Jack Splash musically kisses the year of 2010 goodbye with his trademark sound on “2010″ featuring soulster, Martin Luther.

Destined to be a New Years Eve dance floor classic “2010″ is a testament to Splash’s faithful dedication to the funk and his first single from the forthcoming album Future of the Funk.

via: TWV

It’s hard to believe that it has been almost a decade since Ohio emcee Copywrite released the critically hailed The High Exhaulted. Since then, Copywrite has been in and out of music, dealt with a number of personal issues and has finally resurfaced for his first full length album since 2002′s The High Exhaulted with The Life & Times Of Peter Nelson.

Copy has evolved since his days on Eastern Conference records. While widely known as a menacing punchline lyricist, his best work was arguably done with the narrative “June.” On his latest project, Copywrite expands his arsenal in gives a lot more insight on who Peter Nelson is. Copywrite has been though a lot in his life and spends roughly half the album discussing his personal issues, departure from the supergroup The Weathermen, the friends and family he’s lost and fighting his own personal demons. Those moments truly round out the album and prove that Copywrite isn’t just a rapper.

Copywrite sets aside his rapping persona and introduces Peter Nelson on songs like the RJD2 produced “Forever And A Day” which pays homage to all of the friends and family he has lost over the years. “Bored” finds Copywrite poking fun at himself and the numerous internet jockeys that drag his name through the mud on message boards while “Confessional” is a therapeutic session as the Ohio rapper acts as a tour guide through his turbulent past.

But don’t think he can’t shred a mic with the best of them. His romp with Planet Asia and Tage Future “Best In Show” proves this point to perfection. “Y.O.G.A. Stretch” is Copywrite at his hip-hop quotable finest as he pummels the racing production with what seems like a punchrhyme instead of a single punchline.

At a robust 20 tracks, The Life & Times Of Peter Nelson might be a difficult meal to digest in one sitting. A few tracks could have been shaved off the outing like the dreary “Don’t Kill Me” and thudding “Shotgun.” If condensed, Copywrite would have had one helluva album. However, the injection of mediocre songs weighs down the album and drowns out some of the excellent songs Copywrite recorded. But either way, Copywrite has made a valiant return to hip-hop.

In conjunction with TWV.

Cee-Lo Green has been an extremely talented, yet painfully underrated artist since his career started as a member of the Goodie Mob in the 90s. Ever since he sang the intro song “Free” on the Southern collective’s Cell Therapy album, it was evident that the big bellied Southerner has vocal chops that match his lyrical ability. After a couple of solo albums and massive successful albums as Gnarls Barkley (with producer Danger Mouse) Cee-Lo returns with his latest outing The Lady Killer.

With tongue-in-cheek “Fuck You” being the lead single, Cee-Lo’s third solo endeavor is packed full of old fashioned R&B, thick vocals and a ride through various eras of music that are all paid homage to without outright Xeroxing of the formula.

Cee-Lo’s voice is unique but vaguely familiar to anyone who has heard a choir or the powerful voices from the 60s. It’s part church, part soul and all Cee-Lo Green. Whether it is the way he belts out each note on the powerful “No One’s Gonna Love You” or the trip-hop instrumentation he glides across on “Please,” Cee-Lo proves that he’s a jack of all trades when it comes to vocals.

Aside from the censored version of “Fuck You” being dubiously fitted on the album’s tracklist in place of the original, The Lady Killer is a refreshing ride through music history. “It’s Ok” and “Cry Baby” find Cee-Lo calling upon the Motown era as the instrumentation and vocal arrangement do the music of that time frame justice. “Old Fashioned” bellows with a touching nod to Solomon Burke with its hearty vocals strung out on the deep soul ballad. Simply put, Cee-Lo doesn’t just nod and tip his hat to these periods of music; he brings them to the new millennium tastefully while showcasing just how amazing of an artist he truly is.

