The album starts out with the Dru Kevorkian (aka Dru Ha) produced banger “Reloaded” which reintroduces the duo to the hip-hop world.  Tek and Steele spit fire from the mic and let the critics and fans alike know they always have and will be here.  The single “My Timbz Do Work” is an updated sound from “Da Shinin”, but the same grimy, dirty lyrics that made Tek and Steele hip-hop household names.  Justus League VP Khrysis lends his production skills to “Gunn Rap” and “Sick Em Son” adding his signature sound to Tek and Steele’s lyrical tirade.   New comer Coptic handles 4 tracks and the other up and comer to the fold, Moss lends his dark and eerie vibe to “Get Back”.  Speaking of up and comers one of my personal favorites on the album is the Ken Ring and Rune Rotter produced banger “War” utilizing the always popular Mobb Deep quote “There’s a war going on outside”.  This wouldn’t be a Smif-n-Wessun album without at least one Beatminerz produced heater, this time around Mr Walt and Evil Dee bring their sound to two of that albums stand-outs.  First being the mixtape favorite “Tools of the Trade” and the Tony Touch assisted “U Undastand Me”.  Both have an updated sound for 2005, but the Beatminerz haven’t missed a step.  Even the so-so tracks are better than most of the music that hits the airwaves nowadays, it’s just good to see people still doing hip-hop the right way.

   Though Tek and Steele are not the most lyrical cats in the game, they have never came wack. “Reloaded” is the an updated sound of a proven format that works, having Kweli, Dead Prez, Buckshot, and Heltah Skeltah can never hurt but they don’t need the help.  This duo can hold their own in this decade and beyond. The Duck Down family isn’t going anywhere, you can bet on that.

     Capone has never been shy about his time inside, from being locked up during the making of the hip-hop classic The War Report to other run-ins with the law, Capone wears those stripes of past mistakes with pride.   “The Release” starts the album off properly. Telling the tale of an inmate being released with a goal in mind and the powers that be trying to keep him down by telling him “I’ll see you in 90 (days)”.  From that point starts the gritty tale that is Capone’s pain, time and glory.  “The Intro” has Capone re-introducing himself to the public and shouting out all the people that have believed in him over a Heatmakerz banger.    The single “What’s My Name (Soldier’s Story) continues the barrage of street tales over a Benedictine Monk type sample that fits Capone’s flow to perfection.  The album continues with other stand outs such as The Dub Z produced “Diet Plan” which breaks down exactly how to erase an enemy.  The Heatmakerz turn in a Kanyesque masterpiece on “All 4 U”, and Scarface gives a scene stealing 16 bars on “No Where to Run”.  Arguably the best track,” Streets Favorite” formally know as “Oh No” is from a relatively unknown producer named Frank Nitty.  Nitty flipping a vocal sample and Capone just plain kills it.  Capone holds his own without partner in crime Noreaga, but the album is not without its shortcomings. The uninspired “Where My Stuff At?” and “Fuck Yo Set” doesn’t seem to fit the flow at all. Along with the barely tolerable R&B stylings of Complexion on “I’ll Die for Mine” and the unnecessary skits, the album tends to drag. 

     All in all, “Pain, Time and Glory” is a very solid debut. With the right production and Capone staying true to his story telling abilities a classic album is  slated for his future.

     With the success of “Lean Back” and with a strong first single in “So Much More” b/w “Safe 2 Say”, you would think that “All or Nothing” would bring Joe back to classic status.  Unfortunately this is not the case, with lackluster production and just plain pop appeal, Joe needs to decide who he wants as fans and who he doesn’t.  The album starts off very strong with the Streetrunner produced “Intro”, Joe reintroduces himself to the world as a street emcee and reps his crew of producers and emcees to the fullest.  Regardless of what critics might say, Fat Joe is still and always will be a street emcee.  The Nasty Beatmakers produce arguably the best track/song on the entire LP with “Does Anybody Know”. Flipping a “Joe” soul sample on 45 which allows Crack to shine on the mic. “Safe 2 Say” and “So Much More” continue Joe’s barrage on the mic, but these are the highlights.  

