In The Deck

   Slug's musical topic of choice? Slug.

   Perhaps not anymore.

   On Atmosphere's sixth full-length release, When Life Gives You Lemons, You Paint That Shit Gold, emcee Slug steps out of his own shadow, choosing rather to expand his lyrical depth with an emphasis on character-driven dramas.

   Gone is the personal diary – for the most part. The angst which has driven Slug for the better part of a decade has also vanished. What's left is an intricate collection of third-person narratives about life in, well, it's most realistic interpretation. Addiction, teenage pregnancy, homlessness, a much more relaxed Slug confronts them all to varied effect. A common thread, parenthood, looms throughout.

   "Guarantees" is a rustic ode to the blue collar, told through the eyes of a conflicted warehouse employee. "Kill me in my 30s in the name of progress," he says. And you believe him.

    Dynamics such as the one presented on "The Waitress," however brief, are equal parts rare and refreshing. So, too, is Tom Waits providing background vocals (in the form of a beatbox), which is slightly ironic in the context of the album. Equally enjoyable is "In Her Music Box," a tale of escapism, specifically a child's attempt to elude her parents' strained relationship through music.

     The optimism suggested in the album's title certainly plays a role on Lemons as well. There's even some sentimentality buried inside this 15-track saunter. "Yesterday" is a therapeutic conversation, a posthumous reconciliation of sorts, between Slug and his deceased father. It's a touching – dare I say uplifting – piece, further enhanced by Ant's lively piano-driven production.

    Like Slug, Ant is not treading a familiar path here.  He abandons the sample-based production that has dominated the group's landscape, opting instead for a blend of live instrumentation and jarring new wave synth. The result is quite an obscure palette. Overall, there's a more organic sound ("Guarantees," "Like The Rest of Us"), but that's not to say there isn't an edge here ("Shoulda Known," "Can't Break").

    For those expecting traditional Atmosphere, this will be a pill tough to swallow. Evolution is never easy to accept, and there's evidence – or speed bumps – here to support the theory (See "You"). Still, it's hard to argue with quality, and Lemons has that in abundance. - Jack Goodson

    If there’s a rapper who is all things to all fans, this reviewer has yet to hear him do his thing. That doesn’t stop some from trying, and it seems to be the primary objective for Fat Joe on The Elephant in the Room, his eighth solo release.

    No question, Joe’s been in the game a long time. And truth be told, he’s been a lot more better at keeping up with the changing times than many of his peers, successfully flipping from street to club records, and even returning most of the way back again on Me, Myself and I, his previous album. With Elephant, he proves to be somewhat less adept at combining his various styles into one coherent whole.

    Part of the problem is that Joe can’t seem to find any magic among the more radio-friendly tracks, despite working with some of the same producers who have struck gold in the past. The first single, “I Won’t Tell” (featuring J. Holiday) is a decent, danceable effort by The Hitmen, but it’s hard to see it becoming a radio hit on the level of “Get It Poppin’.” Joe’s more recent Southern influences are in full effect on “Ain’t Saying Nothin’” and the DJ Khaled-dominated “Get it for Life,” though they also fall a bit flat. Even another guest chorus by Lil Wayne on “The Crackhouse” isn’t enough to pull things out of the doldrums.

    The lone standout on the disc’s first half is “Cocababy,” where Joe explores what seems to be his umpteenth different alias over a sinister drum loop courtesy of Danja. The expiration date on Jackie Rubio’s hook may need to be checked though - “As we proceed to give you what you need” is well over a decade old at this point.

    Just when the uninspiring “K.A.R.” and “300 Brolic” have you ready to give up on Elephant, things get interesting on the final three tracks. “Preacher on a Sunday Morning” might not be Joe’s best song concept, but it does have a guitar-heavy Scott Storch beat and some lines that are aimed at other familiar NY rappers. Along with his continuing beef with 50 Cent, Joe seems to be taking shots at Papoose (“Everybody’s beefing, it’s the same old thing/All these mixtape rappers now want to claim king.”) and possibly even Jay-Z (“Can anybody tell me where’s San Tropez?/All these so-called killers trying their best to dress gay.”).

   Lest we think Joe has burned all his bridges in the five boroughs, he enlists the help of a pair of New York legends to close out the album. “My Conscience” finds KRS-One in the Jiminy Cricket role, helping walk us back through Joe’s career and life, and “That White” puts DJ Premier in the booth to cook up his signature sound while Joey Crack cooks up some old school drug rap: “Thank God for that white/We slanging it all day, we cooking it all night./It’s on with the don, never let shit slide/Have your ass wearing a patch like Slick Rick’s eye.”

    Joe gets an A for effort, but there’s too many dull moments on The Elephant in the Room to avoid giving it a much lower grade for execution. Trying to reach a bunch of different audiences with one album is a goal as big as the animal in the title, and this one doesn’t quite get there. - Nick Tylwalk

    It was an accident. It wasn’t supposed to happen like that. It broke the rules of what a hit single should be. The unlikely pairing of Goodie Mob frontman, Cee-Lo, and remixer-turned-super-producer, Danger Mouse was a fluke in today’s age of disposable music. But “Crazy”, coupled with a ridiculously solid debut, did it for Gnarls Barkley, proving that in the end, the cream will truly rise to the top.

    With what was supposed to be a one-off project becoming such a platinum success, like Hollywood, the music industry demanded a sequel. But can the mysterious Gnarls Barkley top their now classic debut, St. Elsewhere, or is this another case of the sophomore slump? 

     Borrowing another classic television show title, the duo returns with The Odd Couple, which couldn’t be a better description for them. Like many bands that achieve critical acclaim with their debut album, Gnarls Barkley now has the freedom to venture outside the lines and go a little deeper, a little more experimental, because now the whole world is listening. 

     Or not... Things have gotten off to a rough start this time around. Their debut single from this LP, “Run”, neglected to crossover and win a top spot on the charts like “Crazy” did, with it’s high-powered, 60’s psyche-rock sound. Meanwhile, the album’s release date itself was an ultimately confusing mess, after an internet leak shifted the release date up, killing any building momentum. 

     “Run”, while not as easily accessible as “Crazy” however, ultimately set the tone for the LP. The sounds of the original daisy age are evoked constantly, as songs like “Going On”, “Surprise”, “Whatever”, channel sounds from forty years back, whether soul, folk, or Brit rock. But, Cee-Lo still seems at best when in his element, with the more gospel flavored tracks, such as album opener “Charity Case” or the murky “Who’s Gonna Save My Soul”.  

      But having the freedom to color outside the lines may not be the best direction for the band, if they wish to replicate the success of their debut. While far from bad, it feels like they go a little too far off the deep end on songs like “Open Book”, “She Knows”, and “Neighbors”, as these songs lack the more structured 16-bar verse and hook formula found on St. Elsewhere. Furthermore first LP was filled with many tightly knit concept songs (“Transformer” or “Necromancer” come to mind); and because this LP is so experimental, it’s concepts are much harder to grasp on to. 

     Still, this is a soulful record, and respect is due to Gnarls for not simply churning out a few clones of “Crazy” that may have guaranteed them success. With a million fans of St Eleswhere behind them, however, there will be a cult following that see The Odd Couple as sheer brilliance, but its heavy handedness will leave many in the dark. – D.T. Swinga

   AZ has not had the best of luck.  Back on Illmatic, one would have thought that he would be mentioned in the same breath as some of the peers who went on to become icons in hip-hop (most notably 2Pac, Biggie, and Nas). And why not?  Sosa has displayed various projects of his own as well as on collaborations that he is lyrically strong, or maybe even stronger, than many emcees past or present.  But is seems that the Brooklyn veteran has the same notion in which he expresses on many occasions on the solid, but non conceptual Undeniable.

    AZ has always been known to be one with words and this is seen from the opening of the album with the song “The Game Don’t Stop.”  This track is self-autobiographical as AZ speaks about his days before rhyming doing it eloquently over Lil Fame’s dreamy production.  Another standout track is “Dead End” where the Visualizer discusses scandalous and shallow individuals who he knew back in the days of when he did not have much and how they react to his success as exemplified in lines like, “Where’s everybody when them shells and them shotties tryin’ to sail through your body/Nobody wants to poly/Everybody cool when they cruisin’ in Denalis /All crewed up and jolly tryin’ to screw all the hotties…” 

   More lyrical skills are on display with the title track “Undeniable” and the impressive Styles P assisted, Large Professor produced “The Hardest”. One thing about Undeniable that can’t be overlooked is the way AZ blended with most of the beats.  The production seemed tailored for his laid back coniac flow that made it very easy for this listener to hear AZ’s tales of glamorous living and Mafioso lifestyles.

   Where AZ seems to make a wrong turn is when he tries to come off as a ladies’ man.  This is not his strong suit and it is obvious on the lame Ray-J featured “Go Getter.”  The same goes for the lackluster “Parking Lot Pimpin’,” which again, AZ is not at his best.  But the most disappoint track has to be “A.Game,” with its annoying hook and heavy usage of the drums. 

   Overall, Undeniable is nothing that we haven’t heard AZ talk about before, or any emcee that came out in the mid to late nineties.  Even though he has the ability to be one of the best, he needs to be more consistent when it comes to concepts and ideas.  Until then, AZ will continue to be denied his proper due. - Ryan Harrison

    Disclaimer from the editor: Okay, why the fuck is HipHopSite.Com reviewing the Madonna record? This is "hip-hop" site dot com. Madonna isn’t hip-hop. She’s not even R&B!?!? True, however, when a record – like this one - is exclusively produced by Timbaland and The Neptunes, it doesn’t matter who it’s by, we are going to give you our take on it. Also, it should be noted, while this record is reviewed positively, in no way should it’s “@” rating be held next to traditional hip-hop records. So this is a “@@@@” compared to Gwen Stefani’s “L.A.M.B.”, not compared to say, Smif ‘N Wesson’s “Da Shinin”. Apples and oranges, ya’ll. Now on to the review…

     Enter Madonna’s Hard Candy. Oh, so shocking. The 50 year dominatrix looks creepy on the cover art, and the album title itself is as cringe inducing as a song about Lil’ Wayne getting his “lollipop” licked. These were all signs to stay far, far away from this record. That, and of course the sordid past Madonna shares with hip-hop – from ripping off Public Enemy’s “Security Of The First World” for "Justify My Love", to removing Big Daddy Kane’s last semblance of rawness by somehow getting him to pose nude in her photo book, Sex. Yes, Madonna’s not every really been that down with us hip-hop kids. From cone-shaped bras to kissing Britney, she’s never managed to shock us, as we were listening to Eazy-E and Eminem far exceed the limits of good taste, of which she was only vogue-ing around. 

