and “Thanx for Nothin’,” mixed in with the terrible “I’ll be Lovin’ U Long Time” and “O.O.C.”  The “wish you were hear” “Bye Bye” does not fare well as the whole notion of discussing individuals who are gone is more of a hip hop trend as opposed to R&B, let alone Mariah.  It are these inconsistencies that really take away from the LP as the listener would more than likely have to skip from track to track to hear a more cohesive album.

   By sticking to what you know, to what help to redeem you position as one of the top artists in your profession is sometimes hard to do, especially when you have a lot at stake and a lot of hype to live up to, but it is not necessarily a bad thing either.  There was a reason that you excelled the way you did, for it was the talent that you had that took you to that next level.  So one would only want to keep striving off of the elements that got them there, as opposed to taking risky moves that won’t garner you any new fans or accolades.  This is a wise lesson for Mimi to learn by that she really did not have to stray too far from the path, but just rely on the way you got there. - Ryan Harrison

   You have to imagine that at some time during his four-year absence, following one of the biggest club songs in the last five years (“Yeah” feat. Ludacris and Lil’ Jon), Usher was sitting on the couch watching MTV thinking, “Okay, Justin Timberlake, I see you.” While Usher kicked back and collected royalty checks off the Hitch trailer, J.T. kind of waltzed in and took his place as the millennial Michael Jackson with the Futuresex/Lovesounds LP and several offshoot projects. So, with “Here I Stand”, Usher makes his triumphant return. But is he looking to reclaim his crown as the king of clubs, or merely deliver an honest, introspective LP?

     Surprisingly, Usher’s latest shows off a more mature, settled-down version of the man who went from innocent child singer to sex-addicted superstar. While the lead single to this LP, “Love In This Club”, suggests that sex is still his main priority, the album gives a far different view of Usher Raymond. Contending for R&B single of the year, “Love In This Club” has already reached the anthem level, as Pollow The Don’s slow-synth and Usher’s passionate cries for public displays of affection flawlessly blur the lines between crunk hits and slow jams. The addition of Jeezy asking the age-old, poignant question of “have you ever made love to a thug in the club with his ice on?” doesn’t hurt either. It’s what Journey’s “Don’t Stop Believing” is to white people. 

     But this sadly is the only track of that caliber on “Here I Stand”. Coming out the gate with such a ridiculously huge song – one that perhaps tops even “Yeah” – suggests that perhaps he climaxed too quickly (or, instead, this song will pay his bills for the next five years). This isn’t to say that this is all he’s got – there’s plenty of other good songs on the album, but this is by far the apex. 

     Otherwise, Usher’s other club oriented songs are more groove oriented jams, in the tradition of Michael Jackson or Stevie Wonder. “This Ain’t Sex” and “What’s Your Name” (feat. Will.I.Am) are two danceable party starters – both executed just fine – but won’t bring the house down like “Yeah” or “Love In This Club”. 

     Instead, much of the album is spent of topical slow jams, and at times landing in cliché territory. You can’t help but get into songs like “Trading Places” or “Something Special”, where he very suavely plays the seducer. However, when the wooing turns into whining, it feels like he’s playing the part up for all the lovelorn teenyboppers out there. “His Mistakes”, “Before I Met You” and “Moving Mountains” suffer from the depressing conversational style of R&B song that plagues urban radio all day long. 

     While we do see a more mature Usher on this record, such as on the N.Y.Centric “Best Thing” (feat. Jay-Z) or the short-lived “Prayer For You” (dedicated to his baby boy), for the most part, this is still fits the mold of a typical Usher LP. Like Confessions before it, everybody in the world might love that lead single, but only half of that crowd will give Here I Stand repeated listens. – Pizzo

   In this day and age, every subgenre of creation receives an equal platform for public attention. That platform is the internet, which you are using right now, and was invented by Al Gore on that legendary stormy evening when he was flying a kite with a calculator tied to it. By using your internet, you can obtain a degree in dental assistance, or become a schooled expert of Japanese culture, all without leaving the comfort of your own home. Simply Netflix some Godzilla and anime gems, buy some throwing stars on Ebay and look up the number for that questionable sushi restaurant that just opened in the mall. Log on, wax off.

    I don’t know if Esoteric actually spent time in the land of the Rising Sun, but Esoteric v. Japan (Pterodactyl Takes Japan!) is a vicarious adventure to the Far East via lush sample-based production. Tracks like “Feudal Lords” and “Knifegirl” are instant hip hop classics with punchy drums and sample chopping massacres that sound like the bastard children of the RZA and DJ Premier.

    This album is more Matsumoto than Miyazaki, full of constant action and sporadic plot lines. Like most cool stuff from Japan, it should be enjoyed with your stoner friends and hidden from your girlfriends. Eso has dug deep to expose us to a broad range of inner nerdus, employing a flood of diverse source material ranging from Godzilla toy commercials to Japanese surf rock and everything in between. He beefs it up with versatile boom bap, and through precision sequencing creates the effect of channel surfing through a haunted Japanese film archive. Oh, and he raps on most of it and its really good.

    7L and Esoteric (7LES) have been appealing to the young at heart since 1996, with their debut single “Be Alert” which sampled the theme from Transformers (including that coveted transformation sound effect). Esoteric v. Japan is in the same vein, with an abundance of clever references in both the production and vocal content: “I’m on some Rachael McAdams, you’re on some Jamie Lee Curtis” I know Esoteric has seen JLC endorsing that yogurt that helps you shit more often! 

    Golden Age aesthetics run rampant throughout this mix, including crisp drums, chopped samples interrupted by DJ cuts and dialogue, and Eso’s vicious rhymes. The pace is always quick, and there are endless instrumental and vocal breaks to let you forget you’re listening to a rap record.

