Much has been made about the current rap scene in New York City. The birthplace of Hip-Hop has been criticized in recent years for losing its way, but that’s not quite the reality. Hip-Hop has evolved and progressed, and those that still crave it’s essence in the city that birthed it should look no further than Skyzoo and Torae. The two MC’s have been waving that Yankee flag proudly their entire careers, and continue to do so with the release of their first joint album, Barrel Brothers.

From the very beginning you get a sense that this album is going have a nostalgic feel to it. The album opens with an excerpt from the movie New Jack City in the “Intro”, placing an emphasis on the question “Am I My Brother’s Keeper?” The opening intro is followed up with “Talk Of The Town” and doesn’t disappoint. The two underground MC’s let it be known that their providing their brand of lyrical brash talk that’s so distinctively identifiable with where they’re from. This is made even clearer with the lead single “Blue Yankee Fitted”, a modern day ode to the city that made them.

Having worked together on separate tracks in the past, the two artists are certainly no strangers to each other. The complimenting of their flows is on “4 Bar Friday” is a prime example of the two reaching their lyrical peaks. Their chemistry meshed from the start of the album, but it truly shined on tracks where guests join them. “All In Together” is a posse cut featuring Sean Price and Guilty Simpson, and even a scene stealing verse from Price didn’t take away from the contributions of Skyzoo and his partner in rhyme. The bond between these two is brought to life perfectly over the track “Rediscover”. As the gem of this album, Torae and Skyzoo combine witty wordplay with nonchalant flows over a standout soundscape.

If there was ever a question if the production of the album would measure up to the rhymes, it was answered almost immediately. Skyzoo and Torae find themselves spitting lyrical poetry over a selection of beats that perfectly compliment their styles. Despite using an assortment of producers, the cohesiveness of the sound allows everything to blend together to varied results. Illmind provides an assortment of hard knocking soundscapes with “Tunnel Vision”, “Blue Yankee Fitted”, and “Triangle Offense”. The smooth and soulful soundscape of “Rediscover” was produced by Marc Nfinit, and was perfectly placed on the album with a guest verse from Blu that is worth more than a few spins. There was clearly a vision for how the Barrel Brothers wanted this project to sound, and contributions from Oh No (“Talk Of The Town”), Black Milk (“All In Together”), and Antman Wonder (“Memoribilia”) all fit the format.

If there was one fault with the album that stood out, it’s surely the redundancy of the songs. Despite providing a lyrical exercise that is surely missed in Hip-Hop releases these days, the similar sounds of the song tend to drag out the session. An album that focuses on the art of rapping well is always appreciated, but it’s hard to ignore the lack of concepts. “Make You a Believer” and “Albee Square Mall” serve their purpose, but could have easily been left on the cutting floor all the same. Given the track record of the two artists involved, they have proven that they are more than capable of applying creative twists to a record; this project just falls short of that.

Those that questioned whether New York was still able to produce high quality results from its natives need to look no further than this album. Barrel Brothers is everything that fans of the nostalgic days will appreciate, and what newer generations could just as easily learn from. Torae and Skyzoo didn’t give us a modern day masterpiece, but what they did create was a body of work that stands the test of playability with the best of their peers. If nothing else, consider this a job well done.

In a year that is being recognized as the rise of the “new legends”, which includes many of his peers, the time has come for Big Sean himself to stake his claim among them. Two years after the release of his debut album, to say expectations have increased would be an understatement. Sean’s showing on the G.O.O.D. Music Cruel Summer compilation as well as his stellar Detroit mixtape have proven that he has all the elements that it takes to be a star. The only question marks surround his ability to grow in a way that will expand his fan base without alienating those that have supported him since he first hit the scene with his Finally Famous mixtape series. This is where the narrative behind his sophomore effort Hall Of Fame takes shape, as he looks to establish a permanent legacy.

From the very beginning Sean sets the tone in a way that demands the listeners attention with “Nothing is Stopping You”. With Key Wane supplying the opening track, Sean offers a personal account of his early beginnings and the full circle journey of his career to date. The concept itself is simple but executed so well that one can’t help but be inspired by it. Keeping the momentum going the next track is “Fire”, which serves as a motivational anthem of sorts that could and should be played for stadium crowd purposes.

The first two tracks of the album would have you believe Sean was aiming for a more inspirational record this time around, but “10 2 10” brings you back to the formulaic recipe that plagues radio these days. Channeling his inner Meek Mill, Sean adopts a flow that finds him yelling through out the track. It could be argued as yet another inspirational record, but really it’s just the typical bragging about the rewards grinding non stop can get you. Not necessarily a bad concept, but his flow alone makes this track a skip almost every time. Not to be outdone in terms of poorly constructed records, “Mona Lisa” is as raunchy as it is terrible, and the Nicki Minaj and Juicy J assisted “Milf” could very well make a run for worst record of the year.

What the middle of the album seems to lack in replay value, Sean certainly makes up for it towards the end. “World Ablaze” and “All Figured Out” are as introspective as Sean has ever been. “Ashley” which is dedicated to his ex girlfriend is possibly the most relatable song on the entire album. Having someone that holds you down in rough times and realizing that the relationship begins to suffer when life gets better is a tough ordeal that many face daily. “

In examining this album much credit has to be given to the contributors. Key Wane and Sean continue their streak of solid work together. “Beware” featuring Jhene Aiko and Lil Wayne isn’t the best record they’ve created together, but it will find an audience. No I.D. also adds to his stellar production resume as him and Cocaine 80’s group member, James Fauntleroy also offers their services. “Sierra Leone” and “World Ablaze” wouldn’t be nearly as incredible as they are without the chemistry shared between these collaborators. “It’s Time” serves as an ode to Detroit, even if it does feature Young Jeezy. The track itself may not have the anthem effect that it’s going for, but still a solid listen.

