Wiz speaks on his upcoming album, Rolling Papers, and freestyles for Cluminatti.

Finally back in the public eye, Kanye is making appearances everywhere. This time he sits with DJ Clue on his Power105 show.

Ah, memories. Fat Joe’s The Darkside is in stores Tuesday.

    When you heard this, you knew you were about to hear something exclusive.  Back in the late 90′s in Queens, a Clue tape was like Christmas coming early.  He knew how to introduce a song and unlike other DJ’s who screamed over everything, Clue sprinkled a few “Ha Ha’s” that added character to the mixtape.  Then in ’98 The Question Mark Man decided to take his show nationally with the release of The Professional and became the first DJ to go platinum.  Make no mistake about it, DJ Drama, Khaled, and Whoo Kid would not be where they are if it were not for the success of DJ Clue.  So during the crowded 4th quarter of 2006, Clue decided to drop The Professional Pt. 3 and remind folks where these DJ’s “got they whole style from.”

    The album starts off strong with the incredible track, “War” by Nas who is undoubtedly still on his “seek and destroy all that is wack” mission.  DJ Clue seems to bring the best out of the rappers that he works with (We remember what DMX did on the first album) and Nas definitely saves some classic bars for Clue joints.  Fabolous, who appears on three songs, brings his trademark swagger, none more evident than on “Da Boss”.  Even Mobb Deep’s “The Gold” is better than many of the songs that appeared on the dud they dropped last year.

   Clue is also known for his collaborations.  Putting some of today’s hottest emcees on the same track is always eventful.  The South shows up big on “Clear Da Scene”.  Lil’ Wayne, Rick Ross and Ransom definitely don’t disappoint all of the trappers and hustlers out there.  Paul Wall, Bun B and Mike Jones bring that Candy paint, grill wearing H-Town flavor on “Grill & Woman”. Not to ignore the ladies, Jagged Edge and Fabolous do a solid job covering the Jodeci classic, “Come and Talk to Me” with “I Really Wanna Know” and Mario Winans and The Game give us two tales of heartache and betrayal.

    While the rappers for the most part brought their “A” game lyrically, the quality of the production was not up to par.  “Like This” which had Fab and Kanye West going line for line was difficult to listen to as many of their punchlines were engulfed by irritating maracas.  The beat for Snoop’s raunchy “Almost F**ked” sounds like it got stuck in the 80′s next to an old Shalamar song.  Even the rare M.O.P. sighting (“Giantz of NYC”) is disappointing as the lackluster drums and piercing sample fail to match the intensity that the Brownsville brawlers bring.  Verses by Styles P and Consequence almost feel wasted as the producers dropped the ball on “The Animal” and “Uptown” respectively.

    Whenever you bring together so many different rappers and styles, it’s nearly impossible to please everyone.  If you don’t like that Down South sound, then you’ll hate a few songs on this album.  Conversely, if you can’t stand the way Philly and NY dudes rap then you’ll dislike some joints too.  So while compilations usually don’t get classic ratings, they aren’t considered terrible either.  DJ Clue always has his ear to the street and did a great job capturing the landscape of today’s Hip-Hop scene.  Every region is represented and new rappers are given the same stage as accomplished veterans.  Although he puts together a nice collection of songs, this album lacks a timeless classic like “Fantastic Four”, which can be talked about for years to come.  At the end of the day, Clue showed us that he’s still got it, but he left a little to be desired.

Though classifying Clue as a “DJ” is certainly a stretch (check out Revolution, DJ Babu, and X-ecutioners among many for confirmation). He is undeniably a keen entrepreneur, as his star-powered projects are habitually saturated with the biggest names in hip-hop. While Jigga, and Damon Dash’s brainchild provided hope that hip-hop’s floundering major-arena tour marketability could be resurrected, Clue’s accompanying score fails too make the same impact. Like most compilations, or soundtracks, Backstage contains a slew of filler material, Fabolous’ “Gotta Be A Thug”, and Da Ranjahz’s “Hate Music” feat. Ja Rule, the predictable southern influenced reach “Road Dawgs” feat Amil, Eve, Da Brat and Jay-Z, and a fair amount of crooning from Jigga’s R&B stable.

While cuts like the Prodigy of Mobb Deep’s “Keep It Thoro”, and The Lox’ “Who Did You Expect” offer little of the unexpected, there are a few surprises. Capone-N-Noreaga enlist the aid of former Roots collaborator Scott Storch for “Don’t Want Beef”, as Storch’s jagged keyboard stabs put an interesting spin on an otherwise mediocre CNN reunion track. The old (Redman), and new (Lady Luck) school of New Jeruz combine forces on the delectably rugged “Come And Get It”. While Luck makes an impressive splash, Redman comes with the next shit—”your mom’s think that I’m a helluva guy/pussy/you don’t get it like American Pie.” Also, even though Outkast’s recently-released “Bombs Over Baghdad” shed some light on what too expect with their forthcoming LP Stankonia, they push the envelope of their ever-evolving sound progression too the next degree here with “Funkanella” feat. Slimm Cutta Calhoun and Killer Mike.