   A few legit Japanese emcees contribute for street cred, and folks with even a passing interest in Japanese music and film will find themselves wanting to practice flying roundhouse kicks in their bedrooms while this is playing. Esoteric v. Japan is as entertaining as the entire Karate Kid Trilogy, and dare I say, the esoteric-ness of it is worth the acquisition. Long live the creative vision. --Chris Seeger

    Halfway through the first track of Flobots sophomore effort, Fight With Tools, it was a little unclear of the direction the record was taking. Flobots, a six-man hip-hop group from Denver, had managed to stay under the radar up until now. So rightfully, it was a little shocking when the intro track, "There's A War Going On For Your Mind", started off with a viola groove backed only by spoken word. How often is it that you hear a hip hop track backed only by a viola? With preconceptions set aside, it would soon become evident that this track would set a pattern for the rest of the album, as Fight With Tools manages to consistently defy convention and return hip-hop to the socio-political music that it has always strived to be.

      Political messages come in abundance on this record. Whether the call for revolution on "Same Thing", a track with a funky bass line tinged by a perfectly placed trumpet, Stand Up, with a desperate viola sure to give you goose bumps, or the dark, brooding sound of "Anna Braden", Flobots MCs Jonny 5 and Brer Rabbit manage to pursue a political agenda with a deft wit and lyrical finesse often unseen. Almost as impressive, is the fact that they promote their political ideology without resorting to proselytizing; their messages, however sharp and critical they are, always come across as uplifting.

      We've seen planes in the windows of buildings crumbled in
      We've seen flames send the chills through London
      And we've sent planes to kill them and some of them were children
      But still we crumbling the building
      Underfunded but we still don't understand
      Under God but we kill like the son of Sam
      But if you feel like I feel like about the son of man
      We will overcome

      The record also has a lyrical complexity that most acts don't.  "Anna Braden" and "Handlebars" are so thought provoking that you're bound to question yourself after you hear them.

      The instrumentation on the album doesn't take a back seat to the powerful lyrics, but rather, complements them, giving the album a full, warm sound with a wide selection of great beats. The viola, guitar, bass, and trumpet playing are all top of the line, and demonstrate the group's potential as a fan-stealing live act, akin to The Roots.  And like The Roots, the Flobots have a certain musical dexterity that leaves you guessing as to the next sound you're going to hear; on "Combat", they seem like they could break into a Sly and The Family Stone track at any second, while "Never Had It" starts off with some acoustic picking that's a bit reminiscent of "I Will Follow You Into the Dark" by Death Cab for Cutie. Every member of the group shows their prowess somewhere on the album, demonstrating that variety and drama are a Flobots strong-point.

      Overall, this album is a great return to conscientious lyrics, something that definitely has its value in a time with so much political turmoil. With great instrumentation performed by a real band( !!!), this is an album that every hip hop fan, no wait, music fan, should pick up. - Michael Rodriguez

   Bun B has one of the most powerful voices in hip hop. Fluid, precise and measured; It demands attention. Too often, though, he's not saying much. For much of his career, moments of introspective genius have been sprinkled amongst syrupy dirty south cliché. For II Trill, follow-up to 2005's Trill, Bun takes a substantially more reflective stance than on any of his prior works. And while it's still blanketed with the customary street-corner machismo, there's real artist growth on II Trill -- even if it's sporadic.

   "Get Cha Issue" combines everything we've come to love about Port Arthur, Texas' favorite son, in one, tight package. Addressing a trio of issues, social and political, Bun snaps "Ya'll some liars, stealers, philanderers, and all / Got Senators sucking dick inside of bathroom stalls." No punches to be held here.

   Class inequality, as well as cultural responsibility, highlight "If It Was Up II Me" and the DJ Khalil-helmed "Another Soldier." Emotion reaches an entirely different level on "Angel in the Sky," Bun's posthumous tribute to one-half of UGK, the late Pimp C.

    For those seeking the drip of candy paint and a garish pair of gold fronts, have no fear. The album's opening two tracks, "II Trill" and "That's Gangsta" are table setters. Produced by Clinton Sparks and J.R. Rotem, respectively, these two are like downing three red bull and vodkas -- in 10 minutes. "Swang On 'Em" slides in with a swanky set of horns and an album-stealing verse from Lupe Fiasco: "I'm Rick James / And this game is a wide-leather coach for me to plant my feet on." Shut it down.

    That's not to say this album is a home run, though. Much like it's predecessor, II Trill succumbs to inconsistency. "My Block," laced by milk carton status nominee Jazze Pha, is a unnecessary rehash. Scott Storch underwhelms with "I Luv That," and "You're Everything" suffers greatly, not from the Jodeci sample but from the mundane production surrounding it. "Pop It 4 Pimp" may be the worst of the lot, reinterpreting Juvenile's "Back That Azz Up" to almost egregious effect (complete with tacked on Juvie verse). It's unfortunate to see the likes of Bun and Juvenile sloshing through what could've served as a nice contrast to "Angel in the Sky."

   Still, these are only wobbles on an otherwise fairly stable effort. Though production takes a noticeable U-turn when compared to Trill, Bun's versatility and ever-expanding content on II Trill make for an enjoyable experience overall. He's yet to unleash a solo classic. However, there's certainly evidence here to suggest Bun may yet have one up his sleeve. - Jack Goodson

     Shine is the second album from West London based rapper/singer Estelle, and the first release from John Legend’s new Homeschool Records imprint, via Atlantic Records. She first came onto the scene with a V2 Records U.K.-only debut called The 18th Day, but never made it’s way stateside (expect that to change with the current level of success she is enjoying). It was here that she first collaborated with Legend, on the tracks “Hey Girl” and “Freedom”, the latter also featuring Talib Kweli. Apparently that collaboration led to bigger and better things, as she now enjoys a comfortable spot under his wing, not to mention a dream team of producers and guests for Shine, including Kanye West, will.i.am, Cee-Lo Green, Mark Ronson, Swizz Beatz, Wyclef Jean, Kardinal Offishal, among others. With a line-up like that, how could anything go wrong? 