To look at the current class of new MC’s and Big Sean’s placing among them, it’s hard to properly rank him. While he certainly isn’t a slouch by any means there still seems to be something that he’s missing. Perhaps it’s his need to create a club record that doesn’t seem to click well, as evidenced by the ones made for this album. While he did give us a look into his life that he hasn’t really touched on before, it still feels empty. He’s as charismatic as early Kanye, and just as talented as any of his rap peers. Still there as full body of work, Hall Of Fame is a solid enjoyable album that seems to lack those undeniable, must listen tracks. There is plenty to keep fans happy, but nothing that gives you that timeless feeling. The potential is certainly there, and if Sean has proven nothing else, this album certainly keeps him in at least in the conversation in this class of “new legends”.

In a summer where Hip-Hop has seen it’s fair share of major releases, it’s easy to overlook an album like Wale’s. While he may not of had the same amount of hype going into his latest album as some of his other rap peers, the MMG artist was determined to leave his stamp on the summer. With his third album The Gifted, not only did he set out to further establish his current standing in the game, but to also cement his place as one of the “New Legends” of Hip-Hop.

Describing the sound of this album as “New Black Soul”, Wale sets the tone for project early. From the very beginning you understand his descriptions of the album, as the overall production is filled with soulful sounds that could very well provide several must add songs to summer playlists. The best example of the direction he took with this album can be seen on he lead single “LoveHate Thing”. With an excellent Marvin Gaye sample, Wale spits thought provoking lyrics that are complimented by the vocals of Sam Dew on the chorus. The song is so well put together and arguably one of the best songs that he’s ever done, and certainly one of his better singles.

Keeping the “New Black Soul” vibe of the album going, “Heaven’s Afternoon” and “Sunshine” aren’t as infectious as “LoveHate Thing”, but are well crafted in their own right. “Gullible” featuring Cee-Lo Green proves to be a gem on the album, and finds Wale in a zone that makes one hope he sticks to this particular sound, as it’s certainly not like anything being played on the radio right now.

There is no denying that compared to his MMG label mates, Wale has always been seen as the more introspective member of the group. He certainly doesn’t do anything to change that perception, and the concepts he explores on this album come off good because of it. The unique approach he took with “Jesus Piece” will have listeners pleasantly surprised. “Clappers” finds the DMV native embracing his GoGo roots, and providing a potential club banger in the process.

While one could easily highlight everything good about this album, it definitely has its share of flaws. “Vanity” and “Simple Man” are filler tracks at best, and will more often than not be skipped over. While it’s obvious why Wale chose to include “Bad”, as it’s been playing on the radio for months, it doesn’t change the fact that it’s a rather unimpressive song. Even more unimpressive than the song itself is the remix which features Rihanna. The big name feature is most likely what prompted the placing of the record, but the same can’t be said for “Bricks” With an uninspiring chorus from Lyfe Jennings and an uneventful guest verse from Yo Gotti will have you scratching your head more than anything else on this song.

It should be noted that the biggest flaw of the album is the sequencing itself. Despite being lyrically sound, Wale’s mic presence doesn’t always keep your attention. In fact there are plenty of times he loses you completely, and not because the song is necessarily bad, but more so because it comes across as boring. “Lovehate Thing” followed by “Sunshine” and “Heaven’s Afternoon” will have you forcing yourself to maintain interest, despite them all being good songs individually. “Black Heroes” isn’t the worst song to close an album out on, but the fact that the comedic outro featuring Jerry Seinfield is more interesting than the song tells you how forgettable the track is.

Of course when Wale does hit one out the park, the brilliance of the song is undeniable. “88” is proof of that, as Just Blaze provides the perfect soundscape for Wale to let loose. Though he certainly isn’t being looked at as the MJ of the rap game as the track would imply, when it comes to obscure sports references Wale is the undisputed scoring champ there.

Coming into this album there really wasn’t a clear indication of what to expect. Not a classic by any means, this album is still Wale’s most well rounded to date. His progression as an artist is evident, and his ability to craft songs that don’t sound like anything else out right now further adds to that. Unfortunately it’s his uncreative flow and questionable song placements that truly hurt the cohesion of this album. Despite those setbacks it’s clear that Wale definitely has the potential to create an amazing body of work, and can be satisfied knowing that The Gifted as a whole is a project that listeners should by all means invest in.

“Sometimes I ain’t get in trouble, trouble got in me…”

When one thinks of the last few years for one Clifford “T.I.” Harris, it’s hard not to acknowledge that line. Though his image has been repaired through his reality series starring him and his family, as well as various other community endeavors he has been involved in, the self proclaimed King of the South seems to stay in some trouble. While some incidents are justifiably understandable, others have left his fans shaking their heads in disbelief. It’s to the point that people almost seem to forget that at the end of the day, nobody is more affected by T.I.’s actions more so than T.I. himself, and he’s well aware of his circumstances. Everything that he has dealt with and endured these past several years all comes full circle in the appropriately titled, Trouble Man: Heavy Is The Head.

It’s been two years since the underwhelming release of T.I.’s No Mercy album. While that can be a slight to his catalogue, most will overlook the final result considering he was incarcerated before he was able to properly finish the album. Still there had been doubts as to whether he could return to form, and those thoughts can be put to rest. Trouble Man is everything that made fans appreciate T.I., as he carries on with all of his trap rap sensibilities.

From the beginning Tip wastes no time reacquainting himself with listeners. “The Introduction” is as memorable as any of his previous album openers. Backed by a soulful sample of the Marvin Gaye song that shares the title of this album, Tip offers no apologies about the life he’s lived. This sentiment is shared especially on cuts like “Trap Back Jumping” which has Tip rapping as inspired as he has in years. While many rappers have based their foundations in distinctive brands of trap music, T.I. is here to remind folks just who introduced it in the first place.

While stepping into familiar territory could be detrimental in some cases, T.I. switches up his presentation through out the album. Cuts like “Wildside” and the stellar “Go Get It” allows Tip to deliver his brash aggressive content from a fresh perspective. Even a scene stealing verse from Andre 3000 doesn’t overshadow the solid outings by Tip in anyway. Yes, “Ball” is as formulaic as singles come these days, but will satisfy the radio market as intended. As an artist that has always been able to find mainstream acceptance while maintaining his street edge, T.I. continues to adopt that formula.

