There is rarely an artist that is so much more than just an artist. Case in point is J-Live. Going on nearly 15 years in the hip-hop game, J-Live is an emcee who never succumbed to the mainstream, never dumbed down his lyrics or production, and remained true to what is now referred to as “authentic hip-hop music”. The Undivided Attention EP is no different, but takes a slightly different approach. J-Live approaches the EP as a three man group, each with their own key sets of talent. The EP is in preparation for 2011 LP S.P.T.A. (Said Person of That Ability).

“Home or Away”, produced by newcomer Korede, is a piano driven track where J-Live trades rhymes with well…himself. Live even goes as far to call himself out as the DJ to “bring it in” and commences to lay down some nice cuts. The lead single and video, “The Way I Rhyme” (feat Boog Brown), once again features Korede on the boards, this time coming with a different sound, but still authentic. J-Live lays down the chorus from “It Takes Two” as these two solid emcees trade verses. Foreign Exchange’s Nicolay provides the backdrop for “How I Feel”, an ode to J-Live as a DJ. Anybody who spins for a living can relate to what J-Live is saying, as the song could have been called “How We Feel”, representing the mind state of the DJ community. “Undivided Attention” switches gears from melodic to slightly more up-tempo, and NY’s new “It” guy, Homebody Sandman, trades verses with J on “Fitness”. The EP rounds out nicely with “Calculations”, featuring Oddy Gato spitting over a melodic flute and snapping snares.

If there is one word that describes J-Live, it’s consistent, as throughout his career he has never failed to provide fans with solid hip-hop music. Will Undivided Attention gain J-Live a horde of new fans? Probably not, but it’s only a precursor of what’s to come on S.P.T.A.

In conjunction with The Well Versed.

Praying for the death of autotune, R&B is a lost art form these days. Gone are the days where singers could actually sing and soulful blues production was the mainstay. Instead, you have keyboard synthesizer beats and artists that can barely stay in key, even with autotune. Stuck between these two worlds is Jason Derulo. Though Derulo is a new artist to most, he has actually been around writing for Birdman, Lil Wayne and Diddy for quite some time.

The album begins with the JR Rotem produced “Whatcha Say”. The Imogen Heap sampled song was a #1 hit on billboard and the Derulo was off and running. Though “Whatcha Say” is autotuned to the fullest, this critic could still deal. “In My Head” is probably the strongest song on album. Nice drums from JR Rotem and Derulo actually shows some range. “Love Hangover” is an uptempo synthed-out radio smash, as is “Strobelight”. Unfortunately these are the somewhat bright spots of this dismal attempt at R&B music.

“Ridin Solo” samples The Verve’s “Bittersweet Symphony” which in itself is blasphemous, and Derulo further proves his lack of talent in the song writing and singing realm. Continuing on this trainwreck of terrible replayed samples is “Sky’s the Limit” which is an interpolation of “Flashdance…What a Feeling” by Irene Cara…seriously??? Not only does the airhorned “J-J-J-J-R” sample become ultra annoying, the album never seems to pick up any steam. The problem is that each song just kind of meshes together with no real change in content or production. Which is pretty much the state of R&B for the last 10 years, with no change in sight, why bother to even listen anymore.

This album – along with many R&B albums of the last decade – both suffer from the same disease: lack of content, lack of soul, and lack of longevity. The genre needs to go back to making timeless classics instead of one hit radio garbage – unfortunately, given the state of the music business, that may never happen.

From the intro with Rahzel, you get the feeling that the album is something special.  Instead of enlisting the up and comers of the game, JS decides to call in every favor he has ever garnered throughout his career and pull out all the stops for Ground Original 2, starting with the legendary Large Professor and PMD for “Like This”.  Both of these generals hip-hop haven’t missed a beat and makes you wonder why we don’t hear more from them.  The assault continues with “Clear and Present Danger” which lifts the same sample Black Moon and Jay-Z used respectfully.  KRS-One and Canibus trade verses back and forth like it was ’97 all over again.   “Nuthin” featuring CL Smooth, Brother Ali, and Sadat X sounds like a Pete Rock throwback track with each emcee holding his own the flipped vocal sample,while Common introduces “Ridiculous”, which is just that.  OC and Pharoahe Monch have the same chemistry they did on “Let’s Organize” 15 years ago.