     So, is it no surprise that after 20 years, Madonna has finally started tapping hip-hop producers for her new record? Considering how the lines are so blurred these days on what’s hip-hop and what isn’t, of course not. While at the surface this looks like pink pop fluff that should be nowhere near your Mad Skillz and Main Source mp3 directories, it’s something different at closer examination... a VA producer’s showdown between The Neptunes and Timbaland.

     With all the money on the line for this record, both The Neptunes and Timbaland have come to the table with some of their best, most innovative beats yet. The two acts clearly competing with one another to see who could come with the hotter tracks for this record, since it’s likely to outsell anything else they’ve been affiliated with given M-Dolla’s rabid fanbase (we guess that’s her new Wu-Gambino alias…or something).

     After a strong stint of pop records from themselves and their contemporaries, the trio of Timbaland, Timberlake, and Danja reteam for much of Madonna’s record, evoking a similar fusion found on Justin’s Futuresex/Lovesounds. The scorching lead single, “4 Minutes”, is obviously of their handiwork, as each player lends their contributions – almost to the point where you forget that this is Madonna’s song (which can be said for a lot of the album). Later on “Dance 2Night”, they craft another one of those funky Morris Day-esque tracks, as Madonna and Justin split the vocals. By the time the hook hits, they’ve somehow recreated the sound found on her early tracks like “Lucky Star” and “Get Into The Groove”, yet not dated and corny. Not all of their contributions come with such stellar results however – as “Miles Away” is a by-the-numbers adult-contemporary song with some Timbaland beat-boxing added. Same can be said for “Devil Wouldn’t Recognize You” – which sounds just a little too similar to songs like  Justin's “What Goes Around (Comes Back Around)” or 50's “Ayo Technology”.

      The Neptunes however, clearly win this contest, pushing the limits of their sound and thinking way outside the box when producing the LP. “Candy Shop”, for instance, packs tribal drums, didgeridoo, and electric keys, as Madonna compares her womanhood to various flavors of sugary sweets – overdone, yes – but undeniably dope production. “Give It To Me” takes things a step further, packing raw snares, futuristic synth and even a Hyphy breakdown. Oh, and they replay elements of Special Ed’s “Come On Let’s Move It”. Wow.

      Pharrell and Chad continue to redefine the sound of pop music on the disco-flavored “Beat Goes On”, as Pharrell and Madonna share the hook, while Kanye steps in for a guest verse. Things come to a head on “Spanish Lesson”, where Madonna continues her obsession with Latin lovers (last heard on “La Isla Bonita”), but this time over a ridiculous B-More drum set and acoustic guitars. 

     It’s not all good though, The Neptunes have a few missteps with “Incredible” – a six-and-half-minute road to nowhere, that goes in several directions and repeats itself over and over again. “She’s Not Me” is also a bit jumbled, as Madonna’s lyrics seem like the musings of a 21 year old girl, not an aging milf. Coupled with Pharrell’s off-key, falsetto crooning, it’s not exactly a good look.

     All in all, Madonna’s Hard Candy is a surprisingly good record – and this is coming from someone who doesn’t like her as a person, much less an artist. If you feel like listening to this record will make you flip-out gay, it probably will; in that case, stay away or come to grips with who you really are. If you have a pretty good hold on your manliness and just want hear some hot beats from some of the best producers music has to offer, get Hard Candy. Sure, the argument can be made that big bucks will buy you the best songwriting and beat-making out there – and that’s exactly what this is, but if Tim and The Neptunes are barely going to produce hip-hop LP’s anymore, we’ve gotta get our fix somehow. – Pizzo

    It's been a minute since we heard from the self-proclaimed Funky Homosapien, Del. His first two records were cult classics, helping launch the Hieroglyphics crew, whom, as a whole, played a huge role in the creation of the indie hip-hop movement. Del remained elusive during the underground's new frontier, releasing a few solo records, (Future Development and Both Sides Of The Brain, respectively), as well as a collaboration with Dan The Automator on Deltron 3030. However, each of releases unfortunately were received with a collective "meh" from the audience, and Del took some time off – about seven years.

   When it was announced the Del would be collaborating with Definitive Jux for the release of his long-awaited Eleventh Hour LP, people had a memory loss, and all past misdeeds were forgiven. After all, hearing Del and El-P collaborate on "Offspring" on Both Sides Of The Brain and El's Push Button Objects "360" remix (feat. Del and Mr. Lif) offered a taste of what we could expect from such a high-powered collaboration. This could be exactly what the artist needed for reinvention.

   Unfortuantely, this is not at all what we get. Del's latest may be distributed by Jux, but evidently the label had little to do with it's creation or sound, as most of the production was handled in-house, by Hiero. The album opens with "Raw Sewage", which finds Del in his element, flowing over a murky beat with occasional horn stabs and a furiously cut-up hook. "Bubble Pop" follows, boldly sampling "Take Me To The Mardi Gras", but adding a bass-line worthy of the song's title, as Del vents his frustration with people that think they are all that (when they ain't). This vintage production style carries over into "Back In The Chamber", a raw Hiero-styled beat that could have easily be found on No Need For Alarm.

   Del experiments with new styles of production as well, for better or for worse. The Opio produced "Naked Fonk" is different than the style of beat we are used to hearing Del over, but his strange choice of delivery on the track makes it hard to grasp hold of. "Hold Your Hand" is one of the better tracks on the album, with mellow Oakland funk, mixed with an ill Del twist on the hook. However, "Foot Down", Del's attempt at a double-time bounce track, comes off as contrived and gimmicky.

   Strangely enough Del does not enlist any of Hiero brethren to share rhyming duties on The Eleventh Hour. Instead, "Last Hurrah" features newcomer J. Malcolm, who nevertheless holds his own next to Del. "I Got You", however, does not fare quite as well. Here, Ladybug Mecca trades mics with Del, on a lo-fi track with a repetitive hook that seems to go on forever; not quite a match made in heaven. One collaboration that does work very well is "Funkyhomosapein", which finds Del getting busy on a J-Zone track – creating a sound that should have carried the whole record.

   Aside from the disappointment that this was not a record that's creation was overseen by El-P (a la Cage's Hell's Winter or Mr. Lif's Mo Mega), Del also seems to be phoning his performances in. Half the time it seems like he is freestyling, the other half simply goofing off in the mic booth. While these are aspects of his personality that got us to like him in the first place, gone are the tightly knit concepts of classic songs like "Sleepin' On My Couch" or "Wrong Place". Del's latest has it's moments, but it unfortunately it seems like after a seven year absence, Del really did wait until The Eleventh Hour and rushed this record out. – D.T. Swinga

   Spring is in full swing, which means those of us living in areas with seasonal weather (i.e., not L.A. or Miami) are feeling that unmistakable rush of regeneration. Like the flowers blooming in our yards, the legs of fine young ladies are sprouting from their shorts, and the new Lyrics Born record is a suitable soundtrack for the increased ogling you’ll be doing in the coming weeks.

   Throughout his career, LB has pioneered a unique version of funk rap, using tongue-twisting rhyme patterns and over the top, often giddy production. The mood on Everywhere at Once is similar to the euphoric works of his past, which might be attributed to the warm Cali breeze he endures year round. Lucky bastard.

   The lead single “I Like It, I Love It” picks up where “Callin Out” left off, employing a massive bass line and Cali-bounce percussion. P Funk-inspired synths are sprinkled throughout, setting a familiar foundation for LB to channel his inner-Bootsy. Does he keep sequined knee-high boots in the vocal booth for tracks like this?

   “Cakewalk” maintains the high-energy on Everywhere at Once. The machine gun 808 bass and hand claps have been used hundreds of times in hip hop, but LB’s revival of the Bay Area party-funk sound breathes new life into the formula. The instrumental could get passed for a classic Eugene Blackwell gem, but Trackademiks take the production credit on this one.

    Sometimes LB’s funkiness is too carefree, like on “Top Shelf” which combines an acoustic guitar riff with a two-step dancehall riddim. This kind of genre crossbreeding should be reserved for Santana albums that appeal to middle-aged soccer moms who don’t know any better.

    “Do U Buy It” is another example of genre-splicing gone wrong. LB attempts to tackle social grievances, a noble cause indeed, but the 80s new wave influence of hand claps, electric guitar and synths, makes it impossible to take him seriously, let alone concentrate on the compelling lyrics. This could be handy for DJ’s though, if you are stuck trying to transition from Devo to King Tee.

   “Rules Were Made To Be Broken” maintains the Quannum funk-hop trademark, and LB slithers throughout the beat at varying speeds. “Is It the Skin I’m In” is tailor made for cruising the boulevard with the windows down, while possibly blowing something in the wind.

    Everywhere At Once is Lyrics Born’s most introspective record thus far, and he continues to raise the bar in the funky hip hop sub-genre. The absence of cameos from label-mates Lateef and Gift of Gab is upsetting, but LB proves he can rock solo on 18 tracks. Fans of the Quannum label will be pleased with LB’s growth, and plenty of these tracks could upgrade that summertime mixtape you’re working on. - Chris Seeger

   In a musical era where carving out a unique identity is more important than ever, Rick Ross' problem is that he seems interchangeable. With a voice and delivery that makes it hard to pick him out of a lineup of his fellow Southern contemporaries, the Miami-based rapper could easily fall victim to an identity crisis. And since he's not even the hottest artist in his own Poe Boy Entertainment camp (with Flo Rida currently enjoying more buzz), it would be understandable for listeners not to expect much from his sophomore major label effort, Trilla.

    As it turns out, that would be a bit of a mistake. Thanks in no small part to some excellent work by a varied team of producers, Ross manages to make this collection of tales of Florida street life stand out from the crowd.

   The lead single, "Speedin'", is nothing special, despite a guest shot from R. Kelly, but Ross rebounds by letting everyone knows exactly where he stands with the follow-up, "The Boss" (featuring the omnipresent T-Pain). Over a head-nodding beat concocted by J.R. Rotem, Rick sums up where he feels he stands in the game with lines like, "Hopped out the Magnum, hopped in the tre/Just to let the top back and thank God for the day./Who gives a fuck what a hater got to say?/I made a couple million dollars last year moving weight."

