Canibus: Collecting more information.

HHS: You have 2 albums and a mixtape that just dropped, did you plan on releasing them at the same time?

Canibus: Of course not. The music was recorded during separate periods of activity and thought. Distribution decides WHEN, I only control WHAT  is given to the replicator.

HHS:  What are the differences between them?

Canibus: Def Con Zero is about RV and coming world events. Hip Hop For Sale is aptly titled as just that. An added plus is the production/guidance from Nottz/DMP/Teamstas outta’ VA.

HHS: How do they differ from previous releases?

Canibus:  The common denominator of all my releases are more similar than they are different.

HHS: Do you prefer doing albums or mixtapes?

Canibus: Both provide an outlet to exploit. The albums/mixtapes accomplish the same goal in my experience.

HHS: How did you come up with the title, for the Babygrande release, “Hip -Hop for Sale”? What is the meaning behind it?

Canibus: HH4S is geared to a wider audience of Hip Hop enthusiasts. I focused more heavily on rap related topics and ideas unlike the impressions that resonate w/ other Mic Club releases.

HHS: I heard you were dealing with Clef again last year, is that true? Any chance of you working on material with him again?

Canibus: I had recorded 5 songs w/ Wyclef and Jerry Wonda @ Platinum Studios NYC for the fugee reunion album. If all goes well I would love to be on it.

HHS: You have worked with a bunch of different artists and producers, is there anyone out there you haven’t worked with yet, that you want to?

Canibus: Too many to sift thru. I will say my favs include Black Thought and Junior Gong.

HHS: Since you came out, you have always received acclaim as a lyricist. Is there a routine or formula you follow for crafting your songs? Could you describe the Canibus thought process when creating lyrics?

Canibus: Pen/Pencil/Paper. I start w/ a Word Descriptor List. Imagery enhancement w/ RV techniques. Lastly, I seek the guidance of St. Germain.

HHS: Is there anyone out that you are currently impressed by as a lyricist?

Canibus: Black Thought, Jay-Z, Nas, G-Rap.

HHS: People can always look to your lyrics for quotables? What is your favorite line of yours of all time? And what is your favorite line
from anyone else at all time?

Canibus: By “all-time” I suppose you mean timeless, whereby I would rest my faith in RTJ, and look forward to RTJ II.

HHS: What do you think the biggest misconception people might have about you is?

Canibus: The biggest misconception could be that my work as a modern day poet has not made an impact worth notice in the art itself. I have grown b/c of the music and the music has grown b/c of me.

HHS: Is there anything going on in hip-hop that you don’t like? What? And how would you change it?

Canibus: I point out the faux paus in Mic Club The Curriculum. I would be so much more inspired in a world of tighter MC’s

HHS: You have always been on deeper topics and subject matter than most, what are your opinions on the current state of the world? And is there anything that people should be made aware of that they currently aren’t?

Canibus: The question of Global Affairs and Earth Changes has been addressed in rhyme form before but I will say more b/c I AM. The information is accessed thru comparable vibration. Thru Harmony one can project consciously and open the door to access this information. Those w/ above average subconscious intuition usually approach these visions during the hours of sleep, but if desired one can extend this activity to their waking hours and learn the value of developing true consciousness. The Ley Lines, Portals, Windows and other classifications that have been discovered by the Sages of our time (past and present) are no secret. Understandably, most will look but miss the camouflaged meanings and ignore the key doctrines to accessing the Fourth Dimension. That is all I have at this time.

HHS: What’s coming up for you in the future, what can we look forward to?

Canibus:  More projects.

HHS: Any tours?

Canibus:  Tentatively next year. (EDITOR’S NOTE: CONTACT INQUIRIES@BABYGRANDE.COM FOR BOOKING REQUESTS)

HHS: You have always had some of the most loyal fans, do you have any final words for them?

Canibus: By only listening to the words and finding meaning they have shown and experienced LOVE, TRUST, DESIRE, CREATIVITY, SERVICE, COOPERATION, FAITH, ILLUMINATION, HARMONY, & STILLNESS. There are other qualities but these immediately come to mind. I AM of service to them and seek nothing in return. I gain a great deal of satisfaction in knowing I AM partly responsible for perfecting the art of rap. A Special Thanx To: RIPTHEJACKER.NET and their vigilence to procure more knowledge and make it useful. Stars of the brotherhood include; Unknown, GhettoScholar, Mayakovsky, Copernicus, Efective, and Infinite.