The album’s standout track is the sultry Salaam Remi produced “Bodies” where Cee-Lo weaves a haunting tale of the sweetest psychopath you will ever meet over chilling strings and rolling drums. Let’s just say he takes The Lady Killer title figuratively and literally.

What’s truly unfortunate is that Cee-Lo has yet to be truly appreciated by the culture of hip hop that birthed him back in the 90s. Most of the attention goes toward Andre 3000 when it comes to the hybrid of being a rapper/singer with an eclectic base, but Cee-Lo is truly the one who has mastered the art. It wasn’t until he unintentionally crossed over with Gnarls Barkley that his talents became recognized by all. So it is safe to say that many will find The Lady Killer too pop for their tastes; which is unfair to an artist who has been giving it his all for almost two decades.

But alas, The Lady Killer proves that once again Cee-Lo is a talent that cannot be denied. There’s a difference between those that try to be unique and those who just are. Cee-Lo, by far, is the latter. One of the greatest true artists of this era who somehow gets his name left off of top ten lists just cannot be denied any longer.

In conjunction with The Well Versed.

The Bay area’s Lyrics Born has dwelled in the underground as part of the early 00’s group Latyrx and made a name for himself as a staple in the bay with solo endeavors such as Later That Day. But his latest outing finds him moving way left of the music he is known for, which may send fans for a jolt.

As U Were dives headfirst into a more experimental funk sound rather than a crate digging hip hop vibe. While it may be assumed that the departure could spell trouble for a listener, that’s not the case here. LB does a commendable job with this project that is more noteworthy for its production than its lyrical content.

Simply put, As U Were is an album built from the 1970s foundation of Parliament, grew up during the 80’s pop synth era and then warped into the new millennium. Songs such as “Coulda Woulda Shoulda” bleed an Earth, Wind and Fire vibe with its plush instrumentation and blazing horns. Elsewhere, songs like “Pushed Aside/Pulled Apart” possess a Cameo “Word Up” vibe while “I Wanna B W/U” features haunting synths reminiscent of Rockwell’s “Somebody’s Watching Me.”

The album loses steam near the end of the funky ride. Songs like “Something Better” lack the sonic punch of earlier songs while “(What Happened 2 Our) Love Affair” finds LB trapped in 80’s cheesy territory as the song sounds like a Fine Young Cannibals throwaway.

Lyrically, the album still contains the kind of introspection Lyrics Born has been known for on songs such as “I’ve Lost Myself,” which is tinged with notorious self doubt. While those sentiments are still appreciated, they are not enough to make the album great. As U Were wades in waters that border more towards the radio viable rather than being an indie rap hero which may rub listeners the wrong way. Especially when you consider the album’s running theme of not being cut from the same pop cloth as today’s radio friendly hits.

All in all, As U Were is an interesting departure for Lyrics Born. While fun and different, at times it borders on cheesy and tends to get its message a little diluted thanks to its noticeably pop direction. It’s still worth a listen, just as long as you don’t take it too seriously.

Seven years ago, Joe Budden dropped “Pump It Up,” scoring the biggest hit of his career. And while the track went hard in the clubs and the car, it was hardly Budden at his best. Fast forward seven years later and “Jersey Joe” is in full stride on the independent circuit. Mood Muzik 4 – like the three volumes that preceded it – wouldn’t be possible under the old system of major labels dominating and dictating the way artists make and distribute music. The seventeen track opus is a wild departure from everything that made “Pump It Up” a hit. Budden isn’t at his best when rhyming for the club – he’s at his best when being himself.

Mood Muzik 4 is long on rhymes and short on superficial material. Tahiry’s ex goes hard in the paint from the jump on “Pray 4 Me.” Over a Van Halen sample, he raps a semi-autobiographical verse but finds time to shout out Travis Barker and the late DJ AM: “When AM died, I was staring at Travis Barker/wishing there was something I could say to make him cheer up/so when I prayed he teared up/I ain’t wanna see him go through that/The same shit that I feel/just never show you that.”