Underground favorite Copywrite trades barbs with New York up and comer Nutrageous and Jak D on “Sum Rap Shit”.  Copy further shows that he can rip a track whenever and wherever you wants to.  “Runnin This” which may be the best track on the album has the ever impressive Termanology going back and forth with Punchline and Rugged Intellect.  Other stand outs include “Bang Da Underground”, “Original G’z”, “Too Easy” and the reunion of Ultramagnetic on “Brainbender”.

Though the album has a lot of talent, that talent tends to overshadow the fact that it’s a DJ/Producer’s album.  As the album progresses it reads more as a compilation of the best and brightest hip-hop has to offer in 2009, instead of one man’s vision. Clocking in at 76 minutes you definitely get your money’s worth but in today’s A.D.D. society it’s a little bit too long to stay engaged.

JS one deserves our respect; he has found a way to cross over into the mainstream eye without giving up his hip-hop roots.  Ground Original 2 further places JS-1 as not only one of the most talent DJs/producers in the game, but gives the youth a blueprint of how to make it on your own terms. - DG

The Blaqprint starts out with “I-Gittin”.  Primo lifts and chops a guitar riff to perfection, which fits Poet’s aggressive flow to a tee. “U Phucced Up” is Easy Mo Bee’s lone contribution to the album, as Poet vividly tells the story of a drug deal gone wrong. The single “Ain’t Nuttin Changed” shows Premier’s versatility, jacking the chorus from Akon’s verse on 50 Cent’s single “I Still Kill”. Poet once again snaps over the classic production, letting the listener know that NY Hip-Hop is here to stay no matter what others may say.

With very few guest appearances, Poet holds his own over Premier beats.  One stand out collboration is “Legendary Pt 1”, featuring new comer Nick Javas and Year Round labelmates, The NYGz.  Java ultimately outshines the veterans and has us eagerly awaiting “Legendary Pt 2”, as Premier cuts up a perfectly placed 2pac sample for the chorus.  Another outstanding guest spot comes from N.O.R.E. over possibly the best Primo track on the album (there are so many, it’s hard to choose). Sampling Main Source from “Looking at the Front Door”, Primo’s snapping snares and perfect chops compliment the emcees like its ’96 all over again.

While he does cover it extensively, Poet branches outside the hip-hop holy trinity of streets, guns and drugs on other parts of the album. On one of the album’s real gems, “Voices”, he spits about hip-hop greats 2pac, Biggie, Rakim, Slick Rick and others asking him what is going on with hip-hop.  “I hear voices/and it sounds like Biggie/asking me what up with New York City/why y’all n*ggas ain’t putting up big numbers/African n*gga’s bootlegging every summer/yo, what the fuck/ya’ll better get at them/if y’all n*ggas trying to go gold and platinum”. With lyrics like that, who can claim hip-hop is dead?  Meanwhile, “Never Goodbye” serves as a tribute to Screwball member KL, who died suddenly from an asthma attack in 2008, and is a fitting end to a near perfect album.

This critic is probably somewhat biased, because as the hip-hop landscape of the last 10 years has looked pretty bleak, with few shining lights here and there.  The Blaqprint and several other recent albums gives a large amount of hope, however. Sure, Poet talks about the same subject matter, sure Premier’s beats are mostly chopped up soul samples, but the same arguments could be made against Gang Starr and nobody’s challenging that fact. Is this the best we will see from Poet, who knows? But it’s a fitting legacy, if so. - DG

Control Freek has Tash up to his same old tricks.  He’s still the wise cracking emcee with a pungent sense for weed and alcohol.  The album starts with “The Book Chapter 1” which is a reintroduction of sorts to the life and times of Rico Smith.  Did you know his mom worked for Al Greene?  Neither did we.  Not to abandon his roots, i.e. the West Coast or the Likwit Family, Tash enlists E-Swift for “Go West”.  Producer Josh G’s synth trenched production is fitting for the Liks.  Other notable guest appearances are Del’s on “Get It” and B-Real’s ode to the sticky icky on “How Hi Can U Get”.  Newcomer J Beam out does himself on the latter, with bass that would make DJ Magic Mike’s speakers pop.  J Beam’s production is dripping in west coast vibe, as Tash rips “Pull It Outcha Pocket” as well as the Alkoholik anthem “We Do This” assisted by King T, Knoc’Turnal (where the hell has he been?) and even J Beam himself on the mic.