     The album kicks off with the catchy will.i.am produced “Just A Touch”, which lifts the Screamin’ Jay Hawkins “I Put A Spell On You”, last heard on the classic Biggie / Preemo collabo, “Kick In The Door”. Here, Estelle taunts her male suitors with breezy sung vocals and teasing rap lyrics. Strangely enough, Estelle switches up styles pretty quickly with the Wyclef/Jerry Wonder produced, Caribbean tinged sounds of “No Substitute Love”, unfortunately interpolating pieces of George Michael’s “Faith” into the mix. The borrowing doesn’t let up anytime soon, as her cute little hit with Kanye West, “American Boy”, kicks in, where will.i.am actually rips himself off, reusing a beat from the Songs About Girls album. (Hey, he might as well make some money off that record...). By the time the groan-indusing Black Moon “How Many Emcee’s (Must Get Dissed)” rip “So Much Out Of The Way” kicks in, most longtime hip-hop listeners will have had enough. 

     As John Legend’s artist, there is a heavy amount of influence from the multi-Grammy award winning singer on the album. It’s very obvious on songs like “More Than Friends” and “Back In Love” that John Legend had a hand in writing the songs – you can almost hear John singing them as they are done completely in his style. “You Are”, which as a duet with John, fares a little better because he sounds so natural doing him, where on the previously mentioned solo cuts, Estelle sounds so obviously ghost written for. The feel good collabo with Cee-Lo “Love Me (Pretty Please)” also has the Legend ring to it (not as much as the others), but thankfully comes off as one of the best tracks on the album. 

    She does have better moments on the album, such as the autobiographical “Shine”, backed by a scorching Swizz Beat. Also fairing well is the Mark Ronson / Kardinal Offishal collabo, “Magnificent”. Unfortunately though, Estelle obviously draws her strengths from her collaborators. While she gets points for being ambidextrous – having the ability to sing and rap – she’s no T-Pain-like hit machine. 

    But maybe we’re being too hard on Estelle – this is what R&B albums are made up of today. It’s just in this case, we were expecting more, especially considering the all-star line-up of collaborating artists. Unfortunately, instead we get an over-abundance of hand-holding and borrowing of other classic records. While by no means an awful LP, the faults that consume it don’t allow Estelle to truly “Shine” as brightly as she has the potential to do so. - Pizzo

     Shit is fucked. Whether on the micro scale of hip-hop itself, to the median of the descent of the music industry, to the macro scale of world politics, shit is fucked. The seeds of discontent germinating within The Roots crew date back to their humble beginnings, as demonstrated in the album's opening skit, which offers a glimpse behind the scenes of a fateful day in 1995. During a recorded crew conference call thirteen years ago, we find the frustration reach a boiling point, as the call erupts into a screaming match between Black Thought and ?uestlove (here played by Tariq Trotter and Ahmir Thompson). That being said, if emotions were flying off the hook back then, just imagine how things are for The Roots in this day and age. 

     Whether through the sound of the music or the context of the lyrics, the anger and frustration with today's state of affairs comes through on Rising Down, picking up directly where Game Theory left off. A sequel - but hardly the same album - this LP takes an even darker turn than it's predecessor. The album's first song “Rising Down” surprisingly does not place Black Thought center-stage, as the first voice we hear is actually that of Mos Def, who presents us with one of his most refreshing performances in recent memory. Black Thought gets his time to shine however, warning the dangers of global warming, while Styles P vents on tricknology. Dice Raw's compelling hook is also food for thought - “Every thing is for sale, even our souls / Somebody get God on the phone....” This guest heavy track sets the stage for the album, as pretty much every track after it is a collaboration with one or more artists. 

     The darkness creeps in on meaty tracks like “Get Busy” (feat. Dice Raw and Peedi Peedi) and “75 Bars”, where the menacing style of production seems more suited for some 90's gangster rappers. Instead, it provides the sinister backdrops needed to animate the album's politically charged lyrics. The latter, “75 Bars”, is one of the few tracks without guest contributions, as Black Thought shows off his 80's fast-rap style, obliterating the track with thought-provoking, raw lyrics that would make Big Daddy Kane proud. 

     Nouveau Riche collaborator Khari “Ferrari” Mateen, who helped out on Game Theory, also makes his presence known here as well. “Criminal”, for instance, features a trademark breezy hook, as Saigon murders the track, along with strong verses from Thought and Truck North. Later on “Singing Man”, has a dark, bluesy feel, again employing Porn, Black Thought, and Truck North, as each of them lend disturbing verses from the perspectives of different types of killers – serial killer, freedom fighter, and dictator - each verse rich with political commentary. “Lost Desire” is perhaps one of the most poignant moments on the album, as each Black Thought, Talib Kweli, and good-to-have-him-back Malik B, that sums up the slacker mentality of today's apathetic generation. 

    As the album closes out, seeds of positivity are planted. “The Show” (feat. Common and Dice Raw) suggests that despite the fact that, yes, shit is fucked, ultimately the show must go on, despite the hardships of an uphill battle. The album closes with “Rising Up”, which finds sliding back into their traditional element, as Chrisette Michelle lends a timeless hook, as Black Thought and Wale get down with almost a little bit of D.C. go-go flavor. 