The bulk of the album takes on the same dark, somber tone that’s dominated Budden’s career since he jumped off the Def Jam ship. “Aftermath” finds Joe flipping effortlessly on a number of topics like the music industry (“I know some niggas with platinum plaques and bronze paper”) or fronting (“they passing the fake off as the real like Bryan Pumper’s jeweler”). The album isn’t all about sonning wack emcees, as Budden’s ode to the special people in his life, “Inseparable” will strike a chord with those reminiscing about friends and family living and deceased while “Follow Your Lead” finds Joe shedding the trappings of materialism.

The guest list is kept short and sweet. While Budden rides solo more often than not, all the guests bring the album up a notch. Fellow Slaughterhouse member Crooked I lends a hand on “Sober Up” while Styles P and Pusha T ride with Joey over the saxophone heavy track “Dessert 4 Thought.” The album’s posse cut, “Remember The Titans” finds Fabolous, Lloyd Banks and Royce The 5’9 tearing through the hook-less beat with reckless abandon.

To be clear, this album is formulaic, but in the way that fans of dope beats and dope rhymes will enjoy. Budden finds a beat he likes, spits fire over it (with the occasional guest). Wash. Rinse. Repeat. Whereas artists on the major are forced to collab with MC Hot Right Now or the six figure producer because they have to, Budden is doing Budden because he wants to. This is a stripped down album with production that allows Budden to go hard even when he’s being emo. With no unbearable tracks – but one very forgettable skit, in the form of “Mop Salad” – Mood Muzik 4 succeeds because Joey does what many in hip hop talk about but refuse to do: Keep it real.

In conjunction with TheWellVersed.Com

Virginia is for lovers. And now it’s for music lovers, too, with the release of You Need This Music from Norfolk’s Nottz. To those with the attention to detail to notice his liner note fame, Nottz is not an unfamiliar name. As a producer he has worked with Busta Rhymes, Biggie, Snoop Dogg, Rakim, and more, which is no small feat. On his latest offering, however, he not only steps behind the boards, but holds down duties behind the mic as well.

Still, we know Nottz as a producer before we know him as a rapper, and the production is as much worthy of discussion as his emceeing. What really shines on You Need This Music is the versatility Nottz brings to the table. One minute he’s channeling his inner DJ Premier on the tougher “Fair Warning,” then he smoothes it out on the title track featuring Dwele. He possesses the rare ability to switch his style up from track to track and make it seem effortless, lending the listener a musical experience that never gets boring. The fact that Nottz has production skills is not a secret, but how does he fare as an emcee? Can he stand up to his guests? With Joell Ortiz, Royce Da 5’9″, Black Milk, and more making appearances, it’s certainly a challenge.

The results are mixed. Nottz definitely has a decent flow and some bars, yet he’s not the greatest to ever touch a mic, as expected. And yes, some of his features outshine him. But it’s not like he markets himself as an emcee, either. For a producer, he’s doing amazingly well at both. On “A Dream Come True” Nottz pays homage to the ones we’ve lost in an over 6-minute track that serves as a list of people that have died. It’s almost depressing to realize how many people have been lost, and six minutes of it is a bit excessive – kind of like having an outro track of thank you’s and shout outs at the end of a mixtape. It’s times like these on You Need This Music when the listener will see his production stand out more than his lyrics. How he flipped the same drums Dilla used for Q-Tip’s “Let’s Ride” on “Blast That” featuring Black Milk is definitely way more entertaining than hearing another music industry “R.I.P.” list.

Standouts include “My Neighbor” featuring Asher Roth and Colin Munroe, where each lyricist reminisces about their hometowns, with a late-night or college radio friendliness that will have fans singing the catchy hook for a while after hearing the song. “The Cycle” featuring Joell Ortiz features a bass-heavy, key-dominated solid instrumental with two equally strong lyrical efforts. As Nottz rhymes about his boy who just got out of the pen, Joell follows up with a verse detailing how a drug dealer got caught up by talking reckless on the phone. It’s a track full of street shit with a feeling of sensibility to it all, and the two emcees handle it almost like a casual conversation between friends.