“A Penny for Your Thoughts”, produced by Kurupt collaborator J Wells, is Tash at his best; something to ride to, while still saying something. Samuel Christian does his best Pharrell impression for the hook, which we could have done without.  “Closer” is another stand out joint produced by Emmaculate (same guy who worked with Juice?) lifting an interpretation of Whodini’s “Friends” for the Chorus.  What would a Tash album be without a call for some weed from the President?  Clinton gave Rico a call on “Rap Life” this time President Obama gives him a shout for the good green. Results? Hilarious.

The album is not without its faults “Wet Paint” enlisted the tired flow of Kokane over a lackluster E-Swift beat, while the sad attempt at southern bounce “Push the Button” missed the mark after a few listens.  The main issue with the album is the subject matter and lackluster production.  Though there is some shining moments the album fell short of expectations.  21 and Over, Coast II Coast, and Rap Life set such a high standard for non-gangsta west coast hip-hop in the mid-90’s, it’s going to be hard to top.  Control Freek won’t garner a new fan base, however nor will it turn off long time fans.  Let’s just hope this isn’t the last we hear from Tash or the Alkaholiks. - DG

So here it is 2009, the musical landscape has changed greatly from even four years ago when they dropped the ultra-commercially successful Monkey Business. So before you get started you have to ask yourself is this going to be the Behind The Front Peas or the Elephunk Peas. One might expect the latter, but The E.N.D. is neither. Will.I.Am and company have reinvented themselves to follow the trend that has already started in popular club music.  Out are the 75 BPM crunk cuts, in are the 128 BPM uptempo electro-tinged dance songs.  This is apparent by the first mega single “Boom Boom Pow”.  Usually Will handles the production on his own, but this time they are looking for a distinct sound, namely that of veteran house music producer David Guetta and Keith Harris, whom helped reinvent “The Girl is Mine” from MJ’s 25th Anniversary Thriller release.  So if you are looking for a hint of sampled soulful hip-hop, it’s not here.  But if you are looking for an album that nearly every song is playable at a party, you have come to the right place.

The album starts with a monologue, which almost acts a disclaimer of what to expect. Here, it is stated that nothing stays the same, and everything is changes: therefore, welcome to The E.N.D. The main issue with this is the Peas are jumping on a train that has already left the station.  If this album would have dropped in ’06, they might have been ahead of the curve, but instead this looked at more as jumping on the bandwagon. But enough of the diatribe let’s get to the music.

The album starts remarkably strong with every girl’s favorite “I’m so 2008 you’re so 2000 and late” banger “Boom Boom Pow” which segues into arguably the album’s best track “Rock Your Body”, produced by David Guetta, which samples Rob Base’s “It Takes Two”.  If this isn’t a single, the A&R on this project is deaf.  Flipping it up from high energy dance is “Meet Me Halfway”, where Will.I.Am dumbs down lyrically more than he ever has, but the Fergie hook sounds like Belinda Carlisle and will be total radio fodder.  “Imma Be” is a more uptempo “A Milli”, while “I Got a Feeling” is Guetta’s “Love is Gone (Part 2)”.  It sounds like a crazy Will.I.Am bite, but gets a pass because it is also produced by David Guetta.

The album continues with the autotuned “Alive”, then the booty call ode “Ring-A-Ling”, where Will poignantly raps “my phone goes ring-a-ling, a-ling, ling/ring-a-ling, a ling, ling/hello hello hello hello/the girls want ding-a-ling, a-ling, ling/ding-a-ling, a-ling, ling”. “Party All The Time”, “Out of My Head” and “Electric City” all follow the same formula: dance and party without a care in the world.  “Showdown” is the lone apl.de.ap production credit, and actually one of the album’s strongest tracks. “Now Generation” is an attempt at indie rock, however comes off more like “My Sharona”, while “Rockin to The Beat” sounds like it should have been on Chromeo’s album. Not a bad thing, but once again….just a bandwagon jump two years too late.

As stated, there is nothing lyrical about The E.N.D., if anything it’s the E.N.D. of Black Eyed Peas giving a rat’s ass about hip-hop music. All in the Peas have created an album strictly for the clubs and the radio.  With some truly good songs and many forgettable uptempo fillers, The E.N.D. falls well short of a classic album. We applaud the attempt of stepping out of the box, but merely jumping on the bandwagon and exposing the brain dead public to what deejays, remixers, and club promoters have known for nearly three years isn’t innovative, it’s just recycled.