Of course while most will be content with seeing Tip back on his hustle grind tales, it’s the more sentimental songs that truly capture the essence of the Troubled Man. The R. Kelly assisted “Can You Learn” has Tip expressing wariness towards the opposite sex about the dealing with someone who can’t seem to stay on the good side of the law. “Guns & Roses” is an obvious attempt at cross over success, and the result isn’t bad at all as Pink provides hook duties. This sentimental balance reaches its peak as Tip chooses to close the album with a dose of introspection. “Wonderful Life” finds him conversing with his deceased friend, as well as his father. The moment of vulnerability comes off as sincere as he’s ever been, and the album closing “Hallelujah” adds to the effect.

It was nice to see T.I. reunite with producers such as Jazze Pha and DJ Toomp who have provided some of the more important hits of his career in the past. A contributor who shouldn’t be overlooked by any means is T-Minus who shows his versatility by providing the sinister backdrop for “Go Get It”, and switching it up completely with the pop influenced “Guns and Roses”. Versatility on an album such as this should be applauded.

As stated already this album is a return to T.I. in memorable fashion. While he may not have the same hunger as he did on albums such as Urban Legend, he still maintains that charismatic edge. Trouble Man: Heavy Is The Head is a combination of the cross over step he took with Paper Trail, but with the aggressive bite that he displayed on Trap Muzik. Fans of those albums should be able to appreciate that, as there is no mistake that the King of the South is indeed back.

It is safe that there are some rappers who understand their lanes, and they stick to them very well. In this particular case, Sean Price has shown that when it comes to supplying aggressive content, he’s in a class of his own. The Boot Camp Click and Heltah Skeltah representative has always had a knack for maintaining his unique style of hard hitting rhymes mixed with brash humor. To further strengthen this case, Price demonstrates his skill set on his most recent LP, the long delayed Mic Tyson.

From the very beginning we are treated to Price’s signature rhymes that only sound right when uttered by him. While it’s been sometime since the release of his last project, the intro track, “Genesis of The Omega” sets up the album quite nicely.

“Hardcore rap at its worst/Move from the morgue truck to the back of the hearse/ Move from the back of the hearse to back in the dirt/ Change clothes, put a back on his turf, move on/ Do Sean”

Lines such as those should reassure listeners that this is the same Sean P that has been terrorizing mics for close to two decades at this point. The lyrical spar session continues on tracks like “Bar-Barian “and the appropriately titled “Bully Rap”. Price has claimed his spot as one of the consistent contenders for “hardest MC in the game,” and lives up to those standards on both tracks. It should be noted that on both of those tracks, The Alchemist handled production duties. The chemistry displayed by the two complements each other well and almost begs the question of why a full project between the two has never surfaced before.

Of course Mic Tyson isn’t filled with all haymakers. In fact the flaws of this album become evident halfway through when it becomes clear that there is an unsettling lack of conceptual records. While tracks like “Pyrex” and “Title Track” aren’t necessarily bad records, they don’t do anything to enhance the album. In fact you could take lyrics from either song and switch them and wouldn’t notice a chance in subject matter. This problem becomes too much to ignore. While Price does a great job of remaining consistent through out, his consistency fails to offer anything more than hard knock rhymes over boom bap production. That formula works amazingly well in some cases, and reeks in uninspired redundancy in others.

Then again perhaps that was the point. Sean Price has never been one to teach or motivate the masses. Nor should he be expected to deliver the next top 40 club hit. With that said when he does connect, the results are victorious. The Khrysis produced “Hush” is a worthy addition to his catalogue. His collaboration with 9th Wonder doesn’t disappoint either. As 9th provides a soundscape with a melodramatic organ background, Price gives you his smoothest rendition of a brass knuckle delivery. His biggest stand out moments however come when he’s gathers some friends for the party. “Price and Shining Armor” features a strong verse from Ruste Juxx. Pharaoh Monch adds his own brand of ghetto philosophy “BBQ Sauce”, while fellow Duck Down artist Torae handles chorus duties on “By The Way”. Sure the content is pretty much the same on all of these tracks, but lyrically the assists allow the listener to experience a well-timed change of pace.

Truthfully speaking, Mic Tyson packs quite a punch, but still falls short on it’s execution. The album is strong in many ways, but its ultimate test will be in the desire of the listener to replay the album after an initial listen. The gems that are found here are rare and few between, and unfortunately little is offered to keep this in constant rotation. Sean Price has made a career out of his style of aggressive content, and if that’s all your looking for then Mic Tyson will certainly meet expectations. The no holds barred delivery may lack substance, but compared with the landscape of Hip Hop at the current moment will find a place just fine. It’s a gift and a curse perhaps, but still one worth investing your time in checking out.

“Celebrating the win/ Celebrate what it meant, Do remember and celebrate it again”

The first lyrics recited by Skyzoo on his sophomore album not only set the tone for A Dream Deferred, but put his whole career to this point in perspective. It’s been three years since the release of his debut album, The Salvation. While the gap has left plenty of room for the Brooklyn lyricist to grow, the public has been fortunate enough to witness it firsthand through a series of critically acclaimed side projects released since that time span. Between a collaborative album with producer Illmind (Live From The Tape Deck), to The Great Debater, and the more recent Theo vs. JJ: Dreams vs. Reality mixtapes, he has kept his fans satisfied as he placed the final touches on what could only be his most ambitious work to date. With the album completed, the Brooklyn lyricist attempts to connect the pieces between all of his projects in one grand effort.

The album opens up with an excerpt from the movie Fresh that leads right into the introductory track “Dreams In A Basement”. Produced by longtime collaborator !llmind, Skyzoo lyrically sets the scene over a smooth melody that’s enhanced by the vocals of Jill Scott. For an opening track it’s not as grandiose as one would expect sound wise, but works surprisingly well for the direction Sky chooses to take. Leading into the lead single of the album, “Jansport Strings (One Time For Chi Ali)” has him embracing his Brooklyn roots in proud fashion. 9th Wonder provides the backdrop filled with the boastful sounds of trumpets and bass. While the song itself is track meant to reminisce, Sky is able to relate the tales of upbringing beyond the masses of his borough.