    That is quickly put to rest as this album again fails to reach the heights where Cassidy is capable of. The first five songs all mention grinding, hustling and Jay-Z. You are left waiting for more substance. Nas and Quan guest appear on “Can’t Fade Me”, but it is also disappointing as Quan sounds more like he’s doing a Nate Dogg impersonation. Then Cassidy falls back into making songs for the females. “Kick It With You,” featuring Mario seems as the obvious choice for a future single as it borderlines catchy and cheesy, it is sure to be a 106th & Park hit. “Bellybutton” might go down as one of the worst tracks ever made, in an ode to the bellybutton ring. Here, Cassidy’s rhymes sound forced and it seems this would have been a better song for LFO or some pop group from a few years back.

    Swizz Beatz cooks up some heat on the boards, but with most verses ending with the same word, even the beats can’t keep you interested. The title track, “I’m a Hustla” and the “I’m a Hustla Remix,” featuring Mary J. Blige, save this album from being a total waste. Thank Hov for clearing the record!  Maybe it is the pressure to reach platinum status, but no matter what it is, Cassidy again abandons his vicious side for a more safe and soft sound. Listeners will turn into saddened sports fans thinking and hoping “we’ll get ‘em next season.”

     The title track lets you know that “change is good” and overdue, as Tone takes on the status quo and even those against the norm, “for every rapper constantly bitching, I made the record it’s honestly different.” The backward forward production sample becomes entrancing and enhances the tale of originality’s importance. The Elite produced “Issawn” is crazy chaotic, overflowing with rowdiness guaranteed to get everyone mean mugging and moshing. Tone masterfully rides the beat and incites a riot with the “tear this bitch down, tear the bitch down right now” chant. On “Pervert”, he makes his “panty smelling” fetish public knowledge and transforms it into a cleverly, comedic rampage. He gives you warning after warning, as the openly honest track bounces along with E-L’s production. “Quotables” is more than just an obligatory posse cut, Tone gathers up some of his illest friends: Substantial, Wordsworth, PackFM, Session, Supastition and Rise, in a battle royal of punchlines that will leave your head spinning

    There are some downsides to the album though. “Let’s Go” is a high energy track where Tone gets you moving, but the production’s drums are too reminiscent of Destiny’s Child “Lose My Breath.” It becomes distracting trying to listen to the lyrics when you’re expecting “can you keep up” to come in at any second. Production once again plays the part in taking away from the words, on “Porcelain.” The piano becomes overpowering and prevents you from focusing on the melancholy romance tale he’s delivering. There are other times on the album, where synthesizers should have been left out (“Masochist”) and where his harmonies becomes sounding too similar to his singing on previous tracks.

    There’s no denying that Tonedeff is one of the most creative people in hip-hop, pushing musical boundaries so far that he’s too open-minded to be in either underground or commercial categories. He takes chances, his intelligence shines through his lyricism and is taken to even higher levels with his delivery. Will this become “the new hip-hop?”  Only time will tell, but this is a great step in the direction of making the music mean something again. Hopefully, Archetype will encourage others to pour their time, mind and soul into their releases and not just concentrate on fitting in, getting rich, and making club bangers.

The “Drama King”, DJ Kayslay , reenters the legal retail realm, with The StreetSweeper Vol. 2. His mix CD’s instantly flood the streets with the exclusive and grimy tracks, but his debut release on Epic (now Sony Urban) last year did not seem to live up to the same level or buzz of his street releases. He has made some changes this time around, and expects this one to blast off on a larger scale.