   Though there's more than a few tracks that fit the stereotypical Southern mold, the real revelation is that Ross sounds comfortable flowing over a number of different types of beats. That's true on the soulful "We Shinin'" (produced by Bink!) and on the lush, orchestral "Maybach Music" (produced by the J.U.S.T.I.C.E. League). It doesn't hurt that Jay-Z hooks up the latter track with a verse, offering, "I'm a G Rap with better transportation/On the road to the riches, I reached my final destination in the Lear."

   Ross' other guests aren't too shabby either. A sort of Southern all-star team comes together on "Luxury Tax," with Lil' Wayne, Young Jeezy and Trick Daddy joining the party. Nelly even shows he still knows how to rap on the piano-driven girl-chasing track "Here I Am."

   To be sure, Rick isn't exactly reinventing the game on the lyrical tip, and songs like "Money Make Me Cum" and "This is the Life" are eminently skippable. He does make a stab at something deeper on the final track, "I'm Only Human," which delves into his past over a reworking of The Human League's 1986 pop hit. No, really.

   All told, Trilla falls into the "pleasant surprise" category and should have enough going for it to repeat the gold success of Ross' previous album. Even better, it should help people identify him at first listen, and in the mind of this reviewer, that would be a tremendous victory. - Nick Tylwalk

   After an outstanding 12” with DJ Premier and an equally impressive 12” alongside Buckwild and Kool G Rap, expectations are high for a Little Vic full length.  The question is, can an emcee hold his own among the sea of mediocre rappers for a full 72 minutes?  The answer is Each Dawn I Die. 

   This critic has never seen the movie the album is crafted around, but may just have to Netflix it up.  The album starts with clips woven together from the movie which follows the track listing to a "T".  Very dope concept, but you have to pay attention.  From there the album moves into the title track.  Lunatik Mind takes a page from Necro’s production book lacing an organ sample and Little Vic ferociously attacking the track.  The aforementioned Buckwild track is stellar, bringing the album down a notch with a guitar sample that rivals Rza’s production any day.  Vic tells the story of a man struggling with his addiction to gambling and how it tears his family apart.  The biggest surprise is the outstanding production by the unknown Double Shot.  “Dying Slowly” is our introduction to him, and what an introduction it is.  The piano sample and hard snares fit Vic’s style like a glove.  They contribute two other tracks, all with a distinct sound that Little Vic flows flawlessly over.  By now, many have heard the “The Exorcist” produced by DJ Premier which is the one time Vic does not stand out above the production.  But what do you expect, it’s Preemo?

    What makes this album so appealing is the versatility of the emcee.  Little Vic finds a way to make each track sound like it was custom made for him, they very well might have been, but in 2008 there is no way to know.  The production is outstanding but Vic still finds a way to outshine each track time and time again.

   The album does have one minor misstep, the Double Shots go a little too leftfield with “Carry the Weight” and Vic sounds very forced.  Aside from that the album is top notch.  In a time where the producer seems to get much more shine than the average emcee, Little Vic steps up to the mic and proves to everybody that the emcee is still a vital part of the hip-hop culture.  Unfortunately due to the barrage of independent music, this album may be the best album you’ve never heard. - DG

   Once you craft a classic hip-hop record, it's hard to maintain that level of quality throughout the remainder of your career. Case in point is Showbiz and AG's Runaway Slave, one of a handful of records that helped define the sound of New York rap in the early 90's and jump-start the D.I.T.C. movement. The duo's follow-up, Goodfellas, was also solid, but of course didn't match up to their debut. Following this, both Showbiz and A.G. remained busy in the post-Payday hip-hop industry, mainly scrambling for crumbs in the indie hip-hop world. 1998's Full Scale was the pinnacle of their contributions during the do-it-yourself era, proving that they could still make dope – and successful - records, with or without a label.

    10 years have passed, and while we've seen A.G. release a few solo projects, and Show lend his production to a number of indie 12inch releases, it's been a while since they've released a record together. With the imminent destruction of the physical music world, the question is begged whether it's worth the duo's time to continue to make records. With Live Hard, we find out if they can make magic one more time.

   The first thing you notice after listening to Live Hard is how well the two work together. Show's production style hasn't changed drastically since Full Scale, as he still provides those late-night hype, subway car beats, and A.G. sounds perfectly over them. Aged and weathered, Andre The Giant now raps from the perspective of a vet, recounting tales of his childhood and life experiences.

   The aptly titled "Business As Usual" gets right down to it, as Show's crispy piano loop beautifully as Show effortlessly flows over the track. "The World Is Listening" is 1995-era New York City captured perfectly, but with the more polished, cleaner production and mixing of today. This infectious, mellow head-nodder bleeds The Bronx, begging to be listened to in headphones while walking Uptown. Here, a cool, laid back A.G. kicks life-lessons to the youth, based on what he's learned over the years. "Running Man" takes you even deeper into the heart of the city, as Show's lush production animates A.G.'s tale being on the run from the law.

    But, it's not all quite as flawless as the duo's last EP, Full Scale. Show is no slouch in the production department, he's proven that. But some of the selections aren't quite as tight as the other songs. A.G.'s "everyone got a price" aesthetic is a compelling rant, but here's Show's four bar piano loop gets a bit repetitive at times; thankfully, O.C.'s hook helps flesh it out a bit. The same can be said for both "Live Hard" and "Magic" - both tracks are solid contributions, but just barely miss the mark like some of the album's other tracks.

   All in all, longtime fans of Show and AG will not be disappointed with Live Hard. Considering the digital edition is also packed with full album instrumentals, the consumer is really getting the most for their money. While the music industry finds itself in shambles, it's nice to see that groups like Show and A.G. embrace the digital music movement, and continue to release new projects, rather than fade into obscurity. – Pizzo

    So many people have tried to "do" Portishead. Meaning, after the Bristol trio changed the alternative music landscape in 1994 with their debut album Dummy (and infectious lead single "Sour Times"), many other artists tried to duplicate the new form of music dubbed "trip-hop" at the time. Massive Attack and Tricky were also a part of the initial trip-hop movement – also innovators, not imitators – but post-Portishead saw a wave of similar sounding groups, such as Mono, Sneaker Pimps, Morcheeba, Zero 7, and too many others. While the results were hit and miss, all of these groups attempted to capture the same audience as Beth, Geoff, and Adrian, each with a slightly different sound – but none could truly replicate the raw sorrow of the P.

   And then it all stopped. After the release of their second self-titled full-length in 1997 and a subsequent live album one-year later, the group that had changed the face of music had split up. The producers commissioned the occasional (Portishead Remix) here and there, providing backdrops for groups as diverse as Depeche Mode and Nine (yes, of "Whutcha Want" fame). Meanwhile, Beth Gibbons teamed up with Rustin Man for an ill-conceived "solo" record, which failed to satisfy the legions of Portishead fans. (Trust us, we really wanted to like it.)

   Then, ten years later, Portishead announced the release of a new album, Third, as well as a live performance at this year's Coachella music festival. With a title that suggests a bad sequel (Godfather 3 or Return of The Jedi, anyone?), would this be a past their prime group attempting to hold on to past glories, or instead, a return to form? Surprisingly, the latter. Portishead picks up right where they left off with Third, not missing a beat, so to speak.

    Beth is still lovelorn and depressed, and Geoff and Adrian still know how to illustrate that with their disturbing arrangements of samples and off-kilter drum patterns. The album has a characteristically lo-fi sound, beginning with the hyper, rolling drums, symphonic strings, spaghetti western guitars, and blaring keys, on "Silence". The beat rides for a good two minutes, as the duo set the stage, and then suddenly the current pulls back, Beth begins to sing, and the long lost Portishead listener suddenly feels home.

   "Hunter" follows, as Beth's breezy vocals float over what sounds like a beautifully dreary moment in a 60's James Bond soundtrack, coupled with unsettling guitar stabs. "Nylon Smile" has a drum pattern that beats like a paranoid heart on coke and caffeine, plus gently weeping guitars, as Beth illustrates her confusion on whether or not she's better off alone. "The Rip", one of the album's most brilliantly crafted songs, begins with an eerie moog backdrop and muted acoustic guitars, as Beth peacefully contemplates her own mortality, then builds into a heavy crescendo as she rides off into the sunset.

   Once you are set up and back into the Portishead state of mind, Geoff and Adrian begin to experiment with new sounds, and the results are fantastic. They don't step too far outside the box – it's still Portishead – but upon first listen, it catches you off guard. "Plastic" switches between unsettling, choppy drum patterns and soothing guitar licks, as Beth rides the track like an emotional roller coaster. "We Carry On" takes things a step further, as the producers illustrate Beth's downward spiral into insanity, with a tense, building beat. "Machine Gun" continues in this style, as it plays like Portishead's answer to an El-P beat, with, chopped, distorting drums, complete with Blade Runner-esque synth.

   The only two songs that seem a bit out of place on the record are "Deep Water" and "Magic Doors". "Deep Water" is a bit of a skit, where Beth does a short folk song number help talk you off the cliff after the suicide note that is "We Carry On". The song is under two minutes, so it doesn't disrupt the continuity too much. Meanwhile, "Magic Doors" is a great song, but is the closest thing the group has to a "single" (as if they even need radio play at this point in their career). This track takes the most linear approach to song structure, with a much more accessible sound to it (read: it has cowbell). Not a bad thing, but it does seem a bit out of place after the album's deeply experimental second half. All minor gripes are made up for with the album's closing track, "Threads", which is executed in classic Portishead fashion.

   All in all, Portishead's reunion is one of the best things to happen to music in a long time. After so many groups tried to fill the void, Portishead proves that they are truly the only ones who can create such a unique sound. Third makes it sound easy – as if making an album that was a worthy successor (if not something greater) to the group's last record, was as simple as riding a bike after ten years. If you aren't schooled in Portishead, Third will be a heavy plate to digest, so it's recommended to first check out Dummy before attempting to swallow this. But for the longtime listeners, Third's time is a charm. – Pizzo

   When you hear the name Flo-Rida you think of his club-smash “Low” and for the most part you are going to be right.  With the certified anthem featuring the always entertaining T-Pain, Flo-Rida has either been dubbed the 2008 (even though “Low” came out late ’07) Young MC or he might have some talent.  Mail On Sunday, proves the latter, with key words being “some talent”.  In this day and age, if anything major label makes it to this critic's radar it must be somewhat worth listening to.