So we pose the question, how does Relapse stand up in today’s microwave EZ-bake rap landscape?  Not only does it stand up, but once again Eminem is at the top of his game, despite a few minor missteps.  Not only is this Eminem’s first album in four years, but the album is completely produced by Dr. Dre (aside from “Beautiful”).  Relapse starts with a skit that delves into what Eminem has been going through the last few years, with his  much publicized addiction issues, with him checking out of rehab. As the skit progresses, you can already tell this album will take a personal look at not only the emcee, but the man known as Marshall Mathers and the demons he faces.  “3am” opens the album on a dark note, with Eminem spitting raps about murder and drinking bath water filled with blood.  “My Mom” sounds like “What’s the Difference Pt 2″ with Em talking about a subject matter we have all heard before, his mom.  This time Em has related his mother’s addiction to pills to his own, which leads us to further believe his mom may be the devil incarnate. 

“I was born with a dick in my brain/yeah, fucked in the head/my stepfather said/I sucked in the bed” are Em’s brilliant opening lines for “Insane” a song all about the incest from his step-father.  We all know Eminem is an outrageous emcee who can rap about anything and make it interesting to 90% of the brain dead public, but this topic is more disturbing than most and begs the question, did this really happen? Furthermore the song insinuates that his mother knew about what was happening and did nothing to stop it.

Up to this point Dr.  Dre’s production has been far from impressive, sounding as if he grabbed what wasn’t used for 2001 and sliding them to Em, until “Bagpipes from Baghdad”.  The bagpipe sample is genius and Em going in on Mariah and Nick Cannon this song is one of the true gems of Relapse.  Dre comes through again with “Hello”, Eminem snapping over a dope piano sample and a scratched chorus.  This is exactly what we were hoping for when we heard Dre and Em were in the studio together.  The track fits perfectly with Em’s flow and Em’s flows so nicely on the track.  Literally, this is the perfect combination.   Once again Em re-introduces Slim Shady back into the rap world, which once again makes the listener wonder, is he playing a character or did all these things he is talking about actually happen?  “Same Song and Dance” is a small twist and old subject matter.  This time putting Eminem in the mind of a serial killer who is picking up women and killing them.  It’s not a random collection of ladies, its pop stars, like I said, new take on old subject matter.

With “Same Song and Dance” and the horrific single “We Made You”, you start to get the feeling the LP is going downhill fast, but once again Eminem reinvents himself with “Medicine Ball” over what maybe the best beat on the album.  “Welcome to the Slim Shady Mecca Rebecca/It’s a village in New York right next to the tribeca/it’s my sector, homosexual dissector/come again rewind selecta/I said nice rectum/I had a vasectomy hector/so you can’t get pregnant if I bi-sexually wreck ya”. Wordplay like this has been absent for so many years we forget that emcees used to be able to weave words in and out so effortlessly.  Even the over the top verse from the pseudo Christopher Reeves is outstanding.  In usual Eminem fashion there is a Paul Rosenberg skit where even Paul can’t deal with the incest and Christopher Reeves subject matter.

“Stay Awake” has Eminem once again playing the role of a killer while “Old Time’s Sake”, which features a nice 16 by Dr. Dre (obviously written by Eminem) reminisces on the “early days”. “Must be the Ganja” is a pointless ode to weed, which may garner new fans, but the 30-plus-crowd-with-jobs have heard this many times before. “Deja Vu” is an introspective song about Eminem’s near overdose, and struggle with weight that came along with it.  Every verse dealing with a different addiction.  First overeating, next alcohol, and finally pain killers and sleeping pills.  The only non-Dr Dre production comes from Eminem himself on “Beautiful” which samples “Reaching Out” by Paul Rodgers.  “Beautiful” deals with the pressure of success and what it’s like it’s like to walk in his shoes.  Finally “Underground” is the raw, uncut, emcee we were all looking for over the last 4 years.  The minimalistic Dre production allows Eminem to snap on the track like it was 1997 all over again.

