Editor’s Note: Initially we rated this album 2 out of 5. The author’s intended rating was 2.5 out of 5. Our bad.

Motown and Hip-Hop have a lot in common. Both are groundbreaking entities that have shifted the landscape of music and introduced us to brilliant artists that enriched our lives beyond their artistic offerings. And many artists from both the Motown label and in Hip-Hop have parallel stories, but none more analogous than Slum Village and The Temptations. Both have suffered tremendous setbacks, losses and frequent personnel changes, which in some ways prevented them from truly reaching their potential. And two founding members from both groups: T3 and Otis Williams remain determined to keep the two groups they helped create going despite apprehension from fans and critics.

T3 has been with SV since the beginning, but despite this, he is still viewed as the big bad wolf that shouldn’t be allowed to keep the group he helped create going. Fans and some critics will never accept his right to use the SV name, nor will they recognize any lineup that doesn’t include Baatin, Dilla, and sometimes Elzhi (depending on which era they are stuck in). They will constantly compare any future projects to the previous work the aforementioned lineup(s) have left behind, refusing to allow SV to evolve and continue to make music (which is what the original members would’ve wanted anyway), hence the title of their latest album Evolution.

The title Evolution is T3, Young RJ and Illa J’s declaration of independence, signaling that the new SV era has begun. It’s not intended to be disrespectful considering Jay Dee’s little brother is a part of this lineup, along with a founding member and Young RJ, who has been around SV since he was a child. The album is filled with subtle hints that they aren’t here to repeat history; they’d just like to add their own chapter to an already rich legacy. And while most turn their nose up at this declaration, they’d be shocked to realize that this album is quite similar to the typical SV structure while adding in a few new elements. No, it doesn’t have the eccentricity or spirituality that Baatin brought, those masterful Dilla beats or his ability to glide over a beat Debbie Thomas style or Elzhi’s penetrable lyrics, but it does cover most of SV’s favorite topics over laid back soulfully layered production.

Lyrically, the album is what you would expect from Slum Village in terms of content; it just isn’t as good this go ’round. They speak about women, sex, hustling, bravado and Hip-Hop, but often times use basic lyrics that won’t keep your attention very long. You aren’t going to experience any complex rhyme schemes or double entendres; it’s simplistic story telling and rhymes that aren’t meant to change the world or give you a headache as you try to dissect them. And most of the guest appearances lyrically outshine SV on their own album as Blu (“Let It Go”) and Big Pooh (“Rock Rock” and “RIOT!” take over the tracks they appear on. On the flipside, T3 and Illa J’s cadences are pleasing with T3 sounding sharper and a lot more comfortable with his flow while Illa J shows signs that he’s starting to come into his own.

Also, the production on the album is pretty good. Young RJ has the unfortunate task of filling Dilla’s shoes, which is impossible for even a veteran producer to do. He isn’t going to offer up what Jay Dee did but that doesn’t mean that what he brings forth is automatically shitty. There are quite a few tracks he crafted (“Forever”, “Bout Dat”, “Rock Rock”, “Let It Go”) that are dope, with Focus giving the album its two most laid back, airy cuts (“Summer Breeze, 1 Night”) that come close to the standard vibe you want from SV. But overall, Young RJ brought forth traditional Hip-Hop rudiments and SV styled production by giving the album multi-layered beats with heavy synths, cumbersome samples, dusty drums and a decorated soulfulness making it the best part of the album.

Ultimately, Evolution lacks any real cohesion and the elements that differentiate an album from a mixtape. Clocking in with 12 tracks with no skits or transitions, it’s a short project that jumps from one track to the next never truly connecting them to create the feel you would expect from an album. There are also songs on this project from their Dirty Slums 2 mixtape. “Greatness,” “RIOT!” and “Hustle” are recycled tracks that takeaway from the project, which should’ve been replaced with original offerings.

In the end, this album doesn’t have any leftover Dilla tracks or verses from Jay Dee, Baatin or Elzhi. There is mere mention of what once was proving that the new era of SV has begun and regardless to who may not like it, it will continue. Overall, the lyrics are lackluster and the project doesn’t flow well, but the production is good with relatable topics. And if the new SV sharpens their lyrical blades and continues to find their groove, they might get a warmer welcome from open-minded fans, Temptations style.

Free of the box that confines him to one style, B.o.B.’s mixtape, No Genre is a true testament to where he dwells musically. This mixtape is a musical kaleidoscope of pop, R&B, Hip Hop, electronica, alternative, punk, and everything else he felt like including, which some won’t swallow easily. But even those who label him a pop rapper have to admit he pulls it off extremely well.