   But does Flo Rida really have more than just one hit? The album starts off as all albums from the south seem to start off over the last 4 years with the Lil Wayne guest appearance on “American Superstar”.  Here, unfortuantely, Wayne does little to live up to his reputation as the greatest emcee in the world.  “American Superstar” and “Act Like You Know” are your typical synth drenched 808 garbage, with no lyrical value. But, what we find so appealing about Flo-Rida as an emcee is that he can ride over the up tempo tracks so much better than your average commercial rapper.  “Elevator” an outstanding Timbaland produced club banger and “Roll” which features the 2008 Nate Dogg himself, Sean Kingston, both will keep jeeps bumping all summer long.

    By this time a pattern is forming, Flo-Rida plus guest appearance equals Top 40 gold.  This trend will continue with the new single “In the Ayer” featuring and produced by Will.I.Am and for the young’ns who want to tear up the club “Don’t Know How to Act” will start just as many riots as “Neva Eva” did in 2004.  In his defense, Flo-Rida can hold his own especially when he’s speaking to the ladies.  On “Ms Hangover”, he tells a nice story over a JR Rotem track reminiscing about the previous night’s escapade with one of the female gender. “Me and U” reincarnates the Roger Troutman voice box effect, sliding nicely over new comer DJ Frank E on the boards.

   Mail on Sunday is not without its pitfalls and when he falls, he falls hard.  The aforementioned “American Superstar” is awful, along with the terrible cupcake song “Freaky Deaky” featuring Trey Songz.  “Priceless” has a nice track produced by Hitboy and Chase N Cash, but a ooor performance from Birdman takes it from a 6 to a 2.  “Money Right” featuring the Poe Boy line up of Rick Ross and Brisco is more of the same talk of money, cars, girls and jewelry.

   Overall, Flo-Rida has put out an album that is on the 6 month forgettable list.  Not so much Young MC, but for him to really set himself apart from the slew of southern rappers is going to take a lot more than what Mail on Sunday has to offer. -Darin Gloe

    After J Dilla passed in 2006, Black Milk found himself carrying the torch for the sound of Detroit. He undertook the duty of composing the grimy symphony of the Motor City, and all eyes turned to the 22-year-old MPC puncher to maintain Detroit’s reputation of legitimacy in the national hip hop scene. Black Milk has worked with the gamut of Detroit’s rap talent during his time in the limelight, and his latest release The Set Up is a hard-charging collaboration with another local rapper, Fat Ray.

  Now 24, Black Milk has been elevating his status as a rapper/producer for the last few years, but his rep isn’t established enough for him to take any experimental chances on The Set Up. Rather, he continues to establish his trademark sound and confirm his status as the Motor City’s premier beat maker.

   The long history of automobile production in Detroit has perhaps subconsciously crept into the minds of local sound engineers, because every record that comes out of Detroit sounds fantastic with the bass booming in the whip. The city’s lack of rap talent has led many fans to characterize Detroit hip hop by its instrumentation rather than rhyme style. More specifically, music that is produced by or sounds like it was produced by J Dilla.

   Black Milk has definitely adopted some of Dilla’s production tendencies, but his beats have enough authenticity to avoid charges of style biting. Until Black Milk demands listeners “Turn it up”, the comparisons to J Dilla will remain as a musical influence, not a rip off.

    The Set Up opens with “Flawless”, an urgent track with a rapid fire filtered guitar loop and Fat Ray doing his best Dipset impression, spitting a stop and go flow that doesn’t quite hang with the Harlem outfit.

   Black Milk continues to flip rock samples with expert precision, as heard on “Not U” with its looped riff and crispy acoustic drum sequencing. At the end of the track Black Milk lets the drums ride solo, exposing his razor sharp high hat and snare sequences, a treat for the listeners who care more about the boom bap than the shit talk.

   Speaking of shit talk, The Set Up is full of it, and subject matter rarely deviates from standard street rap themes. Guilty Simpson joins on “Bad Man”, and even his famous scathing charm is absent during a standard “this is how hard my hood is” verse. Phat Kat and Elzhi guest on “Get Focus”, dropping threats of violence over Black Milk’s twinkling synth and bone dry percussion.

   Black Milk’s verses tend to be slightly more in depth than those of his cohorts, but his efforts are better focused on his MPC. He is one of many rapper/producers in the game, but he probably wouldn’t feel so obligated to improve the lyrical content of his tracks if they featured stronger emcees to begin with. A collaboration with a wordier, more versatile rapper might finally get Black Milk’s name in the rolodexes of major label big wigs, allowing him to carry Dilla’s torch to the top of the game. – Chris Seeger

     If there's one thing that Hollywood has taught me over the years, it's that having famous family can definitely make building a name for yourself a pretty difficult operation. Gifted with an abundance of talent, even the most exciting actors have been held back by the shadows of well-known brethren; ever wonder why Emilio Estevez never moved past Mighty Ducks? The same idea extends into the realm of music, preventing a diverse collection of promising artists from achieving success, including founding Lox/D-Block member Sheek Louch. Having never reached the same level of prominence as fellow group members, Styles P or Jadakiss, Sheek's latest effort Silverback Gorilla, is an unsuccessful attempt at changing the status quo, and instead comes across as a mostly generic record with a few stand-outs.

    Sheek starts things off on a deceivingly high note with the region-defying club jam, "Think We Got A Problem", featuring Texas MC Bun B, and Compton bred lyricist The Game. Trading verbal barbs over a beat sure to blow your subs, The Game steals the show by demonstrating his lyrical finesse: Think we got a problem, I snitched on myself, and I hate rats, so I dug a ditch for myself... Regrettably, this theme stays consistent for most of the album, as Sheek fails to rise to the same level as most of his guests, most notably on tracks "D-Block-Dipset" and "Gettin' Stronger", both of which feature D-Block co-stars Styles P and Jadakiss. 

    The downward trend is partially averted with "Good Love", "We Comin'", and "Don't Be Them", tracks which initially seem outside of Sheek's stylistic range. With "Good Love", Sheek slides into a comfortably mellow soul groove based on a Betty Wright sample from the early 1970's; with a relaxed tempo unlike most of his work, Sheek forms a track destined to be a hit. On "We Comin'" featuring Atlanta DJ/Rapper Unk, Sheek gives in to temptation and rhymes over a crunk beat sure to move thugs in the club. Finally, on "Don't Be Them", Sheek shows a bit of lyrical consciousness on a track which compels members of the younger generation from working a career on the streets. The hook is pretty straight forward: Don't be them/ Don't be Jigga, Don't be Nas, Don't be Kim.../Be Yourself, For real, Don't be Them... It's always a treat to hear a grimy rapper send out a positive message.

    Regrettably, for the rest of the album, Sheek reverts to his gangster tendencies on a number of tracks, which while not bad, are generally forgettable. "We at War", "That's A Soldier" and "We Spray Crowds" all fall victim to similar themes, similar verses, and similar beats, and will most likely be forgotten within 5 minutes of the end of the track. The same can be said for much of the album as a whole. After a few listens, the tracks begin to bleed into one another and become largely indistinguishable. 

    All in all, Silverback Gorilla is an average album. It definitely won't win any awards or contend for album of the year, but it won't be considered a horrible album either. So, if you're down with hard East Coast rap, you should definitely check it out. But, if you're like me, and look for a something a little different in your hip hop, check out the noteworthy tracks and singles, but wait for Sheek's next attempt. - Michael Rodriguez

   It has been about 5 years since we last heard from Erykah Badu.  After the release of Worldwide Underground the songstress has been on hiatus, rarely to be seen and even contemplating giving up music all together due to a lack of inspiration.  But it seems that the ills of society have rejuvenated her creative juices and revived her spirit as she returns with what might be her most confrontational and creative album, New Amerykah Part One (4th World War).

    One thing that is amazing about New Amerykah is the way it is put together.  With stellar, cohesive production coupled with a captivating theme and strong subject matter, Badu strikes many chords that will definitely have the listener thinking.  She covers a lot of ground on here dealing with subjects like poverty, female insecurities, and generation gaps amongst other topics. The tone is set from the outset of the intro "Amerykahn Promise."  Over a blaxsploitation, Parliament/Funkadelic sounding beat, the contradictions of American society are on display as exemplified in lines like, "We love to suck you dry/All the while we're keeping you high..."  The first song on the album, the Madlib produced "The Healer" is a dark, eerie, heavy bass track that serves as an explanation of the relevance of hip hop.  Interpreted, hip hop is the healer that unites us all and the representation of the beginning of a new day.  It is defined as the language of the gods, as expressed in the chorus as Badu sings the names by which the most high is known.

    "Soldier" is a revolutionary track that will have one thinking of Erykah as a modern day Harriet Tubman by the way she is ready to commit to the causes of those who are down and out, "To my folks on the picket line/Don't stop 'til you change their mind/Got love for my folks /Baptized when the leavees broke/We gonna keep marchin' on/Until you hear that freedom song/And if you think about turning back/I got the shotgun on your back...."  Another shining moment is when production meets perfection on the Sa-Ra produced "Master Teacher," a song about self expression and self acceptance.  With a strong guest appearance by jazz artist and frequent Sa-Ra contributor Georgia Ann Muldrow, "Master Teacher" is the quest of someone trying to find acceptance in the world and who they truly are all the while remaining conscious and not letting outside influences affect them.  Badu also takes the time to get personal on this album with the tracks "Me," a semi-autobiographical song explaining what makes her, well, her and "Telephone," the Questlove and James Poyser produced dedication to J Dilla.  The song is touching and truly shows the emotion and respect that she had for the famed producer.  She even makes reference to certain producing techniques which will surely hit home for the average Dilla fan.     

   The only issue with New Amerykah is how far are the listener is willing to, as Jimmy Hendrix put it, "become experienced."  This album takes the listener out of his/her element and into the artist's world, but sometimes it might be a little too much and only after time could one truly appreciate it.  For instance, the brilliant "My People" is a well-produced Madlib track, but the beat does not vary and the only lyrics are pretty much the words in the title.  Still being a great groove, it might leave the listener wanting more out of it.  But what is wrong with pushing the boundaries of music?  It has been a while since we have witnessed an album of this caliber make it on the scene.  The album could be viewed on the same level for its experimentation as Outkast's 1998 masterpiece Aquemini.  It's been a while since we have had a chance to bear witness to greatness on a level like this, proving that good things are always worth the wait.  - Ryan Harrison

    Hailing from Detroit and signed to Stones Throw Records, Guilty piggybacked into the game during the final stretch of J Dilla's celebrated career. After a smattering of singles and a hot fi-ya mixtape by J-Rocc, (of the World Famous Beat Junkies) fans were anxious for a proper full length. Well here it is, and those who have been following Guilty from the jump will find no surprises on Ode To the Ghetto.