    The gripes that will accompany this record are the breaking of traditional Roots formulas. Black Thought is more than capable emcee of holding down the entire album himself, but much of the mic-time is shared with guest emcees, most of whom hold their own next to Thought. Secondly, the sound of The Roots continues to evolve, as this record is more Public Enemy than A Tribe Called Quest. Gone are the days of The Roots being a “hip-hop jazz band”, so once you can come to terms with that, then you can enjoy this album. While these are valid points, one could argue that instead, these changes have kept The Roots from creating the same album over and over again. Coupled with the fact that they have not slipped musically in doing so, this instead turns into a positive for the group. 

    So, while the proverbial shit may ultimately be fucked, it's also helped The Roots create some of the most dynamic and important music of their career. Rising Down is easily the group's darkest and discontent album released to date, yet also one of it's boldest. - Pizzo

    It is rare nowadays to see a producer and an emcee form a collaboration that is just mutually between the two of them.  Maybe within a group, you see one member take the helm of the production, while the other concentrates on the rhyming (for example Mobb Deep), but for two established artists in their own right, this is uncommon.  So on their first outing Chemistry, the duo of 9th Wonder and Buckshot proved that they have something to build on. The Formula is an extension of what could possibly be from a famed producer and a highly regarded veteran emcee.

    The most notable asset of this album is the maturity level from which Buckshot rhymes.  He speaks from the point of view of someone who has seen his share of good days and bad ones.  He showcases this point on “Ready (Brand New Day)” as the BDI one spits about how he done came up and how at one point in his life he could never image it, so now he is going all out and appreciating everything that he has and yet to gain.  But the shining moment of this album is “Man Listen” where Buckshot speaks of changing his life through means of being focused.  But that is also one of the downfalls of this album, as he really beats this point home of how his life has changed due to one thing or another. If it is not money of success, it is a realization of life of some sort, and after a while it becomes somewhat redundant.  Mainly though, the biggest issue with this album lies with the production.  9th Wonder has a habit of making beats that sound very similar with the sped up soul samples and drum programming.  After a while it makes one think that they are listening to the same song, or at least the same beat, over and over again. 

    The Formula is very impressive from which the standpoint it is coming from, one of a mature nature.  But something as refreshing as a new point of view cannot sustain the lack of subject matter or production consistency that this album seems to have.  It seems that these two gifted artists need to spend a little bit more time in the laboratory perfecting their ingredients, but from the looks of things, they are on the right track. - Ryan Harrison

    The U.K.’s Dizzee Rascal became a bit of a household name a couple years back with his hit single, “Fix Up, Look Sharp”, which found the grime/garage rapper flexing over Billy Squire’s “Big Beat” sample, in his dirtiest British accent. Embracing his culture to the fullest, Dizzee’s an emcee who’s never been one to try to hide his accent; in fact, that’s what makes him so unique in today’s market. Last year, XL Recordings released Dizzee’s third LP, Maths and English overseas, to great critical acclaim, touted as one of the best LP’s of the year by Pitchfork Magazine. Still, while that honor doesn’t hold much weight with the hip-hop audience (as the site also touts Dipset as the best rap has to offer), this must be something worth peeping to some degree if Definitive Jux licensed it for stateside release. 

    The LP opens with “World Outside”, a earthy, metaphysical beat mixed with clanging silverware sounds, as the Yardie emcee suggests that there is a whole other side to hip-hop than what is heard in the hood (hence, Dizzee’s existence).  “Sirens” picks things up a bit, with a nasty, multi-layered track, packing distorted guitar stabs, dirty drums, and yes, sirens, as Dizzee runs through the streets of London, police in tow. But Dizzee really doesn’t hit a home run until “Where’s Da G’s” kicks in, his take on the dirty south sound. Here, he delivers a blistering dis verse to all fake gangster rappers, followed by Bun B and Pimp C, who effortlessly adapt to Dizzee’s unique sound. Later on “Flex”, we get this year’s “Fix Up”, with an up-tempo little club jam that probably packs floors in the U.K. (and clears them in the U.S.).

    No worries though, Dizzee’s doing his thing. His sound is rather unique and he manages to make it work, hardly conforming to what is expected. The perfectly titled “Da Feelin’” is a song about summertime, as Dizzee fast raps over drum and bass rhythms and chipmunk’d soul vocals. “Temptation” also defies contemporary sounds, as he duets with the Artic Monkeys, which takes chopped guitars from the Monkey’s original track, while frontman Alex Turner lends the hook. The album’s most British moment, “Wanna Be” is also fun, as Lily Allen’s hilarious hook asks “so you wanna be a gangster? Tell me just one thing / What you know about being hard man? / Your mom buys your bling!” 

     Unfortunately, the album does dip into mediocrity from time to time. While the songs with guest artists help flesh things out and lend some unique sounds, other times some of Dizzee’s solo tracks hardly seem distinguishable from one another. “Bubbles”, “Paranoid”, “Suk My Dick”, and “U Can’t Tell Me Nothin” are each decent contributions from the artist, but may only please the super fans.  Problem is, this makes up ¼ of the record. 

    The new U.S. edition of the album has a slightly altered tracklist from its U.K. counterpart. Curiously missing is the single “Pussyole” – a rumored dis to fellow grime-cee Wiley, however a live version of it is included as a bonus track on the HipHopSite.Com digital edition. New to the American collection is an El-P remix of “Where’s Da G’s”, and while it’s hard to top the original, Bun B sounds extra ill on a Def Jux beat. Also included are new cuts “G.H.E.T.T.O.” and “Driving With Nowhere To Go”.  