If none of the above compels a listener to pick up You Need This Music, a track with Snoop Dogg and Royce Da 5’9″ alone should be enough to pique some interest in the latest album from Nottz. With a solid lyrical debut and an even more impressive production performance, there’s no reason that Nottz’ name shouldn’t move from the background to the forefront of people’s playlists.

In conjuction with TheWellVersed.Com

The plight of the female emcee has been well documented by hip hop scribes for the past decade. Rather than seeing femcees whose name is made from their lyrical ability, many gain notoriety from their looks and open display of sexual energy. But that’s where Rah Digga comes in. Ten years removed from her lauded debut album Dirty Harriet, the husky voiced woman comes to slam stereotypes face first with the aptly titled Classic.

Produced entirely by Nottz, Digga’s Classic is a powerful war cry by the former Flipmode Squad emcee to all of the industry that declares female emcees to be extinct. She’s pure dope lyrics and minus fluff throughout the petite ten track offering.

“This Ain’t No Lil Kid Rap” finds Digga and her rich voice stomping over the rumbling highs and lows and sparse drums. Digga didn’t come to play games and keeps the momentum going on the funky “Feel Good” where Nottz vocal samples and rumbling bassline allow Digga to cut loose with some vicious braggadocio.

The production of Nottz is definitely a shot in the arm for Rah Digga’s second album. Nottz go-go drums behind the electric guitar plucks of “Straight Spittin IV” is the perfect soundscape for the Outsidaz alum to flex some lyrical muscles. Everything Nottz chips in is a compliment to Digga’s rough and rugged style. It’s easy to see that this is a match made in heaven.

After a decade of having to wait, Rah Digga’s Classic proves that the femcee hasn’t lost anything since her debut album. As a matter of fact, can we get another album sooner than later?

It’s a bold statement when you call your latest project Album of the Year. But for Detroit producer/emcee Black Milk, his audacious claims aren’t unwarranted as Album of the Year is one helluva complete package that is sure to be on many year-end lists.

Let’s get this out of the way: Black Milk is an exceptional lyricist, but it is the production that steals the show on this project. Simply put, Black Milk’s work behind the boards is top notch. Milk has a knack to make his drums slap your eardrums silly as evidenced on the scatting “Round of Applause” and the album’s opener “365.”

The underlying story here is Black Milk’s strides as an emcee. Prior outings like “Tronic” were demonstrations in superb production while the lyrics mostly played the background. This go around Black Milk makes sure you listen to him as a rapper. It’s something he does a great job with and obviously focused on when crafting the album. “Distortion” finds Black lamenting about how he can’t grasp why bad things happen to good people. It’s a heartfelt lyrical therapy session for an emcee from Detroit who has watched Dilla, Proof and Baatin pass in less than a decade.

Black shows off some lyrical dexterity when he calls upon fellow Detroit rhyme slayers Royce Da 5’9” and Elzhi for the simply menacing “Deadly Medley.” While Black holds his own, it is Royce who ravages the track with lines like “If you can’t take the heat, get yo’ ass out the kitchen/Matter of fact, take yo’ ass back in there and wash the dishes.” Not to be outdone, Elzhi rips the final verse with his trademark punchlines like “Half of ya’ll shouldn’t rap, you do a shitty job like colon cleansing.”

But in the end, Album of the Year is anchored by its production. Black Milk can make you nod your head until your spinal cord can’t take anymore, with the moving strings and raw thump of “Black & Brown.” When he’s ready to smooth it out, he’ll surround a sweet guitar loop with another round of potent drums on the album’s closer “Closed Chapter.”

Ultimately, if you are a fan of raw production, Black Milk’s Album of the Year absolutely must not be missed. His lofty claims aren’t unjustified and you’ll find that out courtesy of this 12 track exercise in how hip-hop should be done.