The attack begins right with the “Intro”, as he informs that nothing is going down in this mix tape game without his approval and due percentages. 50 Cent and G-Unit blast shots without worries, over the DJ Twinz laced “Angels Around Me”. No love or R&B singing, the track hits harder than most of the joints on G-Unit’s own debut. Eminem and Obie Trice murder all lingering beef and put it to rest on “I’m Gone”. Meanwhile, Prodigy of Mobb Deep, Raekwon, and AZ team up for a long overdue collaboration on “Untouchables”. If you thought these cats were raw in 1995, they surpass that and spit even more true grit than before. AZ ends it off with “man of respect, it’s war when I handle the tech, but behind jail walls I’m like Hannibal Lect.” The South is also along for the ride, tearing up the club along the way. Three 6 Mafia, Lil Wyte, and Frayser Boy set off the first single “Who Gives A…Where You From”. Made popular by the NFL Street video game (not to mention a well hidden, chopped Transformers sample), the call and response hook alone will have security ending the night early. Kay Slay lets heads know that his kingdom is not just in the streets or rowdy clubs, as he will also take over radio waves. “Not Your Average Joe” features Fat Joe, Joe Budden, and Joe (R&B). Joe sounds a lot like R. Kelly on this one, but Mr. T.S. and Mr. Jersey City hold it down spitting game ladies will feel and fellas will respect. This and the “Don’t Stop the Music”, with Lil’ Flip, E-40, & Lil’ Mo, both have the potential to be huge spring and summer hits.

This second album seems a lot more focused and planned out, than the first was. While DJ KaySlay is sometimes accused of bullying his way into the industry, this release is packed with so many diverse, sure shot hits, it seems that no matter how he got here “Mr. Slap Ya Favorite DJ” has solidified his place atop the mix game and he’s not leaving anytime soon.

     “Hotel,” featuring R. Kelly, has been burning up radio, clubs and everywhere else, only getting stronger and increasing the buzz as times goes on. Infectious R.Kelly hook and Spanish guitar laced beat, features a lighter side from Cassidy as he spits for the ladies. There’s a “Hotel (Remix)” which would be just as good, minus the awful verse from Trina. “Lipstick” is a Jazze Pha produced track that has the potential to crossover as well, the problem with “Lipstick,” “Hotel,” “Make U Scream (with Snoop Dogg) and basically the first half of the album is the songs seem too forced into being hits. The formulaic guest appearances make the tracks and could have anyone in Cassidy’s spot and they would have almost the same result. They could all turn into hits, but they do not give much room for Cassidy to establish himself or his style.

      It’s a shame too, because when Cassidy gets let loose, he is a vicious and clever emcee who will relentlessly attack. He seems more at ease and natural when he’s allowed to get his hands dirty. Case in point, “Pop That Cannon” featuring Styles of the Lox is one of the grittiest street bangers made in recent years, complete with Swizz’ “it’s whatever mothafuckas, I ain’t scared” chant. “Blood Pressure” is another boiling point, as he intensively delivers rhymes “it’s Cassidy who thorough as him, nobody, I keep a gun tucked cause I don’t trust nobody, I got plenty biscuits and yall niggas like skinny bitches, yall aint got no bodies.” It’s his “Can I Talk to You” collaboration with Jadakiss that will raise the most eyebrows and have heads talking. He makes it known he “lifts guns for the exercise and sprays like insecticide” and if you don’t take that serious he’ll “peel your brains out, then feed it to your seed like baby food.” It’s been said “the kid is a problem,” and it is songs and lines like that that let you know it is the truth.

      The only track that should have been left off would be the intro. “My Interpretation” is full of lines ending with the basic ?tion rhymes, which grow annoying quick and almost sound like a throw away track Canibus would have done. Other than that, it is a well-rounded debut and hopefully the next time will have more opportunities for Cass to shine on his own. He’s a Philly soldier with star-quality, he does not need all the extra appearances and proven-hit collaborations that other artists rely on to get by in this industry. 

    Set off by the grimy feel of Midi Mafia’s “B Train”, the Bravehearts start blasting from the beginning and don’t let up, letting off one round after another. The King of Crunk, Lil’ Jon, checks in for the first single “Quick To Back Down”, as the ATL meets QB combo is pulled off successfully and is sure to end the tough talking and start the tough actions, no matter where it’s played. “I know your type, I know your type your kind, quick to back down, you be leaving when there’s drama, quick to back down.” “Buss My Gun”, has another long time associate, Nashawn, joining the mix as they deliver the street soldier anthem, over another Midi Mafia heat rock. This song also seems to define the squad, very loyal, dedicated and willing to do whatever for their crew.