     Different? Yes. Good? That’s up to the listener. While many complain that hip-hop is stale at this point in the game, Dizzee Rascal may be exactly what they are looking for. While his accent and accompanying style are an acquired taste, Maths and English will strike a chord with a dedicated cult following. – D.T. Swinga

   Blue Sky Black Death have already proved adept at their production for artists such as Holocaust and Hell Razah with the former being a high point of underground albums last year.  With their new album, Late Night Cinema, they explore instrumentals without the anchor of a steady voice.  Late Night Cinema is their latest attempt to create a full album based only on their own beatmaking musical prowess.

    The album begins with two long tracks, the 6 minute "The Era When We Sang" followed by the almost 7 minute "Lord of Our Voice".  The first track kicks off the album as a dark, rain soaked evening, as the song continually evolves with a pulsating horn sample and some arching strings.  It’s easily an album highlight, however "Lord of Our Voice" follows with what sounds like an almost endlessly looping number.  Not that the song is bad, but it goes on for what feels like almost twice as long as necessarily and doesn’t have the input as the first song. 

    Late Night Cinema continues with slow and long dirges, but does begin to add a few voices to the proceedings.  "Shoot You Dead" features the peaceful singing of a female vocalist over the part of the song that gives the song an addition of emotion. But once again, the song seems to go on without any real direction.

   Towards the end of the album, it begins to pull you back in starting with "Different Hours". This song starts slow and begins to add layers - everything from some mild tempo piano to some strings, to what sounds like the ever so brief electric guitar.  Eventually some folk harmonica begins to emerge and it really shows what Blue Sky Black Death are capable of. This song was one of the few that seemed to have almost more left in it before it was over.

   Where most albums get slower and darker towards the end, Late Night Cinema almost sounds as though as the album progresses, the clouds clear and sun begins to shine.  With a title like "All The News Is Bad Again", you would assume it to be a dark song, but it picks up and becomes relaxing and yet uplifting as once again they build and lift to a cohesive picture of instruments fighting it out amongst themselves. 

   One could take "Legacy to Fuel" with its solid downbeat on the opening of every measure as their signoff to continue to build - more beats, more albums - whatever they have on their plates.  While Late Night Cinema isn’t perfect, it shows the continued promise of some of the best virtually unknown beatmakers around right now and its likely that more dope collaborative LP's will come out of this. - Dane Johnson

    Whenever fans hear about a new, manufactured band, we're always immediately a bit skeptical; the O-Town and Da' Band disasters have left us all a bit jaded. Maybe it's not popular to take this stance, but music shouldn't be "forced"; instead, it should be a natural extension of an artist, not something imposed by a producer. That being said, on paper, P Diddy's latest "Making the Band" group, Day 26, seems a little suspect. However, as hard as it is to admit, the self-titled debut album from Day 26, is surprisingly entertaining, and has a flavor reminiscent of the best of mid-90's R&B.

      The album jumps off with "I'm The Reason", a track which owes a lot to classic Michael Jackson and 8701-era Usher. This quickly segues into the Mario Winans produced "Got Me Going", the album's first single. The choice of a first single can lead to disaster if done improperly; here, Diddy definitely picked the right one: "Got Me Going" is destined to be a club banger with it's ferocious beat. "Silly Love" and "Don't Fight the Feeling" soon follow, both working off of a nice mellow, soul groove that makes for easy listening. Day 26 seems to come off best when they slow things down, opting for a slow drum beat accented by a light snare, instead of overly indulgent, echoing samples, like that of "Ain't Going". The same slick sound is employed on "This Is What Feels Like", a Soul Diggaz jam destined for those midnight radio shows.  Overall, the production quality is top-notch, with contributions from a variety of hit-makers.

      However, there are a couple of tracks that hold this album back; "If It Wasn't for You" and "Ain't Going", featuring Bad Boy label mates, Danity Kane and Donny Klang respectively, are going to become victims of the skip button. Meanwhile, "Come With Me" is a horrible, amateurish track that goes to show that big production money doesn't guarantee a hit. Lyrical finesse doesn't seem to be a strong-point of the group either, as most of the albums lyrics come off as sophomoric. Also, don't expect anything new, or ground breaking, as this album is definitely derivative of late-90s groups like 112, Dru Hill, and Jagged Edge. But that doesn't necessarily constitute a negative.

      With expectations for this to be a horrible album, admittedly this a pretty dope record. If you go into it with hopes of new, amazing stretches of musical theory, you're going to be dissapointed. If, on the other hand, you just want to listen to listen to some easy R&B, check it out. - Michael Rodriguez

   Slug's musical topic of choice? Slug.

   Perhaps not anymore.

   On Atmosphere's sixth full-length release, When Life Gives You Lemons, You Paint That Shit Gold, emcee Slug steps out of his own shadow, choosing rather to expand his lyrical depth with an emphasis on character-driven dramas.

   Gone is the personal diary – for the most part. The angst which has driven Slug for the better part of a decade has also vanished. What's left is an intricate collection of third-person narratives about life in, well, it's most realistic interpretation. Addiction, teenage pregnancy, homlessness, a much more relaxed Slug confronts them all to varied effect. A common thread, parenthood, looms throughout.

   "Guarantees" is a rustic ode to the blue collar, told through the eyes of a conflicted warehouse employee. "Kill me in my 30s in the name of progress," he says. And you believe him.

    Dynamics such as the one presented on "The Waitress," however brief, are equal parts rare and refreshing. So, too, is Tom Waits providing background vocals (in the form of a beatbox), which is slightly ironic in the context of the album. Equally enjoyable is "In Her Music Box," a tale of escapism, specifically a child's attempt to elude her parents' strained relationship through music.

     The optimism suggested in the album's title certainly plays a role on Lemons as well. There's even some sentimentality buried inside this 15-track saunter. "Yesterday" is a therapeutic conversation, a posthumous reconciliation of sorts, between Slug and his deceased father. It's a touching – dare I say uplifting – piece, further enhanced by Ant's lively piano-driven production.