   His wit, charm and calculated swagger are all in top form for his solo debut. Folks expecting a lyrically diverse record should keep it moving, because Guilty is almost too consistent, to the point of sounding repetitive. Luckily he's recruited some of the best producers in the game to diversify his thundering verses and rewind-worthy punchlines.

   Madlib, Oh No, Mr. Porter, and Black Milk take turns at the helm with varying success on Ode To The Ghetto. Mr. Porter comes the weakest, especially on "Robbery" with its annoying and repetitive synth work. Luckily for Mr. Simpson, his label-mate Madlib saves the day with his spaced out boom-clap trademark. "Pigs" features Madlib's psychedelic approach to a tribal dancehall riddim, and Guilty going nuts about rap's favorite scapegoat—la policia. "Yikes" continues Madlib's production dominance on the album. He apparently took a break from the boards to catch up on some Super Nintendo because this banger sounds like a hip hop version of the theme from Bowser's Castle in Super Mario World.

   I hate to be the one to say it, but it seems the J Dilla archives are finally dwindling. He has one posthumous contribution on the track "I Must Love You", but the beat is sub-par by the standard Mr. Yancey established. Not to mention Guilty's embarrassing attempt at singing on the hook. Black Milk, aka Junior J Dilla, drops some haunted synths on "My Moment" and chops up the "Big Beat" drums on "The Real Me". Both tracks are superb, due to their Dilla-esque qualities.

    You're going to love or hate this album three tracks in, but at least you know what to expect from Mr. Simpson. He sticks to what he knows, which thankfully is the art of ripping mics. Lyrically, Ode to the Ghetto is a solid freshman full-length from one of Stones Throw's finest. Maybe next time around he will stick with Madlib and become the weeded out Gang Starr of the 21st Century. That would be fantastic. – Chris Seeger

   The Cunninlynguists first emerged on the scene in 2001, just after the beginning of the indie hip-hop boom that saw the creation of labels like Stones Throw and Definitive Jux. Their first record, Will Rap For Food, was backpack rap defined, as the spotlight shined on core members Deacon The Villain and Kno, as well as on-again, off-again guests Mr. SOS and Tonedeff. While the group's revolving-door roster has been confusing at times, only recently have they nailed-down a definitive line-up, with the release of 2006's A Piece of Strange, which found the group consisting of Kno, Deacon, and Natti. Arguably the record that defined the group as to what it is today, it took them back to their Southern roots, without dumbing-down the content, like much of the current popular music from the region.

    Dirty Acres picks up right where A Piece Of Strange left off, a goes even deeper south, if you can imagine. The group has almost outgrown it's overly backpack moniker, not even placing its name on the cover, and at times referring to themselves on record simply as "C.L".  Dirty Acres is a heavily southern record, seemingly inspired by records like Outkast's ATLiens with its super-chilled out sound and undeniably slow southern burn, complete with twangy guitar licks and soulful gospel vocals. At first listen, everything sort of bleeds into each other, leaving little distinction between each song. This is mainly due to the fact that Kno handles production reigns on the entire record, but it's clear that he had a vision for the unfied sound of the LP, as consecutive listens give each song its own identity.

   The LP opens with the poetic "Never", where Dungeon Family poet Big Rube introduces the album over a set of somber pianos, speaking on the state of hip-hop. "Valley Of Death" follows, the first true song on the album, as Deacon and Natti spit politically charged rhymes. Racial tensions are brought to the surface on both "K.K.K.Y." and "Georgia" – two songs that examine the not-so-friendly relations between blacks and whites in the group's respective backyards. "Gun" continues the trend, as the CL's and Shiesty Khrist speak on police brutality (and murder, actually), over rolling Latin guitars and a trademark Kno chipmunked hook.

   Much of the album is spent venting frustrations, and Kno's melancholy production is the perfect backdrop – yet not to the point where it's sleepy. The title track "Dirty Acres" is a mellow Cadillac groove, which examines the ups and downs of daily life, working as the perfect backdrop for sex, smokes, or sittin' on spinners – take your pick. So, in a sense, imagine Public Enemy, if they were really laid-back and country.

   But things aren't all bad. "The Park (Fresh Air)" is a relaxing joint, which finds the two vividly describing the scene of a summer day over a breezy beat and breathy hook from sultry French mademoiselle. "Wonderful" follows, finding the crew teaming with Devin The Dude, collectively seducing the ladies with their words. "Yellowlines" continues the trend, as Witchdoctor and Phonte join in with exemplary results. Phonte's standout verse shows his ability to adapt to any style of beat, and suggests that a collaborative LP with Kno could be the makings of a classic record. But we can only wish....(and suggest).

   Dirty Acres is arguably the crew's most solid record to date. The days of attempting to make a record with the formula of punchy metaphors and head-nodding beats are over, as the crew has evolved into something much greater than simply "underground group # 42033". Pick up Dirty Acres, slow down, chill out, let it seep in, and become one of your favorite hip-hop records of the year. - Pizzo

    What happened to neo-soul?  In the latter part of the 1990s up until sometime after the year 2000, neo-soul was one of the most popular new genres to hit the air waves.  Collectives were formed, commercials were made, and then out of nowhere the movement ended.   Was this because of the over sensationalizing of the genre, becoming mainstream in every aspect from advertising promotions to pseudo artists popping up all over the place with misrepresentations of the music?  Or was it because many of the famed artists who once embraced it left it behind in fear of becoming labeled or stereotyped?  With all the ups and downs that neo-soul has been through, it stood the test of times.  Musicians like Angie Stone, John Legend, and India.Aire are still holding it down, but there is a new crop of young singers who are emerging to take the mantel and expand upon it.  One of those artists is Raheem DeVaughn.  A native Washingtonian, DeVaughn worked his way up through shows performances and self promotion to help him land a recording deal with Jive that launched his critically acclaimed debut album The Love Experience.  Raheem has not skipped a beat with his follow up LP Love Behind the Melody, proving that it will be a while before anyone can say that neo-soul is dead.

   What separates DeVaughn from his R&B counterparts is that he comes from an angle of simplicity, not trying to reinvent the wheel, but just improving it.  For example, the Grammy nominated and lead single "Woman" is a lovely song dedicated to the appreciation of the female gender, unlike many of the misogynistic tracks that we are used to hearing on mainstream radio.  Assisted by a smooth beat, DeVaughn sings about the importance of a woman in one's life, not just intimately, but in a general sense as he whales, "You can have a big ol' car and a big ol' house/But next to God nothing else amounts…"  He later shows his appreciation of classic R&B on "Mo Better," a throwback track that over soft horns DeVaughn tells his loved one how much his life has improved by being with her.  This is an underlining theme on this album by that many of the songs are crafted in a classic soul fashion where the focus is placed on emotion and not just on physical attraction.  But the true contrast to other R&B artists is on "Marathon" featuring Floetry.  The exchange of love making rhetoric is tastefully done and is very descriptive.  DeVaughn seems to have a way with words that make you image just what he is describing, leaving the listener feeling fully engaged.

   As well as DeVaughn walks a tight rope between classic and modern day music, he seems to stumble on his quest for perfection.  The poorly selected "My Girl" sample for "Friday (Shut the Club Down)" is obviously an album filler, but still comes off sounding lazy and uninspired.  This is culminated with his emphasis on the classic sound that can sometimes misguide him, most notably the R Kelly-esque "Customer" where DeVaughn steals the concept of comparing a woman to an inanimate object or idea by comparing his treatment of her as to the one of a patron.  Even the crooning on the track reminds you of Kells, that in one way or another takes away from originality and leaves DeVaughn cloaked in the essence of redundant cliché artists that this album helps him to escape.

   Love Behind the Melody achieves exactly what it's purpose was, to set DeVaughn out from his peers and launch him into the stratosphere of notoriety.  By the looks from the accolades that he has obtained, it seems like the mission has been accomplished. - Ryan Harrison

     In a culture that embraces and glorifies individualism and style, artists that can truly be deemed 'unique' are a dying breed. Year after year, release after release, up-and-coming emcees have claimed they are "the new shit," "flippin' the script," or "changing the game." More likely, it's just another typical album. Rhymes over beats, "I'm the dopest rapper ever", and so on. We have all heard it before.

    However, this doesn't necessarily apply to everyone. Median's Relief, the new album by Justus League affiliated rapper Median, serves as proof. You may have heard the young, quick-tongued emcee grace the microphone with his presence before. Before releasing his first solo album Median had been featured on Little Brother's The Listening, and put out a few of his own 12" singles of his own.

    Median's Relief is a breath of fresh air for those hip-hop heads that have stopped acknowledging the American south as a hip-hop Mecca. The album is studded with tracks by producer-extraordinaire 9th Wonder, and features rappers as Chaundon and Joe Scudda.  Aside from the two HOJ family members and a few singers providing harmonies, Median deserves most of the credit, vocally, for making this a great album. All too often solo emcees' albums have other artists featured on every other track, making it difficult to get a feel for his or her style.

    One of the more refreshing aspects to the album is Median's ever-changing flow. Unlike a lot of emcees trying to make a name these days, Median doesn't stick to flat 16-bar verses and the usual know-what-I'm-sayin' rhymes. On "Personified," he spits about waking up and showering as if it were a sexual affair and taking care of an old automobile like it was his best girl:

   She was runnin for this white guy / Way out in the country, / He had to let her go because he needed extra money, / Found him a replacement, / Had her lookin' dusty, / I seen her in the paper and I had to go and claim her, / Gave her some oil and she drank it, / Copped her a CD player / And now when I'm inside her she be singin'.

   On the album's single "Rize," Median unfurls a blend of background information about where he came from and how he got to where he is today. The semi-personal verses are complimented by Khrysis' production, highlighted by soft horns and a groovy bass guitar riff, and a hook sung by Median and female vocalist Lahedra.