Relapse isn’t Eminem’s best album, but it certainly his best since The Marshall Mathers LP, giving us a lot of hope for the future.  Eminem shows what is like to be a “sweet emcee from the 313″, with all the ups and downs that go along with it.  “Relapse” is Eminem’s most personal album to date – and the same time his most demented. Despite a few minor flaws, Relapse could one day be looked at as a classic. With Relapse 2 dropping in December (supposedly) this album should tide you over until the next chapter in the Eminem saga begins.

Back on My B.S. can mean one of two things, either Busta is back to the “Woo Haa” or he is back to “I Know What You Want”.   After digesting, the album it’s a little bit of both. The album starts very strong with the DJ Scratch produced “Wheel of Fortune” where the old Busta shines brightly as one of the most charismatic emcees in the game.  In typical major label fashion, the A&R missed the obvious single with “Give Em What They Asking For”.  Ron Browz laces Busta with a banging track minus the overused auto tuned “Ether Boy” nonsense.  This is the “Ebonics” Browz we are all hoping for with club busting lyrics by Busta.  Danja synth drenched “Shoot for the Moon” is another club banger along with the Ty Fyffe single “Hustler’s Anthem ’09″., where Busta makes even T-Pain sound good.  Obviously DJ Scratch hasn’t lost it on the boards which are apparent on the aforementioned “Wheel of Fortune” and “I’m A Go and Get My…” featuring comedian Mike Epps. Up to this point the album are all Busta Rhymes bangers.  This critic wasn’t a fan of “Arab Money”, but it did have a large amount of commercial success, so we’ll let it go.

With “We Want In”, the album takes a turn for the worse.  Ron Browz goes back to his auto tune nonsense while Busta shows how little talent Flipmode has left.   Where is Rah Digga?  “We Miss You” produced by Needlez misses the mark badly and Akon and T.I. seem just more filler than stars on “Don’t Believe Em”.   “Sugar” is a pseudo club track produced and featuring Jelly Roll and the Eurhythmics inspired “World Go Round” featuring Estelle is outdated and overdone. Mr. Porters “Decision” featuring an R&B who’s who alongside Common is the only saving grace of the latter half of the album. The I-Tunes exclusive bonus track, “If You Don’t Know Now you Know” featuring the always entertaining Big Tigger is sorely missed as one of the albums stand out tracks not on the retail version.

Back on My B.S. had potential, but once again falls short of a solid LP.  Busta has a knack for killing his guest appearances and jumping on unofficial remixes but can’t seem to find the formula to make a stellar album.  Perhaps if labels stopped trying to mimic what other artists are doing and let charismatic artists like Busta Rhymes do what they want to do we might see another classic.  Instead you have an album with some stand out tracks, but in the end very forgettable.  Thank goodness we have the DJ Scratch and Busta mixtape I Bullshit You Not to fill the gaps.  Combine the better moments from “B.S.” and the majority of I Bullshit You Not and you just might have the classic that hip-hop fans so rightfully deserve. – DG

The album jumps off with the title track produced by The Kaliphat.  Mims explains what he has gone through the last year or so and relates it to one word, “Guilt”.  Next up is a hilarious skit where Mims not only embraces the fact that the public thinks he is a one hit wonder, but plays off it and calls himself a “none hit wonder”. Which leads this critic to believe he is still the same emcee we heard on “I Did You Wrong”, as opposed to the soulless, commercial emcee we heard talking about “saying nothing on a track”. Newcomers Da Internz come through with “On and On” which could have been the initial single for radio. Mims once again shows the listener he is not afraid to confront the fact that he was once a conscious rapper and now he’s on that “commercial shit”.  Producers Blackout Movement or Winston and Danny Boy are not near as prevalent as they were on the debut, but they really show their diversity on “One Day” featuring Ky-Mani Marley. Mims shows how well rounded an emcee he is by relating to the struggle and how bad things really are in this country and abroad.   “Chasing Sunshine” featuring and produced by KVN once again shows another Mims, this time over snapping snares and a distorted guitar riff reminiscent of Linkin Park.   The other stand out track is “I Do” featuring the always entertaining Nice and Smooth. It’s great to see new age emcee’s grabbing those who paved the way, and showing that much needed respect.