    The album is more than gun shots and physical harm though. “Situations” is a discussion of past relationships and hook ups, but far from being soft, even with Nas singing his own version of the Bee Gee’s “Islands in the Stream.” Bastianny’s beat is best described as somewhere in between D’Angelo and the gutter for an end result that is very soulful and dirty. “I Wanna” is the raunchy sexcapade, featuring the female sung hook “baby I wanna fuck, I’ll be your down ass slut, you know I like it rough, you can do it in my butt.” It is guaranteed to have freaky chicks singing along, as L.E.S. crafts a radio friendly beat to captivate their attention.

     There are, however, some down sides to the album. The Swizz Beatz produced “Twilight” sounds like 80′s synth-pop, but is salvaged by the braggadocio swagger of the Bravehearts and Nas. “Cash Flow” is another time when the Bravehearts outshine the beat, another “get money” type song but Lil Jon’s beat sounds very under developed compared to previous efforts. “Realize” features a very compelling and introspective hook from Teedra Moses, “we live like we got nothing left but time, but in the end will you be satisfied,” but somehow all the verses don’t seem to fit in with it. A song that had the potential to uplift and inspire thought does not seem to reach that goal. The verses are still solid, just do not seem as well suited for the chorus as they could have been.

    A lot of crews jump on the one star’s back and try to ride those coat tails to success, depending on the skill of that one person to carry the album. This is not the case with the Bravehearts, while the Nas appearances add to the album, they have obviously put in work and are able to stand on their own. This debut will bang heavy in the hood, but it also contains enough diversity and talent that should them expand their QB empire into other areas as well.

“Hold It Now” sets it off like a summer block party, thanks to Havoc (Of Mobb Deep)’s sampling of the Beastie Boys’ “Paul Revere.” “Shake Your Bum Bum” is like a court cause of minor corruption waiting to happen, as pre-teen Lil Shanice proudly brags about “shaking her anus.” “The Jump Off”, produced by Timbaland (wait, didn’t Tim just do “The Jump Off” with Skillz?) and hook by Mr. Cheeks could have anyone on it and be a hit, as Kim’s lyrics are easily and quickly forgettable. “Thug Luv” is left blazing as Twista rapidly rips through Scott Storch’s track, but with the “Queen Bee” slowing it down and throwing it off – it only builds more anticipation for Twista’s next album. “Magic Stick” is another club banger, but due to 50 Cent’s performance not Ms. Jones hypocritical rhymes. She goes from saying “Lil Kim not a whore” to a few bars later letting us know her schedule “when I ain’t shopping spending dudes c-notes, I’m in the crib givin niggas deep throats.” Who can question morals with lines like “guys want to wife me and give me the ring, I’ll do it anywhere, anyhow, I’m down for anything.” “Came Back For You” has her trying to stay atop her throne, hurling disses at Eve, Trina, Foxy Brown, and others. Kanye West comes though with his dark soul production, but at the end of the day though, how serious can you take battle threats from someone who just earlier bragging about making Sprite cans disappear in their mouth.

Maybe she’s been down at the Moulin Rouge, shopping with Christina Aguilera, or in the plastic surgeon’s chair too long. Kim falls off this time around and is not even the star of her own show, relying on guest appearances and producers to keep her alive. Even without listening you’ve heard 90% of this album before, as most of her lines are known quotes from others. With an improved body and repeated tales of sexual skill, you have to start to wonder “maybe hip hop isn’t the right industry for her?” 

“Smackdown” blasts off, taking mucho shots at Royce Da 5’9 over 50 Cent’s “Backdown” track (which Royce ironically flipped himself for a D-12 diss track on his double-CD Build & Destroy). Pulling his card, bringing up tales of personal beat downs and fake claims, each member gets at the self proclaimed “King of Detroit.”  Bizarre spits “is it our fault you’re a fake LL, D-12 the reason your little record won’t sell.” “Been A Hoe” comically flips Nappy Roots’ “Po Folks,” as Bizzare once again goes out of his mind, conjuring up thoughts that make you realize therapy is long overdue. Who else do you know that’s bragging about “fucking a titty dancer with breast cancer” and making sexual advances like “damnit girl you look fine, I don’t give a fuck if you’re nine, like R. Kelly I wanna bump and grind.” “Talk Too Much” flips TLC’s “Girl Talk” as Swifty brings the heat to all snitches and shit talkers. With the venomous “Kick The Door In” D-12 goes into full attack mode, as they aim vicious promises and death threats in Royce and D-Elite’s direction—”You fuck with Dirty Dozen/we be killin who you love.” Then, “Wrong,” another highlight, has them flipping over Freeway’s “What We Do.” Benzino is the target this time and gets smashed to pieces, “so die another day because you know it’s entertainment/I’ll stuff your out of shape pale face into the pavement.” It doesn’t end there though, as they bring up obvious and personal facts like “you can’t even write raps/your damn near 50 years old/your daddy’s on his death bed/you’re never gonna go gold/it’s best if you just shut it up.”