   The most introspective track on the album would be "How Big is Your World." One the first verse Median makes a connection between analysis of both pop and political culture. On the second verse he relates the latter to problems and stresses of his own life, ultimately summing up how and where his thoughts travel.

   Overall, Median's Relief is a sort of compensation when compared to not-so-amazing solo hip-hop albums of 2007. Be on the lookout for Median, may be the most talented emcee to come out of North Carolina since Big Pooh and Phonte. He surely has the talent to do some big things in the near future. - Esam "Sergy" El-Morshedy

   Snoop Dogg has been puttin’ it down for a minute, to say the least.  From when he first took the world by storm with his appearance on the 1992 hit song “Deep Cover,” the artist formerly known as Snoop Doggy Dogg hasn’t ceased to captivate audiences of all ages.  Now being a family man who is very established, it is only fitting that his music reflects this transformation one way or another.   This is modestly achieved on the uneven, but highly creative, Ego Trippin’.

   On this album, Snoop truly pushes not only his own artistic abilities, but the actual boundaries of hip hop itself.  With tracks emphasizing voice variations and diverse delivery, Snoop shows why he has been able to stay relevant throughout the years.  A prime example is the Shawty Redd produced lead single “Sexual Eruption.”  Snoop devotes this track to explaining how he is going to seduce his female counterpart all the while raising her to a level of ecstasy, “I’m gonna take my time/She going to get hers before I/I’m going to take it slow/I’m not going to rush the stroke…”  This song is out of Snoop’s element, but it is refreshing to see that he is willing to take risks musically.  Many artists in his position would just enjoy the success and fame that they have accumulated and try not to rock the boat.  Another attempt at nuance, maybe not the best one, is the Everlast AKA Whitey Ford produced “My Medicine.”  Snoop takes the time to give the late Johnny Cash a shout out on a track devoted to your “poison” of choice while he elaborates on some his own.  This track doesn’t seem to work, in the fact that it is too much of a shot at trying something different. However, it is still good to see that he is willing to do something outside of the box. 

    The production on this album is top notch and custom fit for Snoop.  Sans Dr. Dre, there are a wide range of producers making a contribution.  It turns out that Snoop and Teddy Reilly make a good team with a couple of tracks that are tailored for Snoop’s style like the Time sampled “Cool,” the hypnotic ode to chiefin’ “Let It Out,” and the heavy based “SD is Out.”  DJ Quik also makes a strong appearance with the Isley Brothers sampled “Press Play.”  As Snoop takes you on a voyage through his own Atlantis via his persona, fellow Dogg Pound member Kurupt validates the West Coast King’s legacy, proving that the top dog still got it.

  Ego Trippin’ is impressive, but it definitely has its shortcomings.  For one, it is entirely too long with 21 songs.  Even though it consists of mostly full length tracks, there is no reason to have this many songs on one LP, especially in this day and age.  In addition, the Don of the West Coast makes the repeated mistake of trying to revert back to the G that he was.  Most notably, his second single release “Gangsta Like Me” is truly a reach that is backed up by poor lyrics and even poorer delivery, uncharacteristic of Snoop.  Another area of concern is when Snoop goes out of his way for bi-coastal/subgenre support.  On “Staxx in My Jeans,” the Doggfather tries to gain southern support through subject matter and his rhyming style.  The hyphy inspired “Life of the Party” featuring Too Short and Mistah F.A.B. just doesn’t fit, while the Polow da Don and Hitboy produced “Why Did You Leave Me” is a total contradiction to what Snoop is, or portrays to be, as he cries over lost love.

   Snoop has come a long way since his days on Death Row.  Ego Trippin’ proves this as Snoop embarks on a journey to make music that is suitable for him.  And by not being afraid to try different things, one could only learn more about themselves.  But one cannot be afraid to embrace it and Snoop shows that he still has trouble coming to grips with life outside of his early days as he constantly tries to relive it.  If he truly wants to make groundbreaking music then he should and if he wants to stay stagnated on the same lifestyle that he used to lead, no one can blame him as it was pretty successful.  Either way, it would not hurt his legacy, but with some focus, he could take it to a level only one could imagine. - Ryan Harrison

    “It’s been years since my records started to spin/I’m from the era where you had to work your hardest to win/a lot of records dropped you never heard the artists again/but in my heart is the desire to win, I’m on fire again”.  No truer words have been spoken about the era that has nearly been forgotten.  Between the golden era of hip-hop in the early nineties to when Kanye, Lupe, and Common helped resurrect conscious rap in the early 2000s, a lot of records dropped, but we never heard from the artists again.  Thank goodness Akrobatik was not one of them.

    Hailing from Boston Akrobatik has been in the game longer than most that came out of his era.  We first heard Ak on the 1998 single “Ruff Enuff” and then he smashed college radio with “SayYesSayWord” in 2000.   Since then he dropped the critically acclaimed Balance in 2003 along with The Perceptionists (Ak, Mr. Lif, and Fakts One) in 2005.  Black Dialogue further solidified his position as one of the top emcees in or above the underground.

    It’s now 2008, and his Fat Beats debut Absolute Value has hit shelves.   If you are wondering whether the newest album can sift through walking it out and supermanning no need to worry, it does.  The album starts with the slightly older 12” release “A to the K” with B-Real on the hook, over a nice piano chop by Illmind. “Soul Glo” is a new school Beatminerz track that every B-Boy and B-Girl could get down to.  “Put a Stamp on It” pairs Ak with the late great J.Dilla and Talib Kweli. It’s songs like this are where Akrobatik shines letting listeners know he is making his mark in hip-hop history. 

    Ak has never been one to shy away from politics or worldly issues and he continues his outspoken opposition to the war in Iraq on “Rain” with lines like “I seen white and black ladies/with crack babies in fact maybe selling them to get that buzz back baby/boys in Iraq shady dealing got them there in the first place/they put us on the frontlines to lesson our birthrate/the children of the poor fight the wars and when that shit is over they’ll be the broke ones in the stores/even though we all different/the little issues in life are seeming much less significant/so when the rain comes down on you/my question is what you gon do/from where I stand you can fold your hand and let your world crumble/or fight back and keep it on the humble/I know my choice.” 

   Little Brother and 9th Wonder make an appearance on “Be Prepared” over 9ths signature drums and soulful sampling.  J-Zone smashes the title track as Akrobatik kills it on the mic.  New comer Therapy gives a very a Beatnuts sounding track on “Black Hell Breaks Loose” while Akrobatik continues his lyrical assault.   One of the more poignant tracks on the album is the Chuck D assisted “Kindred”, where Chuck poetically breaks down the affects of slavery to black America in spoken word, while Akrobatik breaks it down in rhyme over a stripped down flute sample from Illmind.    Other stand outs are the beat box inspired “AK B Nimble” and the very personal “Back Home to You”

   With all this good there has to be some bad right?  Not really, production, lyrics, and subject matter, Akrobatik is the whole package.  Absolute Value is the type of album every underground emcee is trying to make.   It’s very early, but we're guessing you will see this album at the top of most album lists come year end. - Darin Gloe

   Who says New York lost its crown? For as many jiggy emcees that we saw emerge from the region after Biggie passed, there’s a million roughneck street cats spitting rhymes on the corner, watching each breath come out of their mouths with each accompanying lyric. NYC's own Torae can be added to that list, whose passion you can hear in the songs he delivers on Daily Conversation. 

   Daily Conversation is one of those “mixtape-albums” – you know, not big enough for the artist to consider it his debut – but not throwaway material to banish to a cheap CD-R either. Throughout his short career, Torae’s proven to have the gift-of-gab, as well as the gift of rubbing elbows, as he has been courted by numerous crews, from Bad Boy to Dipset to Ruff Ryders to Ca$h Money (heavily detailed on the song “The Journey Pt. 1”). However, these deals must not have interested him much, as he opted to got he indie route, enlisting producers like DJ Premier, 9th Wonder, and Black Milk for Daily Conversation. 

     The album opens with “Callin’ Me”, where Torae vividly expresses his passion for rocking the mic – expressing it almost like an addiction - over a soulful, 9th Wonder inspired track (which truthfully comes off a little better than 9th’s entry here, “Fantastik 4”). Speaking of which, Hall of Justus’s own Khrysis steps up to produce the banging braggadocious “Somethin’ To See”, as Torae effortlessly shows off his skill. But - like anyone else - Torae sounds his best over Preemo track, as on both “Click” and “Get It Done” (feat. Skyzoo), he churns out two underground classics. Premier must really believe in this kid, especially to lend him with two of his freshest beats in recent memory.  

    But it’s not all about the beats; Tor’s got some great topical tracks as well. “Think About It” is a take-it-to-the-streets anthem, where the hungry upstart suggests to forget about beef – forget about guns even – let’s fight! “Switch” – on the other hand – allows Tor to flex different styles, switching up his flow every sixteen bars of the Black Milk beat. The thoughtful “Tayler Made” is a dedication to his daughter, over an Eric G produced track, again reminiscent of 9th Wonder’s style (in fact, using the same sample as 9th’s “Carry The Cross” from God's Stepson). 

     While Torae has his standout moments on Daily Conversation, at fifteen tracks, there is plenty of room for filler, and it does drag on from time-to-time. If this was his actual “album”, we may have seen a more trim, tightly knit endeavor, but because it’s the “mixtape-album”, it’s to be expected. While Tor is looked at as a “beast” by his peers, his appeal lies in his delivery and swagger, rather than lyrical complexity or profound content. Nevertheless, what we have here is an impressive debut, and a sign of great things to come. – D.T. Swinga

   You have to hand it to Janet Jackson: she's not giving up. Even though this decade hasn't been as kind to her as the previous one, and her last two albums have been disappointments - by her standards anyway, since they still went platinum - she's regrouped on Island Records for her tenth full-length effort, Discipline.

   Plenty of buzz surrounded the first single, an up-tempo dance number called "Feedback" co-produced by Rodney "Darkchild" Jerkins and D'Mile, with the word "comeback" tossed around liberally by Jackson's fans. Truthfully, though, it's been only a mild hit with the music-buying public, meaning her days as a top ten single machine probably aren't coming back.

    Janet's biggest challenge in the 21st Century has been figuring up how to keep up with the fickle currents of pop music. Since she doesn't have the reinvention skill of a Madonna or the musical gifts of a Prince, that hasn't been easy, but the good news is that Discipline marks her most successful attempt at putting a current twist on her classic sound.