It should be noted that lyrically Skyzoo has always been in a class all his own, but it’s his ability to craft tales from a character perspective that deserves much more credit than it receives. “The Rage of Roemello” has him embodying the spirit of Roemello Skruggs, lead character of the movie Sugar Hill. The parallels between the reality of his lyrics and that of the movie are interwoven forming an entirely unique perspective. This is also evident on “Steel’s Apartment”, quite possibly the crown jewel of the album. Serving as an ode to the cult classic film “Juice”, Sky one ups the concept by drawing inspiration from the ambitions and dreams the characters of that film all embodied in their own respective ways. Look no further than the reflectively triumphant chorus to fully appreciate this track.

As much as one would love to praise the direction and conceptual choices made on this album, it isn’t without its missteps. The unimpressive “Give It Up” could have been left on the cutting floor, and the Raheem Devaughn assisted “Drew & Derwin” is bearable depending on the listener. In any case these slight flaws don’t diminish the strong points of the album one bit. “Range Rover Rhythm” is Skyzoo at his best, mixing street poetry with good life sensibilities. If there was ever a song that mainstream radio needed then this would be the one, as producer Jahlil Beats shows why he’s one of the more sought after producers on the rise.

In the past Skyzoo projects have often seem one dimensional in terms of not fully showing his versatility in terms of wide spread appeal. “The Knowing” rejects that notion, as Sky uses the track to seduce the opposite sex with a record that could also tap crossover recognition if given the right look. Of course the self-proclaimed “Writer of Writers” wouldn’t be him if he didn’t pay homage to one of his main inspirations with “Spike Lee Was My Hero”. Together him and fellow Brooklyn Native Talib Kweli show their appreciation for the film icon while offering nostalgic perspectives on his more classic works.

If there was ever any question of where Skyzoo could go as an artist, he proved that on his sophomore LP, there is no ceiling to what he can create. A Dream Deferred is an album filled with everything that long time fans have come to expect, while still remaining accessible for newer ones to embrace him. This record will probably have you listening to it repeatedly in an effort to decipher and catch every lyrical gem left here, and there in lies the true beauty. Skyzoo compiled an album that forces listeners to think, while he captures his dreams and realities for them to interpret in their own subjective ways. For that reason alone, he has shown that his efforts haven’t gone to waste.

It’s been a little over a year since the release of Big Sean’s debut album, Finally Famous, and his presence has certainly been felt. From keeping the charts occupied with a number of singles to lending his vocals to several key features, the G.O.O.D. Music wonder kid has been all over the place. His star has continued to shine since he first caught ears with his Finally Famous mixtape series. Of course in the current music climate, commercial success is still very much dependent on the mixtape buzz, so it was only right for Big Sean to return to his roots with Detroit.

From the very beginning Sean proves that his growth as an artist has benefitted him well. “24 K of Gold” sounds like it could have easily been included as a single on his debut, and a complimentary verse from J.Cole adds to it’s replay value. “How It Feel” captures the surprise voice of Barry White in the sample, backed with braggadocio rhymes that have haven proven to be a signature of Sean. He definitely front loads the beginning of the project with the stand out tracks, giving listeners a glimpse into the sound he may be going for on his next official album.

The problem with letting the highlights of the tape play early, is that it takes a sub par leap sooner than expected. This could be partially blamed on the guests he decided to include on the album more so than his own doing. We’re all used to hearing great tracks contaminated with struggle raps by artists that probably would never have gotten looks anywhere else. Fortunately most of these appearances are all on “Woke Up”, which is skippable at best. Of course for every unnecessary feature Big Sean cashes in with scene stealing verses from Kendrick Lamar and Royce da 5’9 on “100”, and an instant if not redundant club banger from French Montana on “Mula”.

The unique part about Detroit is Sean chooses to include interludes that feature stories about his city, as told by big name artists that have fond memories of Motown. Young Jeezy, Common, and Snoop Dogg (yes, that’s what we’ll call him) add introspection with their respective tales. The interludes give the project an identity as opposed to just being a collection of songs that won’t make the album. Then just when one believes this to be nothing more than a project composed of some of Sean’s most abrasive rhymes, he shows a sense of vulnerability that is rarely seen with him. “Sellin Dreams” featuring Chris Brown is a case of what happens when casual sex isn’t so casual anymore and feelings become to strong. “Once Bitten, Twice Shy” has him bearing his soul as he vents on the pressures he’s dealt with since finally becoming famous. While the subject isn’t the most original, hearing it from his perspective makes it fresh, and is a strength that he should demonstrate more.

In the end, it’s safe to say that while Big Sean has enjoyed his recent success, he still has much more to prove. If Detroit is any indication, then he’s more than up to the task of doing just that. It’s obvious that some of the songs placed here weren’t exactly album worthy, but there are more than enough that could potentially catapult a number of careers here. Sample clearances are probably the main reasons why those gems will be forced to live on this mixtape, but it’s a free treat worth appreciating. Besides if these are all tracks that were left on the cutting floor, then curiosity over what’s being left in the vault has just peaked for the Detroit artist.

When it was first revealed to the public that the supergroup Slaughterhouse would be taking their talents to the house that Shady built, there was reason to cheer. A collective comprised of some of Hip-Hop’s biggest underdogs, fans couldn’t wait to see what the group would do under a major label umbrella. Joe Budden, Royce da 5’9, Crooked I, and Joell Ortiz have all received opportunities such as this before, but the results haven’t always been in their best interests. So despite the gripes many of the underground faithful would start to have, curiosity was reason alone to patiently wait for their most recent album. With Eminem taking the reigns as the Executive Producer, the stakes of success were undoubtedly raised. While this certainly isn’t their first attempt at a cohesive album, Welcome To Our House is very much a reintroduction to this Fantastic Four of rap.

