A little older and a lot wiser, the two have a charismatic chemistry that can only be shared between brothers. CNN keeps it true to the bone, with their notorious hustle hard and dirty cocaine lyrics, but show a maturity in their music and personas that only experience in life can teach.

“Stick Up,” reminds you of why you first fell in love with street life. Capone-N-Noreaga are on a heist gone wrong and dealing with all of the downfalls that come with it. The Biggie-esc cell phone and response a’la, “Warning,” has the two alternating positions in the forefront and in the background. “Mirror,” is about self reflection. Looking in the mirror, CNN sees their younger, former selves. Products of their environment; the struggles that they experienced while growing up, turned them cold hearted and the hustler’s life provided an escape. The counter reflections are older and have seen the error of their ways and no longer struggle as they once did.

“The Argument,” is the highlight of the album. A tale of jealousy and mistrust, Capone-N-Noreaga confront their fallout. While Capone was incarcerated, Noreaga made moves to grow the CNN name and his own career. Spending habits and the fact that one still stays on the block, while the other wants to stay away, are only one of the many differences that erupted between the duo. Sideliners and record executives began to affect their partnership, turning brother against brother. In the end, Noreaga reminds Capone that the release of his first solo album, N.O.R.E. (1998 ), was created to blow the group up. In the end, they reunited and are down for one another, no matter what.

DJ Premier’s production appearance on, “Grand Royal,” is more than welcomed, with a hard-hitting piano and slice-n-dice turntable cuts. Additional guest appearances are made by Busta’ Rhymes, Ron Brownz, Tha Dogg Pound, Maino, Uncle Murda, Mobb Deep, and the Clipse.

The overall motif of the album still has a dark and eerie feeling, with reminiscent Godfather styled violins and melodic harpsichords, but the crooned R&B styled hooks on tracks like, “Beef,” give the album a newer edge, making it able to be played in the club, or out of one speaker on a boombox.

Channel 10, is a personal album. It lets listeners gain greater insight on the personal relationship between the duo, while still staying stone cold QB super thugs. Capone-N-Noreaga have come a long way in their careers and friendship, but still remain two of QB’s finest. – J. Miller-Dean

Lyrically, the album is a reflection on past experiences and hard living. The ending track, “Experience,” is about going all out and living life to its fullest – kind of like James Cagney yelling, “Top of the world ma’” at the end of the movie, White Heat.
We all make decisions and mistakes, but it’s all in the experience and what we take from them.

“Time Travel,” is a time-line [no pun intended] of D.IT.C. coming up from holding down corners and dodging incarcerations, to lining up some of the best emcees to be birthed by hip-hop and gaining hip-hop stardom. On, “Boys Doing it,” Boss Money carries his rhymes with a rough and experienced swagger. With an M.O.B., hard grinding, paper chase mentality, nothing else matters. Whether he’s hustling on the street, or rocking a show, the kid’s on point.

On, “Air Yall,” Joel Ortiz raises interest, snapping in rhyme and spitting a frenzy of boastful, money-hungry battle raps. His style is refreshing and energetic, compared to the others lethargically-hazed execution and punch lines on previous tracks.

Lord Finesse laid back to focus on overseeing the production of the album, with beat making all-stars, E. Blaze and Drawzilla. The trio orchestrated a collage of smooth, rolling baselines, with choice samples like Boot Camp Clicks, “Headz Ain’t Ready,” and Nas’, “I Can,” cutting in the back ground. Feeling adventurous, they incorporated the use of manually played synthesizer lines to complement the 1-2-3, boom bap thunder claps of the MPC.

Critiques fall on the production however, due to its simplicity and sole focus on traditional production development. It’s a given that Lord Finesse’s production and turntable skills are top notch, but after being in the game as long as he has, it’s expected for him to bring the fire. The stripped-down sounds come off as a disappointment in their lack of climax, variation, and overall predictability.

Beats like these worked in the early and mid 90’s, but with all of the current production technology and experimentation currently wayfaring throughout music –not just in hip-hop –it’s a wonder why keyboard work on tracks like, “Shine My Way,” are comparable to a three year old banging on a toy piano. With in all intents and purposes, it’s contradictory to the flamboyant, NYC’s finest presence that the crew once oozed.