As with most commercial releases, there are some major flaws. Whether you can bounce to it in the club or not, “Move” is a pathetic attempt at radio airplay, and even worse is “Love Rollercoaster”.  Jim Jonsin’s nearly unlistenable “Rock ‘N Rollin” featuring Tech N9ne has no place on this album as the same can be said for “Makin Money”. Mims and his production staff show flashes of classic material, but then revert back to what can only be attributed to an A&R’s wet dream.  Towing the line in 2009 is nearly impossible to do. 2pac and Notorious B.I.G. were the masters at this craft and Mims is well on his way, unfortunately the attempts at commercial music fall flat on Guilt while the heartfelt, conscious raps shine through.  To call Mims a one hit wonder is an uneducated statement.  Yes, he had a hit, but after listening to Guilt he might just have a classic down the road.  - DG

Gucci Suede and Sonny Cheeba are what the today’s budding rappers hope to be. They ooze funk and soul with the way they dress to how they rhyme.  The album starts with “2 Dope Booyz”  produced by new comer Apple Juice Kid, who has obviously been listening to new jacks like The Cool Kids production style and adapted.  Suede and Cheeba trade verses with a different voice inflection than what we are used to, which takes some getting used to. Though “Gotcha” and “Ticket 4 2” were both previously released they stand tall as two of the albums best tracks along with the Pete Rock and Styles P assisted “On Smash”.  Apple Juice Kid shows his diversity as a producer lifting an Arabian sample while each emcee shows why they still are relevant 10 years later.  “Ha” is reminiscent of “PSK (What Does It Mean)” with the same minimalist production as Gucci and Sonny reminisce on growing up in the Bronx.    Other stand outs include “Sky Hi” produced by Smoking Apples and “Regulate” featuring soulstress Yahzarah.

The album is not without its pitfalls.  Songs like “89 of Crimes”, “Pips”, and “After the Marv” just don’t seem to fit the fellas style.   They have abandoned the 70’s blaxploitation sampling that made Camp Lo so likeable for a generic keyboard sound.   You can’t necessarily blame Suede and Cheeba for this, but more producer Apple Juice Kid. This critic loves to see groups step out of the box for an album, but unfortunately it doesn’t work for Rob and Stone.  The album seems to have no real direction and the lack of cohesive production persuades you to skip to the tracks that fit the Camp Lo sound.

Rob and Stone is not one of the best Camp Lo albums, but it’s good to see that the fellas haven’t given up like many of their colleagues from that era (anybody seen Cru?). Unfortunately however, this album goes in the pile of talented emcees that make forgettable albums.  – DG

You can skip “Finally Here”, but the second track, the Nelly Furtado featured banger “Jump”, is his next potential number one smash. From there the album carries on as a soundtrack to the club. “Gotta Get It (Dancer)” is an 80’s inspired freestyle joint with an auto-tune chorus that would make Roger Troutman proud.  The Jim Jonsin produced “Shone” featuring Pleasure P takes a down tempo turn, but Flo Rida maintains his double time flow that keeps the listener in tune.  The title track produced by new comer J Rock is a synth drenched club song that will keep your head nodding.  Much like “Love Hangover” from his previous album, the Ne-Yo assisted “Be On You” is Flo Rida’s ode to the ladies, while the Akon fueled “Available” let’s those same ladies know  that Flo Rida ain’t got no girlfriend either.  “Touch Me” lifts Benny Benassi’s house anthem “Satisfaction” for yet another club banger in the making.   The barrage continues with “Sugar” jacking Eiffel 65’s hit “Blue” with an equally hypnotizing chorus laid by Wynter. And of course, who can forget his current radio smash, “Right Round”.

The album is really quite solid for commercial rap music.   There are some minor pitfalls, like the Wyclef featured “Rewind” and “Never”, as both songs don’t fit the flow of the album.  The same can be said of the first track “Finally Here”, which merely sets the stage for the headlining acts. Lyrically, Flo Rida is not a genius, as the subject matter is pretty much girls, cars, clubs, and money, however he truly lives up to his name, with a cadence and delivery that can’t be denied.