   To pull it off, she had to say farewell to long-time collaborators Jimmy Jam and Terry Lewis and enlist the help of a team of new producers and writers ranging from the Norwegian duo Stargate on "2nite" to the ubiquitous Ne-Yo on "Rock With U" - which isn't an updated version of brother Michael's old hit. Janet does channel a little of big brother's old school sound on the wistful "Can't B Good" and her team up with Missy Elliott on "The 1" is a winner.

   The dance tracks are stronger as a whole than the slower cuts, which include the limp "Never Letchu Go" and "Greatest X." Listeners also shouldn't expect anything revolutionary on the subject matter front - no "Rhythm Nation," for sure - as Jackson sticks to the relatively safe and well-explored topics of love and relationships.  And since it wouldn't be a Janet album without an unabashedly sexual song or two, the title track focuses on "Discipline" in the bedroom sense.

   As the album closes on a high note with "Curtains," combining Jackson's suggestive singing about a private show for the listener with a mellow groove and some timely horns provided by Jerkins, it's hard not to call her tenth time out a success. The heady, chart-topping days of the past might be gone for good, but Miss Janet proves she can still put together a nice batch of R&B-flavored pop. As long as she's disciplined enough to accept a slightly lower standard of success, it's all good. - Nick Tylwalk

   Considered by most as one of the greatest hip-hop producers of all time, Pete Rock has been a major contributor to the genre for some 20 years. His partnership with CL Smooth resulted in some of hip-hop's most poignant work, and his continued pursuits as a solo artist have largely been of the highest caliber.

   Pete's latest, NY's Finest, is a welcome addition to the catalog -- though not as balanced or groundbreaking as what we've come to expect from the Chocolate Boy Wonder.

    Arriving nearly four years after the highly-overlooked Soul Survivor II, the album begans impressively. "We Roll," featuring Jim Jones and Max B, is a jaunting opener. A classic PR bouncer, Rock samples not one but two Kool and The Gang songs ("Summer Madness" and "You Don't Have To Change"). Jim Jones mumbles -- no, slurs -- incoherently throughout his verse, but with saucy production like this anyone would sound smooth.

   "'Till I Retire," a full-on solo track from Rock and the album's first official single, abandons the traditional PR sound to great success. Over a much more aggressive backdrop flanked by a Run DMC vocal lift, Soul Brother No. 1 adresses the doubters: "I hear the talk, what's the hating about? Pete Rock '07, still 'Straighten It Out.'"

    "914," featuring Styles P and Sheek Louch, is successful as is the Little Brother blessed "Bring Y'all Back" -- a sinister, tuba-backed offering. Royal Flush (yes, really) surfaces from the unknown to lace "Questions," a head-nodding press conference of sorts, while a rejuvenated Redman appears on the fantastic "Best Believe." Strangling the life out of a signature Pete Rock anthem, Red harks back to the early '90s with lines such as, "When I run out of ink I kill another octopus."

    Unfortunately, for both Rock and listeners alike, Finest fails to retain much of its momentum during the album's second half. "Ready Fe War" is an awkward reggae-inspired inclusion, built on the same foundation as Damien Marley's "Welcome To Jamrock." Rock steps away from the boards on "Don't Be Mad," opting instead for a DJ Green Lantern concoction that lacks any semblance of fervor.

   "The PJ's," with Raekwon and Masta Killa, is solid -- too bad we first heard it nearly two years ago on the 2006 Nature Sounds compilation, Natural Selection. "Comprehend," the album's final track, is another example of why Papoose has yet to break through as a mainstream entity; his agressive, awkward delivery simply outweighs a piano-driven piece from Rock that, honestly, deserved better.

    Still, the most disappointing aspect of "NY's Finest" is the exlusion of CL Smooth. But I guess that's just wishing thinking.

    Regardless of its flaws, Finest is a solid, albeit unspectacular, effort. It may not be Mecca and the Soul Brother, but rest easy: your producer's favorite producer still has the main ingredient. -Jack Goodson

    "It’s been long time, since I left you, without a dope beat to step to."  Isn’t the truth, it’s been nine long years since we have heard from the god Rakim.  So when “It’s Nothing”, the first single from Live Lost And Found was leaked, you can imagine the excitement from this kid, a student of the 90’s era of hip-hop. Unfortunately, the excitment came to a halt, when it was revealed the new "album" has only four new songs and the rest  live renditions of Rakim’s classics.  Better than nothing, but we'll still continue to wait for a full-length.

    The album starts off with the Nick Wiz produced banger “Hip-Hop”.  Rakim hasn’t lost a step lyrically with lines like “it’s Mr. World renowned with the best verbs/one of the illest of the streets from the east to the west heard/get greeted with ghetto gestures like yes sir/no premeditated killer for the way I stretch words/some of us love to flow till the club close/some love to blow for the love of dough/in it for fortune and fame flamboyant for good/they extorting the game/exploiting the hood”. It's best to stop there, but the whole song could be quoted, as that is how on point Rakim is with his lyrics. On “Love 4 Sale”, Rakim spits about prostitution over a Nick Wiz soulful chop.  Unlike “Hip-Hop” where the production is stripped down and let’s Rakim really flex his lyrically prowess, “Love 4 Sale” is a sped up vocal sample where Rakim seems to be the background, not the forefront.  “Word on Street” sounds like a throwaway D-Block track, with a terrible hook from some unknown R&B crooner.  There was a reason why this was unreleased.  DJ Statik shows up to provide Rakim the backdrop for the final new track from the album “It’s Nothing”.  Statik abandon’s Rakim’s usual up-tempo flow for an eerie darker feel, as Ra spits about the state of hip-hop, and hits the nail on the head with lyrics like “We Stuck in a time of drought/nothing to rhyme about/ghetto and crime on the grime pull an iron out/industry crying out/major labels buying out/who put the fire out real hip-hop is dying out/sounds like the perfect time for Ra to set off the new beginning/let me finish where Nas left off”.  He also speaks on the Dr. Dre and Aftermath situation “I went to LA to get with Dre/we tried to bridge the gap and/take night and mix it with day/I guess it wasn’t meant to happen”.  Once again it could do without the singing in the chorus. Where’s Eric B?

   The rest of the album is made up of live versions of Rakim classics.  Live from New York, Rakim hits us with “It’s Been a Long Time”, “Follow the Leader”, “Guess Who’s Back”, “Know the Ledge” and other classics while the DJ cuts and drops the beats.  This part of the CD is worth the purchase alone.

    All in all its 50/50, there are two solid tracks and two average tracks, which  will have to tide us over until either (A) The Aftermath sessions leak or (B) Rakim gets in the studio and gives a fresh new project for '08 and beyond.  Either way, it is nice to hear Rakim on the mic after so long. He is still giving us what we want to hear lyrically, but we want to hear him back in the studio with Pete Rock, DJ Premier, Diamond D, Lord Finesse, Clark Kent, Da Beatminerz and anybody else who wants to make classic music.  Somebody at Aftermath has to have those masters. Don't worry about your job, just leak it. It won’t hurt anybody, give us what we need. Anyone...?! - Darin Gloe

    The 80’s were a great time for the NBA.  The beginning of the decade brought Magic and Bird, and by the mid 80’s Air Jordan had brought he league to a whole new level.  Hip-hop came into it’s own almost at the same time.  Hip-hop was also ushered in to mass popularity by stars like Public Enemy, Run DMC, and the Beastie Boys.  If Public Enemy were Jordan, Edo G and the Bulldogs would have been Clyde Drexler.  Always around but never quite reaching the same popularity of other similar artists. 

   Edo G.’s and Da Bulldog’s 1991 debut, Life of a Kid in the Ghetto, was arguably one of the better if somewhat unheard East Coast albums of the early 90s.  With strong political cuts like the title track and "Be a Father to Your Child", it was like a more laidback version of Public Enemy.  After releasing an even less heard follow-up in 1993 their 1996 LP, Acting was shelved until it’s recent release.

   Edo G. has always been good on the mic.  He’s got a great baritone voice that fits smooth over almost any beat.  His lyrics have always been smart if not always so subtle.  Unfortunately the biggest compromise with this album is the production.  Being readied for release in 1996 it’s extremely dark and seems to be trying to imitate Notorious BIG and Wu-Tang Clan differing from their previous Marley Marl inflected production of their earlier years. 

   The album's title track is so grimey one can pictures the puddles and trash filtering through the gutter at 2 AM in the city.  As good as anything that actually made it onto shelves in '96, it’s a great opening to the album, but the tracks that follow don’t manage to match its effortless sound.  The album is definitely front-loaded as the next song, "Dedicated", is relatively simple, but manages to make its relatively sparse beat work perfect under Edo G.’s flow. 

    As the album moves on however, it starts trying to ape more than the East Coast and starts to adopt a Death Row bounce.  It’s not entirely off, but it feels like it’s out of its element.  It does come back around though like on "What’s the Deal" (featuring Big Shug and Scientifik), as the production could have been rocked by any Wu affiliate with ease.  Heck Edo. G. even drops a suspiciously familiar rhyme name-dropping sing-sing. 

   The re-issue also features 3 remixes with slightly different production of the songs.  Altogether there’s some good material on here, but unfortunately Edo. G and Da Bulldogs never got quite big enough to get their own shoe as it were they were forced into wearing someone else’s Jordans.  Edo G has continued on with solo projects and new group efforts he’s now a player Coach running his own game and helping new artists.  Edo G hails from Boston and it seems appropriate he’s now become a sort of Bill Russell to the game. - Dane Johnson

    Fact: Alicia Keys debut album, Songs in A Minor, was released in June 2001. Think about that folks, Alicia Keys has only been around for seven years. While this critic sat around, wasting his life, Ms. Keys has released four albums, won eleven Grammy's, had seven number-one singles, starred in two films, written two books, and become an African Ambassador to bring AIDS awareness to the forefront of international politics. Does anyone else feel like an under-achiever?

      With so many accomplishments, Keys has arrived at a point in her career where anything she releases is going to sell, regardless of its actual quality. Some artists who reach this point keep focus and deliver definitive albums. More, however, slip and release musical debaucheries, that don't vibe with their level of talent. Just think Jay's Kingdom Come if you need an example. Sadly, Alicia Keys newest effort, As I Am, is of the latter sort, and comes across as unfocused and average.