Perhaps the D.I.T.C. members have reached a point in their respective careers where lyrics that bounce off of sound booth walls seem juvenile, but that’s the very element that made the crew so sensational. Bottom line, it feels like something is missing. Maybe it’s the fact that Big L., Party Arty, and Big Pun are no longer with us. Maybe it’s the fact that Fat Joe hardly appears on albums, but after being in the game as long as D.I.T.C., high standards need to be met. After all, they’re the ones that set them.

D.I.T.C. should be showing the new generation of emcees and producers what real hip-hop sounds like, by fusing the early 90’s style of emceeing, production, and turntablism with a new school twist, not pigeonholing themselves in the past. Call it hip-hop for the eclectic, The Movement, should be coped for the, “93’ til…” fans, and studied for the essence of lyricism, but unique it is not. Where’s Flow Joe when you need him? - Jarrod Miller-Dean

    The guys at Stones Throw have done it again, even if on a project not released on their label. Forget the Hollywood map to the stars, or the City Pages. In conjunction with, Time Out L.A., Peanut Butter Wolf and Madlib bring The Other Side of Los Angeles. No, this ain’t a trip to the Compton Swap Meet. What comes as brilliantly packaged double disc release contains a CD of Madlib spinning a mixed bag of tracks, as well as a DVD by Peanut Butter Wolf, giving a tour of some the best “off-the-beaten-path” spots that the city has to offer.  And of course, what would it be with out a little shameless self promotion?

DVD: By Peanut Butter Wolf

    From 70′s styled leather jackets and clown painted talking George Bush figurines to a Luis Vaton embroided shotgun, at these stores, there’s something for everyone.  PBW gets the shopping itch, as he finds himself going broke in some of L.A’s most exclusive sneaker boutiques and vintage stores. While in search of some art to add to his collection, PBW visits the propaganda giant himself, Shepard Ferry, at the, Obey, studio and gallery. He later goes to, Gallery 1998, only to find an exhibit dedicated to the Super Mario Bros.

    You can’t make a DVD about the best shopping spots with out taking a trip to the record store. PBW finds himself in a difficult predicament, as he gets attacked by a Judo chopping five year-old, but quickly recovers to visit the store where J.Dilla bought the majority of the vinyl cuts features on Donuts. PBW visits some of L.A’s swankiest hotels and spins 70′s fusion and what ever the hell else he feels to some crenda-la-creme pool side vacationers.

    One of the best parts of the DVD is the Miscellaneous Section, which features an exclusive interview with PBW about his humble beginnings in music, the creation of Stones Throw, friendships with Madlib and J. Dilla, along with videos showcasing the entire label’s roster. Backed by a sensational soundtrack of hip-hop, punk, and jazz cuts, the cinematography of Los Angeles features some of the most amazing graffiti and sun sets, giving off the true Cali vibe. 

    The DVD tends to become a little redundant, as PBW only interviews the owners of the locations, instead of incorporating outtakes and street interviews. Despite the down sides, and please believe that there are only a few, there’s so much on this DVD that to tell anymore would be giving it all away. It is definitely a must see!

CD: By Madlib
    Madlib brings together another brilliant mix of cuts: Jaylib, “Survival Test” (the best of the best, J. Dilla and Madlib); Leroy “Horsemouth” Wallace, “Herb Vendor” (A walk down Zion, spliffically.); Quasimoto, “Greenery” (Hard 808 drum beats mixed with that sticky icky); Cybertron, “Clear” (a little electric boogaloo anyone?), and much more. – J. Miller Dean

    In the beginning it may seem odd to hear Tek with out Steele, but this isn’t the fist time that the Bucktown emcee has rolled dolo. In the past, he’s released Elameen Da Don Mixtape, and Amerikka’s Nightmare. While rhyming over beats by 50 Cent, Fabolous, Three Six Mafia, Busta Rhymes, R Kelly, and Wu-Tang Clan to name a few, the listener gets a full range of Tek’s lyrical skills. The power guitar chord laced, “Looptie Loop,” features Tek spitting some slick get money talk, but the chorus, “Shake your bod like a bowl of soup,” comes off as a bit cheesy. Don’t be discouraged; the rest of the mixtape goes down as smooth as a 40oz of King Cobra, filled with tough rhymes on tracks like, “Bust Them Things Bowy,” “St. Pat Day Massacre,” “Stackin My Dollars.”