Overall, R.O.O.T.S. (Route Of Overcoming the Struggle) is much of the same as Mail on Sunday, however this time it seems he honed his craft to chrun out more than just one “Low” style anthem. At the end of the day, Flo Rida is more or less a better than average rapper, rhyming over club friendly instrumentals.  The difference between Flo Rida and others in today’s landscape is that he can actually flow over nearly anything, which should give him the longevity that this critic didn’t think he would ever have. - DG

Leading off the album is Special Teamz alum Slaine on “Allison James”, a piano laced gem with some perfectly placed cuts by an unknown turntablist.  Saigon shows up for “When the Sun Goes Down” and continues to show why he is the realest pure emcee in the game, over a chopped vocal sample with snapping snares.  Newcomers Demoz, Des Devious assist former JMT member Jus Allah for “Evil Deeds” and North Carolina’s shining star Supastition does his thing on “The Truth”.   Stoupe shows not every track has to have the symphony dark feel, for “The Truth” he utilizes a sample that would make RZA dig in the crates for.  “That’s Me”, featuring the highly underrated Joell Ortiz, lifts a dope latin horn sample which conjures images of the late great Big Punisher.

Stoupe doesn’t disappoint with his signature sound on “The Torch” featuring the always animated King Magnetic alongside Reef The Lost Cauze.   “Speakeasy” is more of Stoupe’s classic boom bap style as is “Transition of Power” featuring M.O.P. (Side note, It’s great to hear M.O.P. over some dope production, maybe Babygrande can lure them over to the independent side of things). While Block McCloud makes a lackluster appearance on “Independence Day”, unknown Lorrie Doriza adds her soulful touch to “Find a Way”.

Normally we wouldn’t break down track by track, but at only 10 tracks this gives you an adequate picture of what the EP really is.   Stoupe is a great producer, and shows some growth on this outing.  Unfortunately just as you are being drawn in as a listener, the album is over. Perhaps this is just a preview of things to come, but it’s taken nearly 12 years for this producer to give us something that he can call his own.  We were just hoping for more. – DG

The version of the album reviewed here is the Japanese release, while the US retail version is still unreleased.  At review time, we did not have production credits, but frankly it doesn’t matter.  The album’s production is so strong that the producer’s names are irrelevant. It starts with the title track, “Global Threat”, where Rasco picks up right where Time Waits left off over an eerie violin sample and simple handclaps.  Production takes a backseat to Rasco who states quite simply “this here’s a classic”.  Speaking of which, “Classic”, is arguably the best track on the album - a DJ Premier-esque track that pays great homage to the man who made chopping an art form. From the scratched chorus to the ill bass line Rasco flows effortlessly over the track.

The album isn’t short on quality collaborations either. Underground staple Supastition trades verses with Ras on “Southwest” calling out fake emcees in true battle style.  “Eyes Wide Shut” featuring soulstress Mary Jayne has that Beatnuts feel behind the boards, while Ras goes into storytelling mode and shows a different side. Planet Asia comes through for “That’s That Shit” reminiscent of “Likwidation”, while Royce Da 5’9 blesses “Who’s the Enemy”.  Relatively unknown Concise Kilgore was mistaken for Defari on “No Time” and rounding out the album is an ill rendition of “Classic” jacking the same sample Clark Kent used for “Guess Who’s Back” by Rakim 12 years earlier.

The album is slightly more keyboarded out on the production side of things, but not enough to turn fans of more sample-based beats off. The only major drawback is the length, 21 tracks including interludes is a bit long to try to hold this A.D.D. generations attention, but if there is one underground album thus far that can do it’s Global Threat.   Rasco doesn’t deviate from his subject matter, but that’s why he continues to remain relevant 11 years after his debut.  Consistency pays off and this album will be one of the best albums most will never hear. – DG

The album starts out with Swizz Beatz remixing “If I Never See Your Face Again”.  Instead of coming up with something original, Swizz tweaks the “Peter Piper” break to make the song slightly clubbier.  This doesn’t do a lot for this writer.  From here though, the album gets very interesting.  Mark Ronson’s rendition of “Wake Up Call” features the Queen of R&B Soul, Mary J Blige.  With Ronson’s chops and Mary’s vocals this song goes from a 3 to 5.  Questlove of the Roots steps in to remix “Sunday Morning” which turns out to be the perfect marriage.  One of this writer’s favorite original Maroon 5 tracks is “Make Me Wonder”.  They enlist Just Blaze for the remix, but unfortunately he doesn’t deliver.  Taking a track that was 115 bpm down to 86 bpm, drags down the energy, forcing you to hit the skip button. Tricky Stewart is next up to the plate with his synthed out version of Maroon’s biggest hit “This Love”.  This time a bpm change is a welcome change making this a perfect warm-up for any club DJ.