If there was one thing that was certain about the group in light of their Shady Records deal, it’s that nothing was at all certain. Considering the uniqueness of the four artists involved plus the direction of one of Hip-Hop’s elites, there were a number of directions this project could have went. Fortunately from the moment the album starts, you realize the vision for this project was meant to be grand in scope. “The Slaughter” opens the album with a brief cinematic intro, followed strongly with the scene setting “Our House”. As the first song on the album, the group doesn’t disappoint, and a complimentary verse from Em only strengthened the effort. The sharp lyricism backed by the dark, dreary production from Alex da Kid just screams vintage Slaughterhouse. With the sound set, one would expect the next track to build off this sequence, but instead takes it a bit off base. The Busta Rhymes hook assisted “Coffin” is a fast paced switch up. The song itself captures the frantic energy of everyone involved, but feels out of place following the previous track.

Despite the questionable sequencing, it isn’t until “Throw That” comes on when you start to worry where the direction is going. Eminem is considered a modern day Hip-Hop legend by many, and for good reason. Unfortunately with that same praise comes a careers worth of mis-steps. Look no further than any of the lead singles off his own solo records prior to Recovery, and you’ll certainly notice a formulaic trend of cheesy songs. Obviously those that know better realize Eminem’s singles never capture his full body of work, but the fact remains they still exist and take away from it. While his influence on a Slaughterhouse record could only help the group from a conceptual aspect, it also serves as a detriment to what they do best. “Throw That” with its mundane hook, annoying lyrics, and lackluster concept is by all means a record that only Eminem is notorious for not leaving on the cutting floor.

On the flip side of the Slim Shady influence spectrum, “Rescue Me” also hints at Em’s presence, but the result is far more impressive. The track finds the Slaughterhouse quartet at their introspective best. Playing to the strengths of the group will always be where they triumph. Force-feeding tracks like the Swizz Beatz assisted “Throw It Away” isn’t doing them any favors. As a group that was built around individuals that always rejected the status quo of Hip Hop, seeing them on a track as redundant as “Throw It Away” is disheartening. The predictable hook from Swizz definitely doesn’t lift spirits. “Flip a Bird” doesn’t fare much better, but the lyrical executions from Joell and Budden on this one allow you to overlook this.

While the album is built off a series of hit or miss songs, let it be said that when the group hits, the results are amazing. “Hammer Dance” and “Get Up” are exactly what make this group one to root for. If there were to be an anthem that fans could identify with the group, “Frat House would be a nice placement for it. “My Life” takes them outside their comfort zone, and surprisingly works well for them. The group is at a good place in life, and the track allows them to articulate that message.

From a production standpoint Hit-Boy and No I.D. continue to demonstrate while they are two of the more sought out beat makers of the times. Their contributions on “Coffin” and “Get Up” respectively should not go unnoticed. Especially when the majority of the albums production is overlooked by the words, a rare feat these days but a welcome change of pace.

All that aside, the highlights of the album come from the brutal honesty that has made this group one to champion behind. “Goodbye” is a heart wrenching moment of clarity shared by Budden, Crooked I, and Joell respectively. Each verse showed a vulnerability that reminds listeners that they’re as human as the next man. The only thing missing was a perspective from Royce, which would have been interesting to hear. “Park It Sideways” should have served as a victory lap for the group, but “Die” brings the early celebration to a halt.

Going back to the earlier gripes of this album, the sequencing keeps this project from ever truly catching ground. Not a bad song, “Die” is just out of place as the second to last on the main album, if not the project as a whole. Even more questionable was the decision to make “The Other Side” a bonus track, as it could have easily replaced the former song leading into the final cut “Our Way”.

Slaughterhouse for many reasons deserves to come out on top. The vision of the group is one to admire, but ultimately legacies are built off execution. Unlike their self-titled debut that at times seemed like it was just one big cipher, Welcome To Our House is built off conceptual ambition. While certain flaws in the album could be blamed on the show runner and machine them, the accountability will fall on the group. Fortunately, once you listen to the body of work, you don’t end the experience on a disappointing note. A lack of attention to detail is what ultimately hurts the rating of this album, but this project is much bigger than that. The records speak volumes on their own, but in a full body of work should have been presented better. Is it album of the year? No. The best lyrical exhibition put on wax? Not quite. A moment to be cherished by all parties involved, as overcoming odds and winning one for the “under dogs”? Absolutely. If nothing else the Slaughterhouse regime has proven that they have all the right pieces to survive and win. When they finally bring those pieces together, there isn’t anything that this group can’t achieve.

If there is one lesson Rick Ross has continually found success from it’s the old “If it’s not broke, then don’t fix it” cliché. While one could make a case over the technical abilities of the rapper, you can’t deny his ability to crank out hits. His formula of being able to capture ears with a specific sound that listeners can identify with has been working for him since his last solo release in 2010. This formula has also benefited his ever growing stable of artists as the MMG roster has adopted his methods to varying success. As the collective comes together for their second official compilation together with MMG Presents Self Made 2, their mission to maintain their chokehold on the game is in full effect.

In typical crew love fashion, the album starts off with a posse cut filled with the best the label has to offer. “Power Circle” is an eight minute introduction that listeners can be proud of. Rick Ross gets the ball rolling with Gun Play, Stalley, Wale, and Meek Mill. That collective in it self is a force to be reckoned with, but it’s the addition of featured artist Kendrick Lamar that really steals the show on the track. Kendrick’s unique flow and clever wordplay allow him to compliment the MMG faction, while still allowing him to stand out from the pack.

If one thing can be said about this album as opposed to it’s predecessor, it’s that the MMG camp played it to the best of their strengths. All Maybach O jokes aside, Omarion shines along with Wale, and Ross on “This Thing Of Ours”, and a verse worthy of being the albums best from Nas only adds to the triumph. “Fountain of Youth” is another winner as Nipsey Hussle only adds fuel to the MMG signing rumors as he lends his own introspective words to a beat that fits Stalley perfectly.