      Many tracks seem downright formulaic, following the path of a slow piano intro, to a frustrating chorus, to a two-minute breakdown in which she unsuccessfully tries to go outside of her vocal range, and instead, comes across as if she's trying too hard and just yelling. "The Thing About Love" and "Where Do We Go From Here" take that same pattern. Also, while most of her songs create an image of empowerment and strength, some just seem self-serving and unoriginal; in the chorus to "Superwoman", she sings "Cause I'm a Superwoman", the chorus follows up immediately with "Yes you are...""" The special guests on the album don't really much add too much to the effort either. The John Mayer produced, "Lessons Learned" and the aforementioned "Superwoman" by Linda Perry are among the weaker tracks on the album.

      However, there are some great moments on the album. "Wreckless Love", "Go Ahead", and "Teenage Love Affair" see Keys delve back into a relaxed soul-groove where she strives. "Prelude to A Kiss" isn't bad either; instead of reverting back to the yelling typical of most of the album, she instead seems to realize the value of an understated sound.

      All in all, "As I Am" is an average album by a great artist. Check it out if you're a fan, but if not, you might want to wait to see how she does come next time. - Michael Rodriguez

      When listening to the 25th Anniversary edition of Thriller, you forget all of the controversies surrounding Michael Jackson. The fact that he dresses like a general and thinks that he is Peter Pan is irrelevant, as are the strange incidents involving children and whatever the truth behind them may be. Reason being is that Thriller is “the world’s biggest selling album of all time”, as it states proudly on the cover, and it’s earned that honor with good reason. It’s nine-track blueprint (named by ?uestlove as the primary influence for The Roots’ recent short album spans) left no margin for error, creating what many consider to be a flawless record, thanks to the work of MJ and producer Quincy Jones. 

      Every song on Thriller is memorable, and virtually each of them was a hit single. It’s influence is still being heard in today’s popular music, as two of radio’s biggest current hits – Kanye West’s “Good Life” and Rihanna’s “Don’t Stop The Music” both utilize samples from the Thriller LP (“P.Y.T” and “Wanna Be Startin’ Somethin’”, respectively). But sampling Thriller - or MJ for that matter - isn’t anything new or revolutionary, as it’s also a piece of the puzzle in what many would call the greatest hip-hop album all time, Illmatic, as “Human Nature” is the backdrop for “It Ain’t Hard To Tell”. 

      So as this album is a musical standard, there’s no reason to wax on poetically about how great it’s contents are, as anyone who is at least 25 years old has owned this album in some form or fashion (bonus points if you had the 8-track tape). The new content on this 25th anniversary edition obviously includes digital remastering to the highest quality, so this album does sound better than ever before, especially if the last time you heard it was before CD’s – or digital music files for that matter – even existed. 

       While a special edition of the record was released in 2001, what makes this one a bit more exciting is the inclusion of new remixes – actually more like remakes – of some of the classic Thriller hits. Will.i.am is at the forefront of this, taking the helm of three of the album’s new renditions. The first, and best, of these is “The Girl Is Mine 2008”, a completely new take on MJ’s old duet with Paul McCartney. This time, will takes the place of The Beatle, as he and Mike trade verses about the same girl. The track is completely reworked, transforming it into a modern club-ready dancefloor jam, without sacrificing the integrity of the original song. Will’s new “P.Y.T. 2008” borrows nothing from the original but its name, exploring what new music from Mike might sound like if produced by today’s hit makers. “Beat It”, rather, is more of a plain old remix, this time with Fergie singing half of the song, which unfortunately comes off stale and contrived. Wouldn’t Rihanna have been more appropriate? 

       Meanwhile, Kanye West gets the honor of remixing the original album’s best song, “Billy Jean”. In true Kanye fashion, it begins with symphonic string section, then breaking into a hard-hitting boom-bap drum section. The only fault here is that Kanye completely threw out the original song’s trademark bassline, which is part of the reason it’s so great in the first place. Regardless, the new version holds up. Akon has a reworking of his own, as he gets his hands on “Wanna Be Startin’ Somethin’”. His take starts off differently as well, as he very boldly turns the song into a slow piano ballad, before flipping the script into an up-tempo version similar to the original. The 2008 remake has newly recorded vocals shared between Akon and Mike, minus the original’s odd 8-bar “vegetable” verse, but complete with the essential “makossa” breakdown. There also the new inclusion of “For All Time”, an unreleased song from the original Thriller recording sessions. It’s clear why the song was originally left off, as its medley has a striking similarity to “Human Nature”, but it’s an interesting inclusion nonetheless. 

    In the way of bonus tracks, Target shoppers are treated to a god-awful 1992 house version of “Billy Jean”, that sounds a lot like other songs that were popular at the time, like Marky Mark’s “Good Vibrations” or Madonna’s “Vogue”. (This kind of hints that this album will be re-released in another ten years, with remixes by multi-platinum super-producers Dr. Dre Junior and Edan.) Meanwhile, the Japanese edition is equipped with the discoed out “Got The Hots”, which sounds much more like something from MJ’s previous LP, Off The Wall; the title track in fact. Finally, the second disc in set is a DVD which includes videos for “Beat It”, “Billy Jean”, and “Thriller”, as well as a live performance of “Billy Jean”.

     Still, it would have been nice to see the whole album remixed, considering that virtually every song is a well known hit. It would have been cool to see other producer greats step in, from hip-hop heads like DJ Premier or Danja Handz to house heroes like Daft Punk or Bob Sinclair to pop staples like Justin Timberlake or Usher. While this new collection might not be flawless, it’s source material is, which justifies the classic rating – the rest of it is just gravy. So putting all of Michael’s weirdness aside, let’s not forget one thing, it’s the success of this record that essentially made him the eccentric he is today. – Pizzo

    2007 was a pretty good year for the Bone Thugs N Harmony trademark.  In March, they returned with the highly anticipated major label release Strength N Loyalty later to be follow up by the Ruthless labeled T.H.U.G.S. in November. The former is an attempt to reestablish past glory, sadly not living up to expectations.  The later is a compilation of past work that was made in the height of the group’s demise.  Ironically, T.H.U.G.S. highlights the miscalculations that Strength N Loyalty has, but at the same time does not live up to the classic offerings that the thuggish ruggish ones from Cleveland gave to the music world in the 1990s.    

   What is interesting about T.H.U.G.S. is that for an album that is comprised of left over material from BTNHResurrection and Thug World Order, it is a well put together LP.  Usually when an album is comprised of dated tracks there is something missing.  More than likely, there is not a clear idea or concept that is present, but this is not the case for T.H.U.G.S.  The tone is set early as Layzie lays out the mandate for the thug nation to follow and what needs to be done in order to reclaim their community.  One fact that you can take away from this album is that it has the harmonic element that is absent from Strength N Loyalty.  The presence of Bizzy Bone adds to the cohesiveness of the group that guest appearances, most notably Akon, could not deliver.  This could be seen on the tracks “Sweet Jane” and “Everyday Thug” as the crooning and rapid fire lyricism is evident and will surely have one reminiscing about the Bone of old.  That is the positive aspect of this album, where on Strength N Loyalty, the group sounded as if they had something to prove and tried to reach an array of demographics, all the while abandoning some of their core principles. On T.H.U.G.S., the boys just let it hang and remain dedicated to their loyal fan base. 

T.H.U.G.S. is definitely not without it’s flaws.  For one, the beats on this album are not terrible, but they are not great either.  Even though they fit the melodic delivery of the group, the production is just basic and does not captivate the attention of the listener.  Adding to the fact that this album has poor transition in between songs only makes it hard to comfortably enjoy.  Also, even though T.H.U.G.S. has a collective theme, there are tracks that do not follow the script, for example the song “Wildin’.”  On this track, Bone rhymes about going out to the club and being prepared for whatever jumps off.  This is uncharacteristic of Bone by that this is not their scene and finds them in unchartered territory that will only turn off the truest Bone fan, let alone any new listener.  But with a gift comes a curse, which is basically Bone’s Achilles’ heal on this project.  By this album being a rehashing of past material, it is not going to bring any new listeners to the table.  Mainly, it just serves as a reminder of what could have been if certain situations have not come to fruition. - Ryan Harrison

   It is no secret that Jim Jones has his issues with Jay-Z.  So it only made matters worse when S. Carter released the American Gangster motion picture inspired album of the same title detailing his life synonymously with the film and its protagonist (or antagonist, depending on your viewpoint), Harlem’s own Frank Lucas.  So Capo took that as a sign of disrespect and decided to release an album from the perspective of a true Harlemite.  First released as a mixtape, Harlem’s American Gangsta serves as Jones’ dissertation of what it means to be from Harlem.  Even though the album is filled with “One Eyed Willie’s” signature bravado and tales of fast living, it lacks diversity leaving the album entertaining, but uneven.

    What makes this LP appealing is that Jones brings presence to each song through charisma, strong cadence, and great delivery.  This is exemplified on the album’s best track, “Rockefeller Laws,” an indictment of the judicial system for its unfair practices when it comes to drug sentences. Jones perfectly paints the picture of the situation from the offender’s perspective as he rhymes, “And now we caught up in this maze/It’s like suicide, caught up in these ways/Institutionalized, forty thousand and forty days/A fifteen year bid off of two ounces of raw yay…”   In addition, the hooks on the album are outstanding.  Mainly done by guest artists, each chorus is very melodic and will have you singing along with every word, most notably the lead single “Love Me No More” and “Byrd Gang Money.”  But tight swagger and sing-a-long hooks are not enough to make Harlem’s American Gangsta sufficient.  The album’s subject matter is very redundant where every song is basically about the same thing- living good and evading the law.  Also, being that it is essentially a mixtape that was rehashed into a full-length album does not help much but rather just adds to the list of imperfections through poor track transition, subpar production, and a lack of an original concept.

   Listening to Jim Jones is similar to watching James Dean or Steve McQueen in a film.  All carry that mystique that one could only emulate, but even both actors worked with an array of original material only to enhance their status.  Jim Jones is not going to excel when he is either imitating or being envious of others.  Being your own man stands for something and until Jones realizes that, he will be left sitting on the sideline watching greatness pass him by. - Ryan Harrison

  On the fourth track off his new album Sacrifice, Prince George County bred MC Substantial takes a sec to quote the backbone of broadcast journalism, Edward R. Murrow:

    "This instrument can teach, it can illuminate; yes, it can even inspire. But it can do so