   Tek, didn’t forget to include a little Timberland boot stomping, Boot Camp Clik flava for ya’ ears. “Trading Places; ft The Furious 4 (If you don’t know, Google them)” and “Oh Yeah,” both appeared on 2005′s, The Last Stand. Newer tracks like the hilarious anti-fat chick anthem, “Run Around,” “U.C.L.A. (Universal Corna Lexington Ave),” with its funky bounce-to-the-ounce style, and “I Like,” for those late night booty calls, are sure to be mixtape hits. 

  With 24 tracks, the tape runs quick, so it definitely needs to be listened to several times to be digested, but in 2007 look for more blazing releases to be dropped from the Duck Down camp.

    J.R. displays an energy that enables him,” To Be A Diplomat.” In his ever persistent hustle to the top during his pre-Dipset years, he claims to have battled the best and dazzled the rest. Although not complex in its rhyme scheme, the slick words provide perseverance through hard times. “Goonies,” is that hype track. Never without the purple piff, Jim Jones and Hell Rell make guests appearances. Jones overshadows both with the clever opening lines; “One-eyed Willie, leader of the Goonie-goo-goos.” This is probably the most notable lines on the entire album, the eclectic value of the 1985, Richard Donner classic, is the only thing that makes it stick out.

   Although the Dipset aren’t the best at writing love songs, “Xtacy” is that I need a down girl track. Laced with a smooth sample of women singing, “J.R.” in the background, even CL would be impressed. “That’s A Bet,” has a down south swagger. Posing as “history in the making,” labels Swisha House and Dipset pare up, with J.R. and Paul Wall break bread, blasting perpetrators and stuffing them in car trunks. 

    With production by Knoxville, Doe Boyz, Falco The Great, and The Justice League (not to be confused with the Justus League/Hall of Justus), to name a few; fast keys, large horn and orchestra sections are nothing new to Diplomat releases. Love them or hate them, as long as people keep buying, the Dipset will keep hustling the public and making money till the bitter end.

     With all the beats being master-minded and blessed by the hands of Agallah the “Don Bishop;” blaring horn sections, fast paced high-hats, obscure sequences and some of the fastest keyboard work on the east-coast are only the beginning. Opening with the high-energized title track, “Paris to Purple City Purple,” Shiest Bub, Agallah and Un Kasa, make valiant efforts in attempting to incorporate French phrases into their verses. On the other hand, the crew from Paris surpasses them, fearlessly diving into lyrical action. Now if we could only understand what they are saying?
 
    From New York to Paris, “Rap Is Around the World.” The track comes off as that “feel good single.” It works for the streets as well as commercial radio. Giving international love to hip-hop, Agallah raps himself in circles, literally. At times his word flipping strays from tricky and becomes confusing, unless repeatedly heard. Handing off the mic to French rappers, Tibesse, Djelass, Keny, Kris Daddy and Kipetchi, they take the initiative, riding the bass line and flipping their styles with out “Pari-style.” “Hip-Hop,” Comes off as the album’s rugged track, plastered with Agallah’s trademark marathon keyboard work. Some lyrics come into question as the phrase, “I’ll stomp your baby-sister with my work boots,” is uttered. It’s one thing to be gully, but damn, that’s some crazy shit.

     For every negative, there is a positive. Sounding like the ending score to a 70′s blaxploitation film, “NewYork/ Ville De Lumieres,” comes off as the best track on the album. In fact, it would have been ideal as the closing track. Despite Agallah’s questionable rhymes through out the album, he saves face with the line, “Since the east coast fell off, a lot of nigga’s been talk’n/ The east coast never fell off; I was just asleep in Harlem,” an obvious salute to the Game’s original west-coast line.  Things cool off with the slow jam,” Baby Girl.” Compared to other tracks that containing high energy, big splash symbols, it sticks out as extra. The French rhyming adds a nice touch, being that it’s the language of love, but making love songs isn’t Purple City’s strong suit.