While Rick Ross can be commended for keeping his creative approach simple, it’s this same approach works as a double-edged sword. While the desire to keep the success of “BMF” and “Tupac Back” going, the result has made MMG a group built on redundancy. “Black Magic” sounds like every other Meek Mill and Ross collaboration, which could be a good or bad thing depending on whom you ask. The MMG flag bearers don’t make a better case for themselves even without Ross on songs like “Actin Up”, and the horrendous T-Pain assisted “Bag Of Money”. The choruses will get your attention, but they ultimately come up short in terms of replay value. “I Be Putting On” brings in MMG affiliate French Montana, along with Roscoe Dash and Wiz Khalifa in a song that sounds like everyone involved mailed in their verses without a second thought. There is nothing wrong with aiming for the commercial charts, but these attempts are just bad examples of music, by all standards.

The biggest surprise of the album lies in the production. While it’s obvious Ross’ ear for the Lex Luger sound minus Lex Luger is still there, he allows his MMG protégés to recite verses over beats that their core fan bases will be pleased with. While Meek Mill is becoming more identifiable with that Ross sound, Wale, Stalley, and even Omarion found a niche here. “M.I.A.” allows the latter to flex his vocals, and fans of the emerging Gunplay will be content with “Black on Black”. The sound caters to the specific fan bases in a way that combines the MMG influence.

Truth be told, there is nothing new to really be found here. Rick Ross and crew simply provide you more or less what you’ve been hearing for the past year. Which isn’t a bad thing by any means, though it’s not hard to see why someone would be tired of it. If you are looking for something with little substance that will have you reciting choruses for the rest of the year, then this is for you. Even if you’re a for the moment listener, it’s still worth a listen. Those that require more from artists and their music will be disappointed, but if that were the case then this album wouldn’t have been given a chance to begin with. MMG for better or worse, are the group of the hour, make of it what you will.

Let us get one thing understood, and that is that controversy sells. As someone who is certainly not oblivious to this, David Banner decides to experiment under that very premise. With his latest effort appropriately titled Sex, Drugs, and Video Games, Banner attempts to challenge the masses while feeding them what they want. All three of these topics are controversial in their own rights, and often make up the bulk of what mainstream music is offered to the casual listener. By making light of what the public so willingly accepts, Banner poses the question of why is this all that we want to hear?

The best way to answer that question is to get right into the heart of the issue, as Banner opens up with the title track. Backed with some triumphant horns that draw you in, Banner gives you all of his criticisms over a track that will force you to nod your head with it. He even pokes fun at his own work, as he has certainly made songs that contradict the very message of this album.

“Let me say; that I’m a tad bit embarrassed
That white folks think it’s cool that it’s niggas off in Paris.”
Went to Africa, a childs said, Banner now its on
I’m a nigga ‘til I die cuz I heard it in your song
Real hoes get down on the floor. How I know?
Cuz I bought your fuckin’ CD and that picture told me so”

You would be hard pressed to find a more descriptive body of lyrics on this project. Banner is not only putting the culture on display, but he’s willing to start with himself, and personal accountability holds more weight than subliminal dissing ever could.

Of course this album isn’t about drilling the plights of the world into your brain. The Big Krit assisted “Believe” gives you a song that could easily become a summer time anthem if placed in the right hands. Sampling the classic Jodeci cut, “Love U 4 Life”, the two Mississippi natives disguise an ode to their home state as a well-crafted love ballad for the rap masses. The collaboration is one of many as Banner has a cast filled with artists he’s collaborated with over the years. Chris Brown, 2 Chainz, Lil Wayne, and ASAP Rocky all join him on at least one version of “Yao Ming”. Kardinal Offishal helps dissect everything wrong with what people seem to cherish on “Swag”, which shares the name of one the most over used terms in Hip-Hop today.

While the album is filled with brief interludes that has a robotic voice asking thought provoking question, at some point David Banner’s attempts at enlightenment fall short. It’s as if his objective somehow gets lost halfway through the mission. Songs like “I Look Good”, “Castle In Brooklyn”, and “Work” offer no substance. Even with the guests added on both “Yao Ming” tracks, neither of those records offer insight on anything beyond what Banner is supposed to be challenging in the first place. While he brings listeners back into introspective territory with “Malcom X (A Song To Me)” it’s not nearly enough to counter the lack of substance that it’s mixed up in. Which would actually make the message in that song even more powerful as Banner high lights all of the things that is praised, and puts to shame thoughts of glorifying all instances of ignorance that he mentions. Unfortunately the length of this album drags the project to the point where even this is forgotten.

Sex, Drugs, and Video Games as a concept is a brilliant one at that. David Banner puts the culture that Hip-Hop has created under a microscope, and holds everyone including him self, accountable for it. Unfortunately at times it seems that during his quest for enlightenment, Banner loses his way. What makes that so intriguing, is that it almost makes you wonder if that was all apart of his plan. Perhaps Banner is trying to demonstrate that even the most critical of people can easily be dissuaded from their thoughts. Then again, maybe that’s not what he was aiming for at all. In the end it’s subjective, and it’s up to the listener to decide for themselves why is Sex, Drugs, and Video Games all they choose to accept.

It must be hard being Bobby Ray. Here you have an artist with such immense talent that was spawned as one of Hip-Hop’s rising stars, who has achieved success by experimenting beyond the traditional genre. Obviously as Hip-Hop has evolved so has its children, so it’s not uncommon to hear a rapper doing much more than just rapping. What is unusual is the rate at which this has been done. The artist better known as B.O.B. may have been discovered through his mix tape outings, but with his first album The Adventures of Bobby Ray, he held no punches. The ATLien came out the gate and showed the masses just how diverse his music would be, and it worked. While he gained commercial exposure and success, it’s the edge in his music that was questioned. Something he attempts to answer with his sophomore outing, Strange Clouds.

People seem to forget that when B.O.B. isn’t making radio ballads with Bruno Mars, that he can still rap. Exceptionally well at that. The album opens with “Bombs Away” and he does just that backed by a thunderous beat to compliment his rhymes. Lyrically he’s as sharp as he’s ever been, as he demonstrates once more on “Plays For Keeps”. For those looking for the old Bobby Ray then those tracks should show you that he hasn’t gone anywhere.