     The Cool and Dre produced “My Fofo” is an unnecessary inclusion with the 50 beef being old news, while the duo’s other two tracks “Rock Ya Body” and “Can Do U” sound like bad 80′s samples and the sappy R Kelly assisted “So Hot” is just played out.  The album continues to falter with the Scott Storch produced “Get It Poppin” featuring everybody’s favorite pop icon, Nelly and the sing songy “Listen Baby”.  Even Timberland fails to deliver on “Everybody Get Up”, which just doesn’t reach his usually high standards.   The inclusion of “Hold you Down” and the “Lean Back Remix” are pointless and with all the hype around DJ Khaled, his tracks just don’t make the grade.

    Fat Joe is still that street emcee we all know and love, but this album is more hype than anything.  Boasting up and coming producers and enlisting guest appearances doesn’t always translate into good music and “All or Nothing” is a perfect example of the album that could have been.

    Based on the cover art alone, you have good feelings about this album.  The Gunnaz rock adidas from head to toe poised in the b-boy stance obviously paying homage to Run DMC.  It brings you back to the simple drum patterns and deep bass lines of old.  It starts off rather slow with the Chad “Wes” produced “The Knock Is Here”, reintroducing Young Gunz to the public. After the initial offering it does nothing but improve, Swizz providing two of his dopest tracks to date with the radio hit “Set It Off” and the dark but lovely “Beef”.  Chad Hamilton (or Chad “Wes” as he as been dubbed by the industry) really shows some versatility in his tracks.  The R&B crooning of “Don’t Keep Me Waiting” feat 112 is still enjoyable, and the west coast vibe of “Tonight” feat Daz keeps your head nodding.  Young Gunz hold their own on the mic, but the album is riddled with unusual, yet banging beats.  New comers Bangledesh (“Same Shit Different Day”) and Boola (“What We Gotta Do”) both come through with flying colors on their debut tracks, with “Same Shit Different Day” being a standout.  No ROC album is complete without the token Kanye West track, which is dope but overshadowed by the assortment of solid joints.  Despite very few pitfalls the album is surprisingly good coming from the label that has signed a lot less talented artists. 

    For the people that are waiting for M.O.P. to drop a classic album, it probably isn’t going to happen on the ROC, but if you want a solid album with great production, go pick up “Brothers from Another” you won’t be disappointed.

    The album starts with a strong a Intro echoing Notorious B.I.G.’s infamous lyrics on “Who Shot Ya” but giving us a Chicago, ES Twist.  The issue with Earatik Statik is they never fully materialize.  With an all-star cast of producers, including Diamond D, Doc West, His-Panik, and Chester Copperpot, one would expect much more from the album.   Don’t’ get it wrong, it has grown on this critic after the first couple of listens, but its not something that will be kept in decks for years to come.  Celo and Tone show signs of brilliance on the Bathgate produced banger “Makin Moves”.   Braggodocious rhymes are definitely their forte and Brother El cooks up arguably the best track on the album with “Keep Rockin” But, it’s when a more seasoned veteran jumps on the track with them, they get severely outshined, which is the case on “Illstate Massive” in which Akrobatik murders the track with a verse the will rival the illest of battle rhymes.  With so many guest appearances Celo and Tone get lost in the shuffle.  Having a lot of guest shots isn’t always a good thing.  The His-Panik (Molemen) produced “Stop Playin” is just plain boring and emcees Rise and Shine don’t do anything to help.  The lack of memorable tracks from standout producers is apparent with the Diamond D produced “People Like Us” which isn’t up to par with the Diamond D we all know and love and the usually on point Rude One falls way short with “Deconstruction Mission”.

     The main thing to remember is this is the first album from a very talented crew from an already immensely talented city.  They have much more up their sleeve so don’t count them out.  The album is good not great and could have been stellar if we hadn’t heard half of the album on their 12″ releases.