With this mix tape release, beyond all the unnecessary posturing and death threats, D-12 proves once and for all they are skilled and do not need Em to make noise. Unlike most crews who have the one star member, Dirty Dozen is a powerful squad where each member adds to their strength.  

“Get Your Weight Up” has Storm appreciating women with appetites. Over Kokayi’s track, with an infectious bluesy guitar lick, he lets loose the big girl anthem – “hon, get your weight up, shorty get your weight up, you wanna get with Storm then you should have ate your plate up, (say what), I want a shorty I can hold, not somebody I can press and fold..” He teams up with Supafriendz’ Danja Mowf, Lonnie B., and his own crew member Priest Da Nomad on “Suplex.” Danja handles the up-tempo production and adds a go-go feel to it, while the four blast the mic back and forth dropping punch lines and braggadocio rhymes like only they can. “Darker The Berry” is another attempt to uplift. Storm gives you a personal look into the pain and ridicule he felt and how when he had the chance to inflict the same, he rose above it and chose to educate others on equality. “Stop Lyin” is a fun track, where Storm and Priest combine again and go overboard on bragging and big willie claims. Whether being gawked at by Jennifer Lopez, owning countries, wrestling alligators or buying Infiniti jets, the duo makes you laugh while thinking about how many times you’ve probably heard other rappers or kids on your block swear they’ve done the same things.

Calling Amalgamation a breath of fresh air would be an understatement. Storm and his crew are not following the current trends of gun toting or bottle popping. They realize that if words are weapons, they are going to attack the negativity in today’s society and actually aim to make a difference. That is a pretty big task to take on and while some people would rather stay in the club or holla forever, the Plexus fam thinks outside the box and sets a real blueprint for the future.    

While “New York, New York” shows love to his home base. You quickly realize that the “war going on outside” that Mobb spoke about has Littles lacing up his boots tight as a soldier. “Ghetto Starzz” pairs him with Big Noyd as they inform you of their gritty come-up, “from the bottomless pits we rose, out the ghetto of stars, we went from hoopties off the block to them luxury cars.” “You And Me” should be used as inspiration for hard knocks, as Littles professes his dedication to rhyming and thanks it for being what’s kept him on the right track. The Sha “Money XL” Self produced, “New Day” is another introspective story as he gives you a vivid look at how he switched his life from crack to rap. Mobb Deep joins their associate on “Thunny” and “Niggah”, both crime sagas overflow with menacing threats and deadly promises. Havoc (Of Mobb Deep) says it all with the line “the drama’s brewing, be a miracle for you to win, my team ain’t losing.” The bonus track “Pain And Glory” winds down the project, discussing his incarceration, distrust for others, loss of family and yet still knowing that he must strive on. He has decided to switch the players, but the game is ongoing and Littles knows the hustle. Flashback to the previously mentioned intro line and you will realize he’s not here for talking – he’s here to take over.

The current hip-hop game is being flooded with cats claiming they rep the streets, Littles takes it beyond that – Littles is the streets. More than empty bragging of being the best, when he speaks you feel it. The Feeding gives you a personal tour of his heart, his block, his life.  

After a string of hot 12″s, an album from Major League was in high demand. Matt Marcus, Virtuo, Sean Harris and the whole team were smart with their business plan. They kept the buzz going and growing stronger with each single, pleasing the underground, the streets and college radio. The Subway Series Volume 1 features some of the bangers they’re known for, along with more current works and tracks by their peoples coast to coast.