    Like Slug, Ant is not treading a familiar path here.  He abandons the sample-based production that has dominated the group's landscape, opting instead for a blend of live instrumentation and jarring new wave synth. The result is quite an obscure palette. Overall, there's a more organic sound ("Guarantees," "Like The Rest of Us"), but that's not to say there isn't an edge here ("Shoulda Known," "Can't Break").

    For those expecting traditional Atmosphere, this will be a pill tough to swallow. Evolution is never easy to accept, and there's evidence – or speed bumps – here to support the theory (See "You"). Still, it's hard to argue with quality, and Lemons has that in abundance. - Jack Goodson

    If there’s a rapper who is all things to all fans, this reviewer has yet to hear him do his thing. That doesn’t stop some from trying, and it seems to be the primary objective for Fat Joe on The Elephant in the Room, his eighth solo release.

    No question, Joe’s been in the game a long time. And truth be told, he’s been a lot more better at keeping up with the changing times than many of his peers, successfully flipping from street to club records, and even returning most of the way back again on Me, Myself and I, his previous album. With Elephant, he proves to be somewhat less adept at combining his various styles into one coherent whole.

    Part of the problem is that Joe can’t seem to find any magic among the more radio-friendly tracks, despite working with some of the same producers who have struck gold in the past. The first single, “I Won’t Tell” (featuring J. Holiday) is a decent, danceable effort by The Hitmen, but it’s hard to see it becoming a radio hit on the level of “Get It Poppin’.” Joe’s more recent Southern influences are in full effect on “Ain’t Saying Nothin’” and the DJ Khaled-dominated “Get it for Life,” though they also fall a bit flat. Even another guest chorus by Lil Wayne on “The Crackhouse” isn’t enough to pull things out of the doldrums.

    The lone standout on the disc’s first half is “Cocababy,” where Joe explores what seems to be his umpteenth different alias over a sinister drum loop courtesy of Danja. The expiration date on Jackie Rubio’s hook may need to be checked though - “As we proceed to give you what you need” is well over a decade old at this point.

    Just when the uninspiring “K.A.R.” and “300 Brolic” have you ready to give up on Elephant, things get interesting on the final three tracks. “Preacher on a Sunday Morning” might not be Joe’s best song concept, but it does have a guitar-heavy Scott Storch beat and some lines that are aimed at other familiar NY rappers. Along with his continuing beef with 50 Cent, Joe seems to be taking shots at Papoose (“Everybody’s beefing, it’s the same old thing/All these mixtape rappers now want to claim king.”) and possibly even Jay-Z (“Can anybody tell me where’s San Tropez?/All these so-called killers trying their best to dress gay.”).

   Lest we think Joe has burned all his bridges in the five boroughs, he enlists the help of a pair of New York legends to close out the album. “My Conscience” finds KRS-One in the Jiminy Cricket role, helping walk us back through Joe’s career and life, and “That White” puts DJ Premier in the booth to cook up his signature sound while Joey Crack cooks up some old school drug rap: “Thank God for that white/We slanging it all day, we cooking it all night./It’s on with the don, never let shit slide/Have your ass wearing a patch like Slick Rick’s eye.”

    Joe gets an A for effort, but there’s too many dull moments on The Elephant in the Room to avoid giving it a much lower grade for execution. Trying to reach a bunch of different audiences with one album is a goal as big as the animal in the title, and this one doesn’t quite get there. - Nick Tylwalk

    It was an accident. It wasn’t supposed to happen like that. It broke the rules of what a hit single should be. The unlikely pairing of Goodie Mob frontman, Cee-Lo, and remixer-turned-super-producer, Danger Mouse was a fluke in today’s age of disposable music. But “Crazy”, coupled with a ridiculously solid debut, did it for Gnarls Barkley, proving that in the end, the cream will truly rise to the top.

    With what was supposed to be a one-off project becoming such a platinum success, like Hollywood, the music industry demanded a sequel. But can the mysterious Gnarls Barkley top their now classic debut, St. Elsewhere, or is this another case of the sophomore slump? 

     Borrowing another classic television show title, the duo returns with The Odd Couple, which couldn’t be a better description for them. Like many bands that achieve critical acclaim with their debut album, Gnarls Barkley now has the freedom to venture outside the lines and go a little deeper, a little more experimental, because now the whole world is listening. 

     Or not... Things have gotten off to a rough start this time around. Their debut single from this LP, “Run”, neglected to crossover and win a top spot on the charts like “Crazy” did, with it’s high-powered, 60’s psyche-rock sound. Meanwhile, the album’s release date itself was an ultimately confusing mess, after an internet leak shifted the release date up, killing any building momentum. 

     “Run”, while not as easily accessible as “Crazy” however, ultimately set the tone for the LP. The sounds of the original daisy age are evoked constantly, as songs like “Going On”, “Surprise”, “Whatever”, channel sounds from forty years back, whether soul, folk, or Brit rock. But, Cee-Lo still seems at best when in his element, with the more gospel flavored tracks, such as album opener “Charity Case” or the murky “Who’s Gonna Save My Soul”.  

      But having the freedom to color outside the lines may not be the best direction for the band, if they wish to replicate the success of their debut. While far from bad, it feels like they go a little too far off the deep end on songs like “Open Book”, “She Knows”, and “Neighbors”, as these songs lack the more structured 16-bar verse and hook formula found on St. Elsewhere. Furthermore first LP was filled with many tightly knit concept songs (“Transformer” or “Necromancer” come to mind); and because this LP is so experimental, it’s concepts are much harder to grasp on to. 