     Drawing comparison to Roots, The, live bands are so few and far between in hip-hop nowadays, that this is a breath of fresh air.  The first chorus of “Just Once” lets the listener know where the crew has come from, and where they want to go.  With their smoothed out style they will keep even the most skeptical hip-hop head entertained with tracks like “The Rules”, which breaks down the industry as we know it today, and the very personal “Sometimes”.  The live band aspect of the album makes up for any shortcomings the emcees might have.  They never hinder a track, but they sometimes seem to lag in comparison to the sensational band backing them up. Other stand out tracks includes the title track, “Spilt Milk” and “All MCs”. 

     The album seems to start dragging with the R&B crooning of the latter half, as well as with the group’s obvious infatuation with the “Good Green”, as only one tribute song about the doujah would have sufficed. All around this is a very solid debut album from an ever improving set of emcees.  One could see the band backing up Sean Carter on the next “Unplugged” session, they’re that good!

     The group’s debut, The Purest Form, is exactly that, as it abides by the four universal elements of the Hiphop culture:  breaking, emceeing, djing, and graffiti.  Organics five man crew (lead by emcees Diwrekt, El Gambina and Fraze and DJ’s Reason and onPoynt) represents each of those elements to the fullest.  With a style similar to Camp Lo’s Gucci Suede, Diwrekt, smoothly opens up the LP with “Check The Flow”, but its his female counterpart El Gambini that steals the spotlight; “The number one Stunna/puns and verses gunna/leave you breathless like a nicotine addict tryin to runna/race/embrace and brace me with love/cause I’m not only underground I’m on the top and above.”  And while the crew holds it down fine on there own, The Purest Form boasts collaborations with the legendary Large Professor who guests on “World Renowned”, as does Prince Poetry with “Be Alright”, and Peril-L from the Mountain Brothers impresses on “Get It Right”.  

      Though producers Illmind and Fraze adhere to a K.I.S.S. (Keep It Simple Stupid) philosophy, eschewing keyboards and synthesizers for strictly crate dug loops (see the Pete Rock-esque horns of “Next Levelists”).  Illmind and Fraze occasionally try to hard to prove how “fundamentally underground” their beats are and could benefit by loosening up and experimenting (even if its only slightly) with their sound.

     While Organic Thoughts certainly don’t entertain any thoughts of mainstream success with The Purest Form; with radio and television chalk full of gimmick rappers and wack producers, it is nice to know the culture is in good hands.

     Virtousity is not the typical underground compilation, as it boasts higher-profile collaborations with Raekwon, Kanye West, Ras Kass, Talib Kweli, Mystic, and Planet Asia.  And it does not take long for Chops to form a formidable chemistry with those artists as Chops provides Raekwon a western spaghetti sample on “What’s Fuckin With Us” that fits Rae’s style to perfection. “Comin From The Lowest Level” w/ Ras Kass, Phil Da Agony and Talib Kweli is a rougher track with hard kick drums and a violin that is damn near hypnotizing.  By the time DJ X-Cell cuts up vocal snippets from Inspectah Deck’s “Raw I’m give it to ya/ with no trivia” from the Wu’s classic “Mystery of Chessboxin’” you’re already hooked.  Chops even enlists the most hyped producer in the game right now, Kanye West, to spit a verse on “Changing Lanes”.

     Chops has always shown love to his home town of Philadelphia and that is continued with Virtousity; Bahamadia (can we get an LP girl?) swings thru on “B-Girl Session” as does Mystic on “No Pressure”.  And what would a Chops LP be without at least one contribution from his Mountain Brother cohorts Styles Infinite and Peril-L (“Thoroughbred”).  

      While Virtousity showcases already established talent, Chops also has found a group of up and comers that make their own marks as well; CMNR sounds eerily reminiscent of a young Talib Kweli on “Still Life” and Kev Turner kicks a nice set of verses on the dark and eerie “War”. 

      The only real shortcoming on Virtousity is “Trouble”, where L Dorado’s vocal crooning distorts what would make an otherwise nice instrumental.  While the spotlight is directly affixed on another producers LP right now (Kanye West’s College Dropout) with Virtousity, Chops shines as well!! Hopefully, Virtousity will finally open the ears of fans and A&R’s alike.