     From the English aspect, Paris to Purple City, is nothing new from the habitual Purple sound. With additional guest appearance from Jim Jones and Hell Rell; it’s a wonder why Shiest Bub only appears on two of the ten tracks, leaving all of work up to Agallah and Un kasa. Always with a trick up their sleeves, there could be a method to the madness. The option to hang in the background, gives the room to showcase the French style of hip-hop and break the new comers to the general public. Don’t be surprised if in the next year or so, some of these rappers pop-up a Euro Dipset label. If so, let’s hope that it does a lot better than Euro Disney.

    The duo of Haysoos and SoulStice, better known as WadeWaters, may be a part of the next generation of emcees attempting to bring hip-hop back to its “feel good” sound, but their debut release, Dark Water, is like a television show that has gone into syndication, “We’ve seen this episode before.”
 
     People complain about major label rappers only talking about guns, bitches and fast cars, but on the independent side of things, why is it that the usual topics of discussion are; “We’re grinding and you can’t stop us (“Rock Solid; featuring Cuban Link”),” “I need a down girl (“That’s My”),” “I gotta’ survive (“Tread That Water”),” and everything else under the Graffiti Bridge? Has hip-hop become so cliched that these are the only issues? Giving credit when it’s due, Haysoos and SoulStice have good chemistry in passing the mic and riding beats, but lyrically nothing stands out. There aren’t many lines or hooks that stick to the wall. The question of how many times a song can be made about, “I’m grinding right now, but I’ll be aight” comes to mind.

    It’s odd that with production by Kev Brown (Jay-Z , remixes on the Brown Album), Shuko (Dipset, Saigon, Army of the Pharoahs), and Analogic ( Justus League, Talib Kweli), to name a few, the beats mesh together with booming bass and big string sections. By the time that the album reaches its mid-point, track surfing becomes essential in the avoidance of the repeated use of the sped up, Alvin and the Chipmunks-styled female vocal openers.

     The positive thing about WadeWaters is that they’re honest. They don’t try to portray themselves as something that they’re not. They don’t try to play studio gangster or portray the hood life.  “Back in Time,” comes off as one of the better tracks. You can’t hate on a walk down memory lane. Opening with an old soul sample, rebellious teen angst and all-night rhyme sessions, helped fuel the hip-hop dream.  “Man to Man,” beings discussing a friendship gone wrong and owning up to one’s mistakes, but makes a transition bringing up the fact that major record labels rob artists and independents do the same thing, “only they call it something different.” Apparently, you can’t trust anyone these days.

    If that’s the case, to play the devil’s advocate, how are WadeWaters planning on putting out their material? Are they going to only distribute albums online? Hey, if it worked for Prince why not? It can’t be denied that WadeWaters have talent, but the repetition makes, Dark Water, a struggle to get through. If they break free from cliched topics and redundant song structures, they’ll be aight.

    While never caught with out his Terror Squad medallion, always armed with a crate of vinyl, D.J. Khaled has been holding down the title as one of Miami’s top D.J.s for quite some time. Representing the County of Dade all-day, Listennn, is a non-stop barrage of massive synthesizers and booming bass.  With an all-star cast of guest appearance, a super team of producers, and more singles than a stripper, this album is constant party. 

    The vexing “Problems” (featuring Beanie Sigel and Jadakiss) comes off as a bit harsh for a party mix, discussing controversial fall-outs between Lil’ Kim and Lil’ Cease, Jay-Z and Damon Dash and 50 Cent and Game. The Dade County anthem, “Born and Raised” (featuring Rick Ross, Trick Daddy and Pitbull) has a gangsta’ lean synth-line fit for Saturday nights crusing sessions. The track has been ruling Miami radio airwaves along side of the culo dropping, “Holla At Me” (featuring Lil’ Wayne Paul Wall, Fat Joe, Rick Ross and Pitbull). Containing a sample from the throw-back classic, “Looking For The Perfect Beat (Afrika Bambaataa and the Sonic Force),” its been ripping up dance floors all summer.

   Featuring a line up of MIA’s finest (Trick Daddy, Rick Ross, Pitbull), outsourcing some of hip-hop’s biggest names (Fat Joe, Paul Wall, T.I., and Camillionaire to name a few), and production assistance from super duo Cool and Dre, Khaled’s mix of singles will keep the album in constant rotation all summer.