     Still, this is a soulful record, and respect is due to Gnarls for not simply churning out a few clones of “Crazy” that may have guaranteed them success. With a million fans of St Eleswhere behind them, however, there will be a cult following that see The Odd Couple as sheer brilliance, but its heavy handedness will leave many in the dark. – D.T. Swinga

   AZ has not had the best of luck.  Back on Illmatic, one would have thought that he would be mentioned in the same breath as some of the peers who went on to become icons in hip-hop (most notably 2Pac, Biggie, and Nas). And why not?  Sosa has displayed various projects of his own as well as on collaborations that he is lyrically strong, or maybe even stronger, than many emcees past or present.  But is seems that the Brooklyn veteran has the same notion in which he expresses on many occasions on the solid, but non conceptual Undeniable.

    AZ has always been known to be one with words and this is seen from the opening of the album with the song “The Game Don’t Stop.”  This track is self-autobiographical as AZ speaks about his days before rhyming doing it eloquently over Lil Fame’s dreamy production.  Another standout track is “Dead End” where the Visualizer discusses scandalous and shallow individuals who he knew back in the days of when he did not have much and how they react to his success as exemplified in lines like, “Where’s everybody when them shells and them shotties tryin’ to sail through your body/Nobody wants to poly/Everybody cool when they cruisin’ in Denalis /All crewed up and jolly tryin’ to screw all the hotties…” 

   More lyrical skills are on display with the title track “Undeniable” and the impressive Styles P assisted, Large Professor produced “The Hardest”. One thing about Undeniable that can’t be overlooked is the way AZ blended with most of the beats.  The production seemed tailored for his laid back coniac flow that made it very easy for this listener to hear AZ’s tales of glamorous living and Mafioso lifestyles.

   Where AZ seems to make a wrong turn is when he tries to come off as a ladies’ man.  This is not his strong suit and it is obvious on the lame Ray-J featured “Go Getter.”  The same goes for the lackluster “Parking Lot Pimpin’,” which again, AZ is not at his best.  But the most disappoint track has to be “A.Game,” with its annoying hook and heavy usage of the drums. 

   Overall, Undeniable is nothing that we haven’t heard AZ talk about before, or any emcee that came out in the mid to late nineties.  Even though he has the ability to be one of the best, he needs to be more consistent when it comes to concepts and ideas.  Until then, AZ will continue to be denied his proper due. - Ryan Harrison

    Disclaimer from the editor: Okay, why the fuck is HipHopSite.Com reviewing the Madonna record? This is "hip-hop" site dot com. Madonna isn’t hip-hop. She’s not even R&B!?!? True, however, when a record – like this one - is exclusively produced by Timbaland and The Neptunes, it doesn’t matter who it’s by, we are going to give you our take on it. Also, it should be noted, while this record is reviewed positively, in no way should it’s “@” rating be held next to traditional hip-hop records. So this is a “@@@@” compared to Gwen Stefani’s “L.A.M.B.”, not compared to say, Smif ‘N Wesson’s “Da Shinin”. Apples and oranges, ya’ll. Now on to the review…

     Enter Madonna’s Hard Candy. Oh, so shocking. The 50 year dominatrix looks creepy on the cover art, and the album title itself is as cringe inducing as a song about Lil’ Wayne getting his “lollipop” licked. These were all signs to stay far, far away from this record. That, and of course the sordid past Madonna shares with hip-hop – from ripping off Public Enemy’s “Security Of The First World” for "Justify My Love", to removing Big Daddy Kane’s last semblance of rawness by somehow getting him to pose nude in her photo book, Sex. Yes, Madonna’s not every really been that down with us hip-hop kids. From cone-shaped bras to kissing Britney, she’s never managed to shock us, as we were listening to Eazy-E and Eminem far exceed the limits of good taste, of which she was only vogue-ing around. 

     So, is it no surprise that after 20 years, Madonna has finally started tapping hip-hop producers for her new record? Considering how the lines are so blurred these days on what’s hip-hop and what isn’t, of course not. While at the surface this looks like pink pop fluff that should be nowhere near your Mad Skillz and Main Source mp3 directories, it’s something different at closer examination... a VA producer’s showdown between The Neptunes and Timbaland.

     With all the money on the line for this record, both The Neptunes and Timbaland have come to the table with some of their best, most innovative beats yet. The two acts clearly competing with one another to see who could come with the hotter tracks for this record, since it’s likely to outsell anything else they’ve been affiliated with given M-Dolla’s rabid fanbase (we guess that’s her new Wu-Gambino alias…or something).

     After a strong stint of pop records from themselves and their contemporaries, the trio of Timbaland, Timberlake, and Danja reteam for much of Madonna’s record, evoking a similar fusion found on Justin’s Futuresex/Lovesounds. The scorching lead single, “4 Minutes”, is obviously of their handiwork, as each player lends their contributions – almost to the point where you forget that this is Madonna’s song (which can be said for a lot of the album). Later on “Dance 2Night”, they craft another one of those funky Morris Day-esque tracks, as Madonna and Justin split the vocals. By the time the hook hits, they’ve somehow recreated the sound found on her early tracks like “Lucky Star” and “Get Into The Groove”, yet not dated and corny. Not all of their contributions come with such stellar results however – as “Miles Away” is a by-the-numbers adult-contemporary song with some Timbaland beat-boxing added. Same can be said for “Devil Wouldn’t Recognize You” – which sounds just a little too similar to songs like  Justin's “What Goes Around (Comes Back Around)” or 50's “Ayo Technology”.

      The Neptunes however, clearly win this contest, pushing the limits of their sound and thinking way outside the box when producing the LP. “Candy Shop”, for instance, packs tribal drums, didgeridoo, and electric keys, as Madonna compares her womanhood to various flavors of sugary sweets – overdone, yes – but undeniably dope production. “Give It To Me” takes things a step further, packing raw snares, futuristic synth and even a Hyphy breakdown. Oh, and they replay elements of Special Ed’s “Come On Let’s Move It”. Wow.