“Get Large” is an appropriate jump off as Lord Tariq, Masta Ace, Mr.Complex and Major League’s MVP – Tribeca, raise the stakes over an energetic beat guaranteed to clear the benches. Most known for his release “The Life” w/Pharaoh Monch (the highly jocked anthem, jacked by Styles P & Rawkus), Tribeca shines throughout this release. He overflows with superstar potential from giving you a first hand look at crooked cops on “City’s Finest” to making the term “spit flames” an understatement on “Throw Heat” with Doujah Raze. Tribeca’s delivery and ability to cleverly attack the streets with hard yet intelligent lyrics put him in a class of his own. Add that to his work behind the boards, which even further his diversity, and you have a total package hip-hop artist. “The Specialist” Kobaine makes sure the world won’t forget his name on “KO.Bain,” as he rips it up “party to party, back yard to yard.” The collab joints which gave Cash Brown a rep are included, as the mic gets murdered with Royce Da 5’9″ on “Double Homicide” and he knocks competition out on “Clubber Lang” with Ruck (Heltah Skeltah), Labba and 8Off Agallah. The remainder of the compilation racks up the frequent flyer miles, from Cali’s Rasco, Evidence (Dilated Peoples) and Defari’s “Major League” and Encore’s “It’s Time” (featuring a classic but slept-on beat by D-Tension), to Florida with RK’s “Let Me Rise,” and back up to NY as The Beatnuts and Al Tariq’s declare “Duck Season”

Major League’s first official step into the CD market is sure to please their followers and even gain them new fans. There’s something on here to make every true hip-hop listener proud and have heads nodding for a long time to come. The only downfall would be that most of these songs have been released and with strong performances by Tribeca and Kobaine you’re left wanting more. Hopefully the wait for their next album won’t be as long. With an equal love for spots and rap, Major League is locking the pennant down for NY and Subway Series Volume 1 can best be described as the All-Star Game. 

It been a minute though since Swizz had the game locked.  And in that time more futuristic producers (The Neptunes) have came through and taken over both the streets and clubs. It’s not that Swizz was sleeping; he was busy setting up his Full Surface imprint and working on his debut release. This time around though, Swizz is pulling double duties, both behind the boards and on the mic (which he first previewed on the RR 2 Compilation and the On Any Given Day OST).

The album opens with an in-your-face introduction to Swizz Beatz spitting rhymes. No floss, no gloss, the title track “Ghetto Stories” is a serious look into his life. “Big Business” showcases a beat that is both eerie and mellow. Jadakiss doesn’t break his typical rhyme mold and Ron Isley’s crooning sounds more repetitive than ever. The remix featuring P. Diddy, Baby, Snoop Dogg, and TQ is equally as annoying, with only Philly new comer Cassidy shining. In fact, it’s tracks with Cassidy that save this album from being a total waste. “Salute Me (Remix)” has the young boy sharing mic time with Nas and Fat Jon. Swizz even manages to ruin that track though, “Top Billin” has to be one of the most sampled songs ever – so how someone can mess up sampling it is beyond comprehension. Eve pops up on “Island Spice” a cool Caribbean flavored track that would have sounded better if released four years ago. Recorded right before going to jail, “Shyne”, featuring Shyne and Mashonda might go down as one of Shyne Po’s best tracks, as he keeps it really real and lets you know how things went down that night. Ja Rule, Metallica and Swizz combine forces on “We Did It Again,” but I don’t know if they realize what they really “did” though. They created one of the worst songs of the year, which could easily and more appropriately be entitled “Music To Migraine By.”

Even with more appearances by LL Cool J, Lil Kim, Bounty Killer, Busta Rhymes, and others, there is nothing that can save this album. Compared to all the other wack emcees out there, Swizz almost achieves being tolerable. The rhymes are not the problem with this project, it’s the beats. He took too long to release this and would have sounded a lot better when some people were actually checking for him. 