Dream Merchant Vol 2 is chock full of gems with collaborations you’d expect and others that feel almost mandatory.  “Saved” is blessed with a airy production backed by the lyrical styling of Saigon and Joe Scudda.  Big Dho and Sean Price come quite correct on the butter smooth “Shots” as they both do enough to make sure the production doesn’t outshine the artists.

Sure, the album is a flag waving Hip-Hop release, but with the inclusion of Keisha Shontelle’s soulful “Sunday”, Vol 2 further proves that 9th can do just about anything.
The problem with Dream Merchant Vol 2 has nothing to do with 9th’s production, rather the various emcees featured on the project. At times the guests don’t bless the tracks like a Murs or a Jean Grae would and something feels a bit lost. Sean Boog gets completely outshined by Buckshot on “Backlash” while Big Remo and The Great Novej don’t really do “Reminisce” much justice.

“No Time To Chill” is solid, yet it isn’t the stellar, spotlight stealing effort you would expect when Phonte, Pooh and 9th reunite for that one last hurrah. A Camp Lo & 9th Wonder collaboration looks beautiful on paper but isn’t all its cracked up to be on the so-so “Milky Lowa”.  No need to worry though, when Mos Def, Jean Grae and Memphis Bleek cock their lyrical shotguns for the amped up “Brooklyn In My Mind (Crooklyn Dodgers 3)” everything makes sense all over again.

Dream Merchant came with lofty expectations that may not have been exceeded this time out. Regardless, it’s still an album worth copping simply to hear some more of that good ol’ 9th Wonder production. – Andreas Hale

Waajeed and his productive brilliance is on full display here. Mixing a plethora of songs and instrumentals to create an organized cluster of an album that is so gritty and polished at the same time that it mindfucks the listener into euphoria.

With ultra smooth offerings such as Tiombe Lockheart’s “O Bloody Days, O Starry Night” providing a dynamic groove behind Lockheart’s vocals, War provides a much needed lift to the staleness of the industry today. The smattering drums of the “W-A-A-J-E-E-D” instrumental are beautifully layered across some blaring horns and a crisp vocal sample.

While the guest list consists of mostly Detroit’s upcoming artists, it really doesn’t matter if you have heard of them or not. The end result is still an enjoyable piece of work that melts together wonderfully. The sheer viciousness of femme fatale Invincible on “Pick Your Poison” and “Place Where We Dwell” is eyebrow raising to say the least. Her sharp delivery fits well with Waajeed’s sonic backdrops.

The War LP is quite a beautiful attack on your eardrums. Unfortunately, offerings such as these are too ahead of their time for mainstream radio. It’s likely there won’t be any Waajeed on your radio or television in the near future. But that’s okay, sometimes offerings like these are better kept to yourself. – Andreas Hale

   That line from the Madlib produced intro “Everything Man” epitomizes the career of Talib Kweli. Before any of the celebrity that Kweli has garnered over the past few years, Talib Kweli was a starving artist making a name for himself alongside Mos Def and Hi Tek on Black Star and then on the classic offering with Hi Tek (better known as Reflection Eternal), Train of Thought. As the critical acclaim arrived, Kweli found himself in front of a much larger audience who’s tastes vary. His solo endeavors seemed tailor-made for a larger audience, but Quality & Beautiful Struggle almost alienated his core fanbase because of the obvious attempts to claim a crossover crowd. When Beautiful Struggle failed to live up to expectations, Kweli was almost written off as someone who couldn’t reclaim his prior thunder. With expectations lowered, Kweli delivers Eardrum and brilliantly reclaims many of the fans he lost over the years.

    When the sonic sounds of “Everything Man” level the listener with its smooth production and solid lyricism, it is obvious that Kweli is done with pleasing everyone and is out to just do him. Just Blaze takes everyone to church with the pounding “Hostile Gospel”, as Kweli once again spits with a new born ferocity.

   Eardrum is easily Kweli’s most consistent solo work to date. There aren’t many hiccups of forced mainstream appeal prevalent throughout. Instead you get vicious offerings like the Jean Grae assisted “Say Something” and Kweli keeps it silky smooth for the ladies on the Will.I.Am offering “Hot Thing”. Pulsating with a swanky groove, Kweli keeps it cool for the honeys.