      Pharrell and Chad continue to redefine the sound of pop music on the disco-flavored “Beat Goes On”, as Pharrell and Madonna share the hook, while Kanye steps in for a guest verse. Things come to a head on “Spanish Lesson”, where Madonna continues her obsession with Latin lovers (last heard on “La Isla Bonita”), but this time over a ridiculous B-More drum set and acoustic guitars. 

     It’s not all good though, The Neptunes have a few missteps with “Incredible” – a six-and-half-minute road to nowhere, that goes in several directions and repeats itself over and over again. “She’s Not Me” is also a bit jumbled, as Madonna’s lyrics seem like the musings of a 21 year old girl, not an aging milf. Coupled with Pharrell’s off-key, falsetto crooning, it’s not exactly a good look.

     All in all, Madonna’s Hard Candy is a surprisingly good record – and this is coming from someone who doesn’t like her as a person, much less an artist. If you feel like listening to this record will make you flip-out gay, it probably will; in that case, stay away or come to grips with who you really are. If you have a pretty good hold on your manliness and just want hear some hot beats from some of the best producers music has to offer, get Hard Candy. Sure, the argument can be made that big bucks will buy you the best songwriting and beat-making out there – and that’s exactly what this is, but if Tim and The Neptunes are barely going to produce hip-hop LP’s anymore, we’ve gotta get our fix somehow. – Pizzo

    It's been a minute since we heard from the self-proclaimed Funky Homosapien, Del. His first two records were cult classics, helping launch the Hieroglyphics crew, whom, as a whole, played a huge role in the creation of the indie hip-hop movement. Del remained elusive during the underground's new frontier, releasing a few solo records, (Future Development and Both Sides Of The Brain, respectively), as well as a collaboration with Dan The Automator on Deltron 3030. However, each of releases unfortunately were received with a collective "meh" from the audience, and Del took some time off – about seven years.

   When it was announced the Del would be collaborating with Definitive Jux for the release of his long-awaited Eleventh Hour LP, people had a memory loss, and all past misdeeds were forgiven. After all, hearing Del and El-P collaborate on "Offspring" on Both Sides Of The Brain and El's Push Button Objects "360" remix (feat. Del and Mr. Lif) offered a taste of what we could expect from such a high-powered collaboration. This could be exactly what the artist needed for reinvention.

   Unfortuantely, this is not at all what we get. Del's latest may be distributed by Jux, but evidently the label had little to do with it's creation or sound, as most of the production was handled in-house, by Hiero. The album opens with "Raw Sewage", which finds Del in his element, flowing over a murky beat with occasional horn stabs and a furiously cut-up hook. "Bubble Pop" follows, boldly sampling "Take Me To The Mardi Gras", but adding a bass-line worthy of the song's title, as Del vents his frustration with people that think they are all that (when they ain't). This vintage production style carries over into "Back In The Chamber", a raw Hiero-styled beat that could have easily be found on No Need For Alarm.

   Del experiments with new styles of production as well, for better or for worse. The Opio produced "Naked Fonk" is different than the style of beat we are used to hearing Del over, but his strange choice of delivery on the track makes it hard to grasp hold of. "Hold Your Hand" is one of the better tracks on the album, with mellow Oakland funk, mixed with an ill Del twist on the hook. However, "Foot Down", Del's attempt at a double-time bounce track, comes off as contrived and gimmicky.

   Strangely enough Del does not enlist any of Hiero brethren to share rhyming duties on The Eleventh Hour. Instead, "Last Hurrah" features newcomer J. Malcolm, who nevertheless holds his own next to Del. "I Got You", however, does not fare quite as well. Here, Ladybug Mecca trades mics with Del, on a lo-fi track with a repetitive hook that seems to go on forever; not quite a match made in heaven. One collaboration that does work very well is "Funkyhomosapein", which finds Del getting busy on a J-Zone track – creating a sound that should have carried the whole record.

   Aside from the disappointment that this was not a record that's creation was overseen by El-P (a la Cage's Hell's Winter or Mr. Lif's Mo Mega), Del also seems to be phoning his performances in. Half the time it seems like he is freestyling, the other half simply goofing off in the mic booth. While these are aspects of his personality that got us to like him in the first place, gone are the tightly knit concepts of classic songs like "Sleepin' On My Couch" or "Wrong Place". Del's latest has it's moments, but it unfortunately it seems like after a seven year absence, Del really did wait until The Eleventh Hour and rushed this record out. – D.T. Swinga

   Spring is in full swing, which means those of us living in areas with seasonal weather (i.e., not L.A. or Miami) are feeling that unmistakable rush of regeneration. Like the flowers blooming in our yards, the legs of fine young ladies are sprouting from their shorts, and the new Lyrics Born record is a suitable soundtrack for the increased ogling you’ll be doing in the coming weeks.

   Throughout his career, LB has pioneered a unique version of funk rap, using tongue-twisting rhyme patterns and over the top, often giddy production. The mood on Everywhere at Once is similar to the euphoric works of his past, which might be attributed to the warm Cali breeze he endures year round. Lucky bastard.

   The lead single “I Like It, I Love It” picks up where “Callin Out” left off, employing a massive bass line and Cali-bounce percussion. P Funk-inspired synths are sprinkled throughout, setting a familiar foundation for LB to channel his inner-Bootsy. Does he keep sequined knee-high boots in the vocal booth for tracks like this?

   “Cakewalk” maintains the high-energy on Everywhere at Once. The machine gun 808 bass and hand claps have been u