The same formula that B.O.B. excels in, he also seems to fall short in as well. It’s obvious that he’s influenced by a variety of genres, and unfortunately tries to incorporate them all at once. Some of these efforts like the commercial aiming “So Good” work well for his style, but other efforts like “Circles” just come off as forced. Chris Brown handles chorus duties for “Arena” which also brings a verse from Grand Hustle head honcho T.I. in a collaboration that fits. There is nothing wrong with making songs with pop appeal, since pop music is really just popular music. However the Taylor Swift assisted “Both Of Us” isn’t just an attempt at satisfying that crowd, but it fails in every way imaginable. Her voice doesn’t really do the song any more justice than his mediocre rhymes here. The same can also be said for “Out Of My Mind” which features Nicki Minaj. Not only are Bobby Ray and Nicki both exceptional rappers when they choose to be, but they can also make pretty good records for a wide scale audience. Which makes it even more confusing as to how this record seemed to come up flat on both of those levels.

The biggest strength found in this project would have to be in the production. Though several of the tracks have outside producers, Bobby Ray handles a large portion of the album. The result was a sequencing that just works. “Never Let You Go” isn’t your typical Hip-Hop song, but it will certainly find an audience in certain clubs. The same can be said about the title track “Strange Clouds” which follows a traditional sound, but is still dub step influenced to the point that it stands out.

After taking the musical journey that is Strange Clouds, the highlight of the project seems to come at the end with “Where Are You (B.O.B. vs. Bobby Ray)”. Here he addresses all of those that feel he’s lost his way musically after success, by not addressing them. Simply he ends the project acknowledging the critics in all areas of his life, and lets the music speak for itself.

As B.O.B. continues to expand as an artist, he makes it quite clear that he has no intentions of placing himself back in the box that people want to keep him in. With no apologies he makes records with pop sensibilities, that Hip Hop fans that aren’t afraid of something different will appreciate. While the results won’t always be winners, B.O.B. has discovered that trial and error will continue to work in his favor in the long run.

What a difference 10 years can make. In 2002, Ja Rule was arguably one of the most in demand rappers at the time. His signature brand of “thug lovin” raps dominated the airwaves, and kept the Murder Inc., flag waving high. Whether you loved him or hated him, you couldn’t help but pay attention to him at the time. Fast-forward a decade later and that whole period in time seems like a distant fantasy. Today the Queens rapper is looked at as more of a punch line than a Soundscan king. There were a lot of reasons why his fall from chart domination hit so hard. Between over saturation, lack of artistic growth, present day imprisonment, and a guy who goes by the name of 50 Cent, Ja’s career never stood a chance at longevity. Of course he hopes to change all that with his latest release, Pain Is Love 2, the sequel to his 2001 Pain Is Love album.

From the very beginning, Ja comes with an intensity that takes you back to his glory years. In fact you could make a case that he’s never been as impressive as he is on “Real Life Fantasy” and “Parachute”. With introspective rhymes that bring you into his current day struggles, Ja instantly captures your attention. Both tracks are synth heavy with a strong rock influence that feels organic when mixed with his vocals and their respective choruses. Ja has always had a formula of making records heavy on tough talk, but still radio friendly enough to impact pop charts.

What should be noted is that Ja decides to go for dolo on this effort. While the album is filled with several newcomers such as Leah Siegal and Anita Louise supplying soulful choruses, Ja is the only rapper present. In an era where most artists are always looking to fill a track with a list of the hottest rappers in the game, Ja should be applauded for carrying this project based on his own merit.

Of course while PIL2 comes off as a consistent play production wise, it tends to remind you why Ja’s career took a hit so suddenly. Lyrically he falters on “To The Top”, and “Black Vodka” sounds like it should have been left in 2002. Then, Ja really tests the listener’s patience by hopping on the auto tune wave 3 years too late to give us the travesty that is “Strange Days”. In fact, “Superstar” sounds like any given Ja Rule song that we’ve heard before, only not as good. “Pray 4 The Day” and “Spun a Web” are ok tracks, but they’ll be forgotten about the moment the album ends.

Will PIL2 bring Ja Rule back to commercial prominence? No. Does it match up to its predecessor? Not at all. Is it worth checking out? Yes, but only if your looking for a reason to embrace nostalgia. PIL2 is sonically a solid project that leaves much to be desired lyrically. Redundancy and lack of growth keeps the album from truly taking off, despite the great production that’s provided on it. Certainly not the worst album ever made, but over time could easily be one of the more forgettable ones, at least in Ja Rules discography.

“There is not an adjective to describe how I work, hard is not enough brother, I’m tougher.” – Curren$y “The Day”

That line pretty much sums up the career of Curren$y so far. There really isn’t a word to describe this man’s work ethic. His catalog from just this past year is probably deeper than most rappers entire career discographies, and there isn’t an end in sight for him. With the ability to produce a mix tape whenever he pleases, he also tends to secure album releases like it’s nothing. Which brings us right into his latest commercial release, his much-anticipated Muscle Car Chronicles.

Originally set to be released in early 2011, fans saw this project placed on the shelf for unknown reasons, and while that would have halted many, Curren$y continued to drop plenty of projects regardless. Whatever the reason, the long delayed project has made its way to fans and Spitta takes us on a ride worth the wait.

Kicking things off is “Soundbombin”, which showcases Spitta at his best. Not straying from his usual subject matter of weed, women, and fast cars, he makes the redundant topics sound completely refreshing. His smooth delivery compliments his braggadocio rhymes, which lets him cruise all over tracks like “N.O. Shit”, “Razors and Chopsticks”, and “This Strange Life”. “Bout It ‘11” is a nice ode to his former No Limit soldier days for those that may of forgotten, or were unaware of to begin with. He does a nice job of flipping the classic track in a way that only Spitta Andretti could.

Lack of depth is the only real flaw on the project. However despite the lack of content, Curren$y manages to go outside of his element on the production side of things. Like past projects, he relies mainly on one producer for this effort, and the result is genius. Folk producer/artist Sean O’Connell handles all of the production duties, and gives the otherwise stale content a fresh soundscape. The result is a Hip Hop album infused with rock and blues elements that make it an enjoyable hybrid. Nothing sounds forced here, and it lets Curren$y rock out at his own leisure.