    Real hip-hop fans know that interludes can make or break an album. They can either be well mixed, leading into the next track, or down right annoying. Like a rollercoaster relationship, P.A. follows these emotions to a “T,” by lacing every other track with his marijuana endued manifestos.
On, “Boo Boo Weed,” he claims that that fans rep their bud as the best, but everyone knows that the homegrown “Kind” of Humboldt County is unlike anything else of this world. Maybe if P.A. would have focused more on making longer tracks and not as many interludes, the album wouldn’t have been as short as a Dutch Master in a seven person cypher. By the time the album reaches its mid-point and the track, “Knowledge,” rolls around, the listener maybe so annoyed with the interludes, they will skip right over P.A. ranting about, rap cats of today not speaking about anything except, hand to hand transactions and big booty women. It’s funny because that’s the album’s bread and butter. The only interlude worth listening to is “Fe La’s Time.” The horn filled jazz session is oddly placed, but draws the ear to the speakers. It leaves the listener asking, “What the fuck? This is brilliant! What is this?” Unfortunately, it ends just as fast as it starts, sliding into the generically Jamaican rhythemed, “Murder Time.”

    With all criticism aside, Asia does bring about valid points, with his militant overtones on “Gangsta, Gangsta.” The track is a history lesson about the hardest people through out African-American history and “guess what?” None of them are your favorite rappers! Names like Fela Kuti, Malcolm X, Nat Turner and Sonny Carson, to name a few of the many that make the list. He insightfully ends the track with the quote, “They call you a gangsta when you fight for your people.” If P.A. had been really thinking in the post production, he would have used the powerful track at the end, opposed to letting it get lost halfway in the blunt smoke.

     Although Planet Asia maybe a household name in the underground hip-hop scene, the question of “Why hasn’t he crossed over into the mainstream?” hangs over head like a black cloud. The majority of his actual tracks have commercial appeal, with their slam chanting choruses and Casio Keyboard sounding loops. The album is a disappointment for someone who has had such longevity in hip-hop music. Maybe if Planet Asia would cut back a bit on the green, he could have become productive enough to put together a tighter album. Let’s hope that his follow-ups, The Diagnosis and The Medicine, are drastically better.

     If 2006 is going to be, “The Year of the Come Back Artist,” this album is in the lead. It’s anything, but boring. Opening like a Box Office blockbuster film, the track, “Raw Shit,” yells, “Revolution!” Imagine the president giving a speech on the television. CNN depicts footage of soldiers are fighting and dying in a pointless war. People fight in the street as buildings burn. The bass begins to boom like a herd of elephants. The keyboards quickly follow, echoing in the background; as Chuck raps about not trusting the police, government lies and many of today’s rappers talking about nothing. He makes no apology calling it “House Nigga Music.” Behind him, the White House goes up in flames.  It’s a deep track. The best way to describe it would be, the ending scene of Do The Right Thing, when Mookie yelled, “Wake Up!”

     With “They call me Flavor,” PE probably figured, even the most serious album needs a bit of light heartedness. Flav gets nutty and off the wall repeatedly rapping, “They call me Flavor.” By the end of the first chorus you want to rip the CD out of the stereo. Although a bit confusing, it does serve its place on the album. The album has a straight militant motif, of fighting for justice till the bitter end. Flav’s track depicts the happiness joy that is desired and sought after. It’s like the light at the end of the tunnel. “Plastic Nation,” is the story of a girl that was so obsessed with television and pop culture that she had to change her body. She went under the knife and ended up still unsatisfied with herself. The track is laced with women making plastic surgery request about changing their breast size, calves and other features.

     As the album goes on, the beats develop. Paris did an excellent job with the production. Well, actually the whole album. He wrote, produced and did everything else under the sun on the entire LP. From the jump, the distorted guitars over heavy bass lines catch the ear. If you listen closely, you will notice that Paris didn’t just loop the guitar riffs, but rather composed a song with them. Guitars go from playing riffs during rhymes to soloing during the chorus. There is a certain art to production that he captures on this album. With featured appearances by Dead Prez, the Conscious Daughters and MC Ren, you get the point of view of the young revolutionary mind. The Boondocks, Huey Freeman and conscious individuals would be proud. The only question left is, how would they market it to Riley and the rest of today’s wanna be gangsta and “bling-bling” youth?