No Genre kicks off with “Beast Mode,” which is a brash and forceful track where B.o.B. gets reflective from when he was “nameless” to where he stands today. He lyrically annihilates this colorful, layered, and triumphantly energetic beat that coincides perfectly with the story. While the simplicity of the track on “So So” is a bit monotonous, “How U Do” escalates the energy back, which B.o.B. coasts alongside perfectly.

“Grand Hustle Kings” featuring Young Dro and TI borrows from Quincy Jones’ “Streetbeater” (or the Sanford and Son theme, as most know it), which is disturbing at first, but eventually grows on the listener. If you can’t get beyond the construction of the beat, you will definitely appreciate the delivery, as all three emcees are as sharp as adamantium claws. The Foreigner-sampled “Cold As Ice” seems like ground already covered by M.O.P., while“Attraction” lacks in virtually all departments. Nevertheless, “Shoot Up The Station,” “Batman Flow” and “The Watchers” are all great additions to the mixtape giving it more x’s in the good column then bad.

B.o.B. put together an illustrious mixtape that has endless possibilities, but he has a few barricades that won’t be easy conquer. The fearlessness and artistic liberty he has could possibly alienate the devoted heads that want hard hitting/boom bap beats and candid, cerebral lyrics. Meanwhile, the progressives and pop crowd will become weary if he completely goes left. The point is, B.o.B. will not be able to please everybody, so he shouldn’t bother trying.

In the end, No Genre is one of the best mixtapes released in 2010. It is drenched in colorful narratives, as well as rousing, boisterous beats, along with tons of personality. He also justifies his placement on MTV’s annual hottest MC list here. He’s introspective, gutsy, charismatic and has pretty good hold on storytelling and delivery. However, comparing him to 3-Stacks, as some critics have done, is extremely premature as he has a long way to go. His lyricism could be tighter, but if he stays in “beast mode,” he will ultimately become one of the most dominant artists in music, no matter the genre.

In association with TWV.

Guns cocked, shots fired, flames—enter Waka Flocka’s debut, Flockaveli. The 17-track album, which features cameos from Pastor Troy, Wale, and several other rappers, is one of the most anticipated albums of the year—in a good and bad way. Waka’s fans are overjoyed that his debut has finally arrived while his critics are happy to have more ammo to use against him, which Flocka gives way too easily on Flockaveli.

As a critic, it’s difficult to dissect this album track by track because they all sound the same. From the subject matter to the beats, this album is just one long song that doesn’t end soon enough. And nothing about these tracks make them distinctive or interesting. There are some moments where the beats give a slight head nod but they are far and few and you end up right back where you started.

In all fairness, most critics condemn Waka for his dreadful lyrics (for good reason,) but that doesn’t phase this writer. We know that he is not going to give us complex rhyme schemes or thought provoking lyrics and we do not expect him to. His subject matter is extremely basic and he lacks substance, which is prevalent throughout this album. Lyrics like, “Shout out to my grandma/for all them ass whoopins/ that shit made me tough/no more ass whoopins,” prove that he is as simple as it gets.

But Waka doesn’t even try to at least make the lyrics imaginative, enjoyable, or witty. He delivers his rhymes with no effort, he sounds bored, and just does not know what he is doing. Every rapper doesn’t need to be cerebral or use immaculate metaphors, but if they are going to take this approach, at least be good at it. And Waka Flocka is not good at it by any means.

Also, using the same producer can be hit or miss with any album but for Flocka, it is the latter. Lex Luger, who produced majority of this album, understands Waka incredibly well by providing him with highly decorated beats to make up for his lack of lyrical skill. Lex’s beats take the focus away from Flocka’s lyrics and causes the listener to concentrate on the production. But the problem is the beats on Flockaveli sound the same in their construction making this album drag.

On top of that, some of the production sounds like regurgitated renditions of beats that we have already heard. “Grove St. Party” featuring Kebo Gotti, “Bricksquad” featuring Gudda Gudda, and “Fuck This Club Up” featuring Pastor Troy and Slim Dunkin sound like bad rips off a formula that Lex’s peers used years ago. Lex should’ve added his own distinct element to these beats giving them a fresh energy opposed to a stale one that will ultimately piss your ears off.

It’s obvious that Waka Flocka makes his music for himself and his fans because neither is bothered by the lack of the three C’s: cohesiveness, creativity, or charisma. But Flocka’s admirers will be pleased with this album because he is giving them exactly what they expect from him: trap music drenched in braggadocios rhymes, gun talk, beef, partying, and women with beats that are heavy in synthesizers, hard hitting drums, and a good amount of bounce.

In the end, this album will garner an ample amount of radio airplay, get plenty of strippers more tips, and rattle tons of trunks across the country. So Waka won’t be too concerned with his naysayers who question his place in Hip Hop because his fans will stand by him and keep his flame lit while critics scratch their heads in dismay.

A HipHopSite.Com / The Well Versed Collaboration.