But as the crews headlining emcees prove, Backstage is ultimately the Roc’s show. Beanie Sigel intertwines his raw street-aesthetics, with the dance-friendly grooves of Timbaland  on “In The Club”. While the forgotten member of the Roc, Memphis Bleek, strikes back at his critics with “My Mind Right”, which slights a former Illmatic lyricist—”your lifestyles written/so who you supposed to be/play your position”. Although his star-pupils rise to the occasion, Jay-Z’s contributions keep the spotlight directly centered on him. Though the oft-used “Make The Music” interpolation is so Tone And Poke, Jayhovah’s sexually suggestive verses make Mya an afterthought on “Best Of Me Part 2″. But the true burner here is a lost cut from Jigga’s Vol.2 studio sessions, “People’s Court”, as Jay continues to push all the right sampling buttons, this time by devouring Judge Wapner’s theme music—”fuck the judge/fuck the jury when you warring with me/its people’s court/we hold court in the street.”

Though Backstage does not contain enough bangers too be granted full VIP treatment, it will strike an immediate chord with the tunnel heads who just want too wild out for the night.

Like most of his star-studded gatherings The Professional Pt. 2 contains little chemistry. And his fast food mentality of eschewing cohesion, for accessibility, again becomes this mixtapes main Achilles’ heel (a facet his closest competitor Tony Touch has become more adept in). Exemplifying Clue’s cut and paste mentality are “What The Beat” feat. Eminem, Method Man, and Royce Da 5-9, and the uninspired “Fantastic Four Pt. 2″ feat. Lox, Nature, Cam’ron, and Fabolous. Yet, most-disturbing were the assortment of awkward, unbalanced groupings, as less-talented newcomers spoil Beanie Sigel’s “Coming For You” feat. Freeway, and Memphis Bleek’s “M.A.R.C.Y.” which features Geda K. Also, Raekwon & Ghostface Killah’s attempt to update “C.R.E.A.M” on “Cream 2001″, misfires horribly, as both emcees are drowned out by the flossy production of Rick Rock.

While we get the usual smoke, and mirrors, and blase’ collaborations from the usual suspects, there are a few interesting facets to Professional. New offerings from Busta Rhymes & Rah Digga “Getting It”, and Redman’s “RED” (which defies explanation), all bring crazy energy. Likewise, Mary J. Blige flips Caron Wheeler’s vocals lovely on the reinterpolation of Soul II Soul’s classic “Back 2 Life 2001″ feat. Jadakiss, and even a throwaway Mobb Deep cut (“Best Of Queens (It’s Us)”) manages to establish itself as one of the LP’s better cuts.

However, it is the existence of a few disses that really spices up the proceedings. As two of hip-hop’s more publicized, and escalating beefs (Roc-A-Fella/QB, and Lil Kim/Foxy Brown) all resurface here. While Memphis Bleek used Clue’s last release to slight Nas, he has now turned his attention to Prodigy on “Change The Game (Remix)”—-”get your mind right nigga fore’ you mention me, your click ain’t to thorough to mention we.” Likewise, Nas’ indirect lyrics on “Live From The Bridge” are still easily translatable to Jigga’s Camp—-” my words turn the sea red, like the eyes of a weedhead, y’all peep my lead, then hide like Easter eggs, I ride till the beef is dead, cash gets dropped, your soul go up further then astronauts, I talk it and live it, y’all weak dudes should offer forgiveness, cause you fronting like you ill, get yourself tortured by killas.” And Foxy’s diss of Lil Kim on the tropical “So Hot” is the only intriguing aspect of an otherwise grating track—”I’m the reason bitches ride dick, I’m the reason them black cocks stiff, Fox is the only reason, why them bitch wanna run and buy fake tits.”

While Clue does have more creative input, producing nearly half of the LP’s cuts, his repetitive drum-patterns remain monotonous and show little signs of growth. Whatever your take on Clue maybe, his progression from the trunk, to the hallowed halls of Def Jam deserve props for no other reason then being a groundbreaker to the future mixtape slingers that will follow. Though expectations from Clue’s gala-studded gatherings have undeniably been tempered by mediocre product, he is not out to change the world, just to make you forget about it for 70 minutes. Mission accomplished.