 Returning like the poltergeist on “We’re Back”, the triple threat combo of Skillz, Lonnie B, and Danja spit fierce warnings and deadly promises over Danja’s haunting boom production. “Ask the young folk, old folk, you can ask your mom – who’s the best emcees?  Lonnie, Danja and ‘Quan” seems like a bold statement, but they leave you with no doubts. The crew’s deep with skill, Lil Roc (Disorganized Union) and Boa’Con take on all challengers, letting them know they can “Fuck Around” if they want to. When Jamal’s beat hits, sounding like a mixture of something you could C-Walk and throw bows to, and with lines like “gun powder dog is all I need to get by, if you feel you Superman up in this bitch – then fly” you quickly realize these cats ain’t no joke. Jo Doja  delivers his own personal anthem on “What’s My Name”, even producing the street bounce track. Youngster of the bunch, Shorty 8th Ave steps up with “Better Days”, an encouraging song so catchy you can quickly imagine this kid all over your radio and video countdowns. Never forgetting where they came from, Danja and Doja team up with Mumeet Daddy (Of Illyaas) and the harmonies of VA on “Thank You”. They take time out of their busy schedules to give shine what is the most important to them, their friends and families, over a track that could evoke tears and hugs from the hardest thug.

If diversity is the key, then the SupaFriendz are the lock smiths of the game. They take it from the streets to the clubs to the playgrounds and beyond, consistently hitting you upside the head with clever lyrics and beats that refuse to allow you to be still. The once “Unseen World” is now being saw and heard loud and clear.    

The Last Temptation doesn’t break any new ground, but then again, did you expect it to?  The radio joints are here, the current airwave infection from “Thug Lovin” showcases Bobby Brown sinful interpolation of Stevie Wonder’s “Knocks Me Off My Feet.” The proven pairing of Ja and Ashanti shows up on “Mesmerize”, as he ends up singing just as much as her and the the duo creates another bad boy/down ass bitch love anthem.  Another no-brainer for a hit is the collab with The Neptunes, on “Pop Niggas”, where the Star Trak boys beat are destined to return “the Rule” back to the club. 

The title track “The Last Temptation”, featuring Charli Baltimore, tries to take you back in the day, but it should be taken away, as all of these platinum plaques have him falsely convinced that he can sing. Chuck comes harder than him on the track and easily outshines.  Also the case on “Connected”, where Death Row’s Eastwood and Crooked I rip Irv Gotti’s and Chink Santana’s stereotypical West Coast sounding beat to shreds, only to be followed by a weak 2Pac impersonation from Ja.  Alert - if you ever liked the song “Anniversary” by Tony Toni Tone, skip past “Murder Me”, as it will make you wish sample clearances were harder to come by, with Rule and Cadillac Tah  having a girl beg for sex and murder as one in the same.

The Last Temptation boils down to Ja singing more and trying too hard to be a thug.  Some times on point and with a cocky delivery, while others he sounds uneasy and not confident in himself.  He’s a rapper, an actor, a singer (?) and coming off more bi-polar than ever - he’ll bang your girl one second and holla “muurrrrddder” the next.  Love him or hate him though, he has nothing to prove to anyone.  He has his fan base and that is who this album might appeal to.  Hopefully his last temptation is to sell more records, before finally returning to the streets and being him self.   

“Floetic”, the lead-off single is a smash, but ultimately misleading. Natalie Stewart (the floacist) and Marsha Ambrosius (the songstress) are very in touch with their personal side and have no problems expressing it. The album is over flowing with smooth, chilled out melodies. They stay heavy on the singing and light on the rhyming. This is not taking anything away from the talent of the group, but if you’re expecting more songs like the current TRL-fav – don’t hold your breath. The lyrics are honest and heartfelt aimed to connect and relate to females. “Sunshine” will conjure up emotion as Marsha lets the world understand how she feels for Nat, almost in the way you think that she is dying. The soul and poetry fusion reaches its’ climax on “Headache”, where the story telling and the blues singing match up perfectly. More tales of make ups, break ups, lust and love round out the project. Their original demo version of “Butterflies” is an extra appreciated treat. Producers Andre “Dirty” Harris, Vidal Davis, Ivan “Orthodox” Barias, Darren “Limitless” Henson and Keith “Keshon” Pelzer flawlessly craft the most well-suited production you have heard in a long time.

Floetic is a solid album, but it is more of something you would sit down, relax to or maybe play on a rainy day. If you are looking for an album to bang in the ride or club, this is not it. This release is much deeper and more needed than that.