    Kanye West drops in to get everyone “In The Mood” as the two do what they do best - Kanye with sharp wit and Kweli with his intellect.  Even though Norah Jones appearing on “Soon The New Day” may scream for mainstream attention, her contribution flows effortlessly and fits perfectly. Unfortunately you can’t say the same for the uncomfortable feel of the Justin Timberlake collabo “The Nature”.  If any song on the album feels forced, it definitely is this one. With a Black Eyed Peas’ “Where Is The Love”-like approach, we could definitely do without this song. “Stay Around” may prove to be a bit too friendly in the same vein, but these moments aren’t splattered all over the album.

    A great album could have been even better with the trimming of some fat. But that’s the least to complain about.  On “Say Something” Kweli makes the statement, “They say I’m back, but I haven’t gone anywhere though.” We’re not too sure where you’ve been Kwel, but we’ve been here simply waiting for an album like this.

   There’s no doubt in anyone’s mind that Murray can spit, the question is if Keith can construct a dope song and a cohesive album. Unfortunately, with Rap-murr-phobia the answer seems to be “no.”

    While Rap-Murr-Phobia means “The Fear Of Real Hip Hop”, the album should have been about the real emcee. Murray is simply viscous when he is in battle mode.  “U Ain’t Nobody” is Murray at his best, with Redman and Erick Sermon huffing out lyrics, it’s Keith who flexes the most lyrical muscle here.  Although the production is average at best from Sermon, it proves to be one of the highlights on the album. Elsewhere, the reggae tinged “Hustle On” features Murray lamenting about his financial struggles early in life and does it quite well. One of the few times where the production matches Murray’s ferociousness on the mic.

    Rap-Murr-Phobia suffers from the same illness He’s Keith Murray wallowed in - blatent mainstream attempts. While the lyrics in “Nobody Does It Better” reminds the listener of who introduced the world to “Ba-dunk-a-dunk”, the Tyrese feature and juicy production screams for radio attention. It’s easy to oversee the attempt simply because it works but “Something Like A Model” doesn’t fare nearly as well. Keith just doesn’t sound comfortable when it comes to the ladies and the whole song feels relatively forced.

    Production is another mishap altogether on the album. Dope narratives like “Last Night” suffer tremendously because of the production. Maybe Erick Sermon has lost a step or Keith suffers from the same disease as Ras Kass, Canibus and Nas fight with - the inability to pick beats. “Weeble Wobble” isn’t just broke because of its corny title, but it just isn’t held up by the production. Even the 50 Grand and Method Man collabo, “What It Is” can’t seem to get over the production hump.

    Keith Murray may still be the dopest emcee on anyone’s corner, but unfortunately the magic to make a great album is long gone. He’ll always be fantastic for a guest appearance or two, and whenever he freestyles, heads will take notice of his brutal mic wizardry, but Rap-Murr-Phobia just isn’t that album we’ve expected from Keith Murray. 

    Already blessing his fans with albums like Stevie and Angles Without Edges, the original one man band man has created a fan base for those who love where today’s music came from. Some people dig it, some don’t. Madlib could care less though and delivers yet another piece of instrumental work with Yesterday’s Universe, dubbed “the last YNQ album”.

   On this outing, Madlib borrows and reinterprets some of music’s greatest musicians. From Miles Davis’ “Bitches Brew” to Bebeto’s “Barumba”, Madlib cleverly careens his way through history as he does his best to give today’s children a taste of what music used to be. Every element brings you to a smoky, dim lit, lounge on some dusty corner where all the poor musicians gather to experiment with different styles and instruments. Whether it be “Umoja” and its nostaligic horns or the diehard funk demonstration “Street Talkin”, Madlib delivers an album that many may not be ready for but those who just dig music can see where he’s coming from.