A slew of uninspired remixes ensue over the next 25 minutes which makes you almost switch CDs.  Pharrell, DJ Quik, David Banner and the Cool Kids all fail to top the originals.  Unknowns Bloodshy and Avant along with Of Montreal butcher “Little of Your Time”, while indie rockers Deerhoof pull off a decent rendition of “Goodnight Goodnight” and while Tiesto makes “Not Falling Part” a great addition to a DJ’s House set.  Ali Shaheed and Doc do a nice number on “Better that We Break”, but the listener is left waiting and hoping that something classic comes from this album.

The wait ends with the DJ Premier Remix of “Secret”, taking a mellow ballad to a certified boom bap classic.  This is exactly what any hip-hop fan was hoping for.  Premier’s signature chops along with his scratches will have you anticipating the new album from Blaq Poet.  The Sam Ferrar Remix of “Woman” gives you that “Brown Sugar” feel while another “This Love” Remix by Cut Copy is more of just an instrumental house track than a remix.  To finish off the album Paul Oakenfold electrifies “If I Never See Your Face Again”, but doesn’t really stand out among anything else in that genre.

All in all would you say Call and Response a success?  This writer says yes, we saw producers step out of the comfort zone and deliver some really nice reworks.  While others we expected greatness from fell flat. If you aren’t a Maroon 5 fan in the first place this album probably has no place in your library, but deejays and all around music fans will eat this up. - DG

In 1990 Kool G Rap featured him on “Money in the Bank” from Wanted:  Dead or Alive and he was a key ingredient in BDP’s Stop The Violence Movement. Though largely aloof, Freddie Foxxx should truly be considered one of the pioneers. While his style has changed slightly over the years, he has remained an emcee’s emcee, never compromising his style to sell records and always remaining true to the streets. The true introduction to the Freddie Foxxx came in 1989 on his debut album Freddie Foxxx is Here through MCA Records.  Rhyming much faster like Rakim circa “Follow The Leader”, this album solidified Foxxx as an up and comer to watch.  After the debut album, Foxxx parted ways with MCA and hooked up with Queen Latifah’s Flavor Unit crew.  While anticipation was high for his sophomore effort Crazy Like a Foxxx, it never saw the light of day…until now.

Fat Beats, in conjunction with Foxxx himself, together have now made the shelved album available to the public for the first time.   Copies were circulated in 1994 for promotional use, but this is the first time the general public is blessed with the album in its entirety.   If that’s not enough, you also get the “D.I.T.C. Version” of the album that the Flavor Unit turned down in 1993, which is entirely produced by the D.I.T.C. crew (Showbiz, Buckwild, Lord Finesse, Diamond D).   Any and all and hip-hop enthusiasts are urged to buy this album as a part of hip-hop history.  Much like KMD “Black Bastards” and J-Live “The Best Part”, this is another album that may have been a considered classic, had it just been given the chance to shine in it’s original era.

Production credits are unknown for the entire album and the sleeve doesn’t provide much information either. This writer has had the album since around 1997, but the quality of the re-release far surpasses any bootleg you may have heard from the past. There is a reason why Freddie Foxxx has been compared to Rakim, 2pac, and other revolutionary emcees. Each track is a vivid description of life in the early 90’s, over classic boom bap production that you simply don’t hear in 2009, and will most likely not hear again, due to the high price of clearing samples.  Two themes ring true through the entire LP, Foxxx is from the streets and knows how to hit them skins, these themes are apparent throughout the early to mid-nineties.

Foxxx spits that real street life mentality on songs like “Crazy Like a Foxxx” and “Jail House Rock”.  Nowadays, guest appearances are a must, but back in 1994 you had to have real respect for another emcee to let them get some shine on your album, which is reason only true emcees like Chuck D, Kool G Rap, and 2pac are able to bless a Bumpy Knuckles track.  That’s right 2pac, before all the drama with East vs. West and Death Row, Pac was revered by many New York emcees.  The ‘Pac featured “Killa” isn’t some thrown together unused 2pac verse; this was when emcees stepped in the studio and tried to outdo each other.  Its tracks like these that make you truly miss hip-hop in its purest form.

We need to all thank Fat Beats and Freddie Foxxx for finally letting us hear this would be classic.   Years from now people might look back, and perhaps Freddie Foxxx will get the credit he deserves. Until then, we anticipate Foxxx’s next endeavor Amerikkan Black Man, sometime hopefully in the near future. - DG