Despite the cohesiveness of the project, it’s hard to consider this as an album, as it’s only 9 songs deep and barely over 20 minutes in length. It’s great if your looking for something quick to listen to, but the experience leaves you wanting more. Hard to really take it serious when you take that into consideration, but it’s still a solid project.

In the end Muscle Car Chronicles is yet another stellar addition to the forever growing discography of Curren$y. In fact, if it wasn’t for the length, this could easily have been his best project to date. Still, at this point no one expects him to reinvent the wheel, or even switch up his rhymes because it’s what makes him such an intriguing artist to begin with. As long as he continues to keep the masses happy with good quality music, in the large quantity that he produces it, what more can you ask for?

With the string of success that MMG label has had in the past year, every release from any of its artists warrants some sort of attention. As one of the more recent signees to the labels, Stalley comes through with his Lincoln Way Nights project, a re-release of the mixtape that he dropped in early 2011.

It should be noted very early that despite being an integral part of MMG, this is not an MMG release. No, this project is by all means a testament of Stalleys’ own creativity, and possibly what led Rick Ross to signing him in the first place. The Ohio native gives listeners a chance to understand his perspective on things, without having to distance him self from any of his label mates.

Branded as “Intelligent Trunk Music”, there are two things that we learn about Stalley early on. He has an affinity for vintage cars, and the sounds of heavy bass. Both of which compliment each other well. Kicking things off with “The Tune Up”, the Ohio native sets the pacing of the album over a track with blaring horns and very distinct drums, which will serve as a pattern through out the project. In fact a majority of the production has beats that will leave you no choice but to upgrade your speakers to get the full effect of the bass being broadcasted.

If there is one thing that Stalley excels in above anything else it would have to be his wordplay. His ability to personify the components of a classic car into a variety of scenarios is rather unique in it’s approach. “She Hates The Bass” at first comes off as an ode to his lady, but in reality is a dedication to his vehicle of choice. It serves as a nice story telling of a feud between his girl and his car, and comes off pretty convincing. “Hard” and “Chevys and Spaceships” continue this theme with their own distinct takes, proving that he can flip his tastes in more ways than one. “Slapp” maintains his appreciation for trunk music, and serves as the projects best track. A smooth track with a heavy knock, it could easily find rotation in the clubs or streets.

This project isn’t all about cars and disturbing the peace with loud sounds though. It’s the introspective records where Stalley truly shines. “Money Ish” is by no means a luxury rap song, as it tackles his gripes with the industry and those that value materialistic items over moral values. “Chimes of Freedumb” has him taking a militant approach, but it’s “Tell Montez I Love Her” that stands out. The musical letter to his mother and estranged sister place him in a vulnerable position, which he handles as sincerely as one could imagine. Its moments like this that allow us to fully embrace his struggles.

For those that may be unfamiliar with Stalleys’ work, Lincoln Way Nights is as good a place as any to catch up. Not to say it doesn’t have its share of flaws, a couple tracks come off as redundant filler that could have been left out. For the most part though there is little to complain about here, as his brand of “Intelligent Trunk Music” has quite an appeal to it. His boss even rounds out the project with a verse on the title track, as Rick Ross closes out waving the MMG flag. Let this body of work stand as a marking point in the Ohio native’s career, because it’s clear that his momentum can only build from this point forward.

Fresh off a stint in prison, the self -proclaimed, “King of the South”, T.I., returns with his latest musical offering to start the year off right. The Grand Hustle leader presents a mixtape full of all original music to prep fans for his inevitable studio release coming sooner than later. If it feels like we’ve been here before, it’s because we have. Let’s just hope Tip stays out of trouble long enough to keep the music coming consistently this time. With the intent of being the first thing people heard once the new year started, Tip returns triumphantly with one primary objective, to F*ck Da City Up.

From the very beginning, Tip sets the tone of the mixtape with a braggadocio introduction that only he could deliver. Followed immediately by the title track, this is the collabo that most Young Jeezy fans expected when he linked up with T.I. on TM 103. A little less introspection, a little more club banging, “F*ck Da City Up” should definitely live up to it’s title in a venue near you. This feeling is carried over into the next couple of tracks as T.I. lets it be known very early that the King is back and here to stay.

It should be known that this project comes off as one big welcome home party for Tip, that doesn’t seem to slow down at any point. Jeezy may have been the first invited in, but the guest list doesn’t stop there. Some of the more in demand names of the past year were all gathered to join in on the fun. 2 Chainz comes through with his own infectious brand of sophisticated ignorance on “Loud Mouth”. Tip reunites with his former Grand Hustle affiliate, Meek Mill on “Who, What, When”, as the MMG notable presents a street worthy verse signed and delivered with his patented flow. The love Tip shows through out the tape even extends to Nelly on “This Time of Night”, as well as the deceased Pimp C with a track fittingly titled “Pimp” that also features Too Short.

Of course it should be noted that the guest that will leave most pleasantly surprised, comes in the form of the legend known as Dr. Dre. The Doctor not only supplies Tip with a beat that should have been reserved for Detox, but also delivers a rare quick 16. Unexpected, but well worth it. Just Blaze and Mannie fresh also provide album quality beats with, “Oh Yeah” and “The One” respectively. In fact a project with those three producers alone would almost always equal an album, so with any luck there’s more where this came from.

At times Tip’s welcome back party falls short of it’s grand theme, as songs like “Pissn’ On Your Ego” and “I See Ghost’s” could have been left on the cutting floor. Not to mention the subject matter in all of the songs are pretty much the same. It’s obvious Tip is enjoying his freedom, but it’s hard to embrace the lavish gangster party lifestyle on every track and then see him firmly settled in his new family man role made for the public every week on TV.

To be quite honest, F*ck Da City Up whole point of existence was to make everyone aware that Tip is hard at the work in the studio. While it’s nothing that stands out in his pretty expansive catalog, it’s something to hold us over until the album. Some of these songs will very much be played through out the rest of the year and for a New Year’s Day project, that’s a pretty big feat. Nothing to be mad about here.