   Yesterday’s Universe is Madlib doing Madlib.  With its retro jazz vibes and ultra smooth tempo, it may just be enough to subdue even the most hardcore Madlib fan. Some may not like YNQ and probably never will. But by now YNQ has YNQ fans so this shouldn’t be anyone’s introduction to Madlib’s alternate universe. Take it for what it’s worth, a jazzy homage to some of the greats set in the new millennium. It’s just good ass music!

    Everything on Boombox feels good. Jamal’s smooth voice and Raydar Ellis’ production prove to gel superbly throughout. Silky smooth joints like the Project Move assisted “Goodvibe” work out brilliantly as nothing but dopeness oozes from the track. The title track features Raydar’s groovy guitar loop slithering in between Jamal’s alphabetical slanguage. Another beautifully placed track is “Not The One” with yet another beautifully placed guitar loop surrounding Jamal’s lamenting of previous endeavors in love.

    “The Thang” is another example of some simply good hip hop with the racy production powered by a melodic hook. Nothing is too complex for the listener to devour. You get doses of braggadocio (“Live It Up”), consciousness (“Act Right”) and love (“Never Be Afraid”) throughout Boombox and with Raydar providing a sufficient soundtrack, there isn’t really much to complain about.

    If you really had to nitpick the problems with Boombox, one could only say that it doesn’t really break any new ground. For those who like their music “progressive”, Boombox may not exactly be for you. But for any lover of good ass hip hop with no frills and gimmicks, Raheem Jamal has the right prescription of that goodness for you.

    DJ Spinna has made a name for himself with stellar production over the years. Break Glass furthers the notion that Spinna has tremendous skill behind the boards, but at times it does seem that he has yet to push himself to the next level like many have expected him to.  Joints like “Kerosene”, which wraps a vocal sample from the late Ol’ Dirty Bastard around some thumping drums is one of the highlights that reinforces his credentials.  The subterranean vibes of “Goin Down” emits some ultra smoothed out vibes that allows the trio of emcees to tap into a less in your face steeze.

    As for the emcees, Complex and Shadiq do what they do best – rip mics. The surprise of the album is how well newest member Tiye Phoenix is able to keep up, and at times steal the show from her male counterparts. Given the fact that Apani left the group proves to leave some pretty big shoes to fill, and Phoenix proves to be a pleasant addition. The surprise isn’t just because she is a female (“So you like to take my kindness as a weakness/take my vagina as a weakness/just because you rhyming on the D-List” she boasts), it’s because she’s surrounded by so much talent which would leave many emcee’s pen’s quivering at the thought of trying to not look like the weak link.

    The three emcees brutalize the album with battle rhyme after battle rhyme on Break Glass. Setting the album off just right with “Smash”, the trio set the tone for the rest of the LP. On the highlight track “Zonin’ Out”, each emcee works it out over another stellar Spinna concoction. Guests fall through adding a bit of variation to the album. Pharoahe Monch lends some vocal help to “Reachin’” while Phonte laments about his former label woes on “It’s My Life”. Planet Asia and Large Professor also chip in with some solid 16′s to keep things rolling.

     At 17 tracks, the album does border on being too long. It wouldn’t be a problem if there was more variety on the album. Not to say that the emcees don’t demonstrate that on Break Glass, but joints like the blahzay relationship joint “Get Ghost” and the annoying hook of “What The  Problem Is” serve as speed bumps on an otherwise smooth ride.

   With Tiye stealing the show and Complex and Saadeeq doing solid work coupled with some effective work behind the boards, Break Glass does the trick, but doesn’t reach its full potential like its predecessor, Rhyme Related. With Tiye rhyming like the only one with really something to prove, the others pack in really good efforts in schooling you on how dope they are, but not really taking it to the next level. Spinna, on the other hand, remains dope, but many of us are still waiting him to take his hip-hop production to that next-next-level. It’s possible that he won’t ever get there and always be a above average producer, but that doesn’t mean we won’t continue to have expectations. Break Glass ends up being an above average album that could have been great if the envelope was pushed just a little more.