If Soundbombing 3 represents the future of the label, the underground heads may as well go back and listen to Soundbombing 2 some more, because this disc simply isn’t for them. Rawkus head A&R Blak Shawn (the same cat responsible for the label’s first wave of classic 12″ singles), has definitely taken a more commercial route with this release, pumped up with solid remixes to already proven hits, in the form of Styles of the Lox and Pharaohe Monch’s new flip on Tribeca’s “The Life” , Kool G Rap’s “My Life Remix” (now featuring Capone-N-Noreaga) and “Round & Round (Remix)”, with three-amigos Method Man, Pharoahe Monch, and G. Rap each circle-jerking ’round Jonell. And the Skillz lead single “Crew Deep”, with its “Rapper’s Delight” sample (cleverly used, despite an easy lift), and official “hollas” from Missy Elliott that will piss off as many people as it pleases.

Granted, taking this as a commercial release rather than an underground one, it has a more blahzay self-image, as the mixes are haphazardly thrown together New York-style, rather than the deep-dish blends provided by DJ J-Rocc and DJ Babu on it’s predecessor. (Note: the blends and turntable tricks are here - but not nearly sewn together with the tailored precision of the last one.) Another issue is that the quality of the joints on this release overall does not match the classics of Rawkus’ past. Watching Mos Def attempt at creating something suited for the Tunnel Banger’s Ball is strange enough (“Freak Daddy”), if Talib Kweli rhyming over a smooth DJ Quik track doesn’t throw you for a complete curve ball already. Not to mention stranger selections from The Beatnuts (“The Trouble Is…”), and Cocoa Brovaz (“Spit Again”), which just aren’t quite up to par, which is especially atypical for a label that has such a great reputation for quality control.

On the up and up, the reflective outro “On The Block” by R.A. The Rugged Man is well done, as are some of these same themes revisited on Skillz and Novel’s “They Don’t Flow”. Despite some syrupy crooning, the song delivers an ironic “they don’t make ‘em like they used to message” about hip-hop, with itself choosing to conform, rather than hang onto the past. And of course you can’t go wrong with natural collaborations, such as either of Talib Kweli’s team-ups with The Roots, or Zap Mama and Common. And Q-Tip’s little freestyle, “What Lies Beneath” is a tasty, post-”Midnight” snack.

The main problem with SBIII is its lack of cohesion - is this a representation of the future of the label that once was a save-haven for backpack acts? This attempt at the commercialization of some of their original starting line-up is equally confusing as this release is as a whole.

Lyricist Lounge 2 takes on a decidedly different direction then its predecessor. While the first installment catered towards breaking new talent; names like Prime , Mike Zoot , and Sarah Jones  have been phased out, and replaced by Erick Sermon , Beanie Sigel , and (gasp) JT Money. Though this facelift may leave Rawkus’ precocious underground following feeling neglected. The transition is fairly smooth, and considering that the Lyricist Lounge has expanded from its open mic night roots, into a successful MTV comedy show, this revision is not entirely surprising.

While Lyricist Lounge 2 is a more commercial friendly device, it is not lacking diversity. Though not without filler-material, Lyricist Lounge 2 , achieves what most compilations promise, but never deliver; a satisfactory LP that will appease both the chest-beating backpacker, and the bling bling tunnel faction. The quest in trying to meet this goal is really half the fun, as some interesting collaborations unfold; some backfire – Q-Tip & Wordsworth’s “Makin’ It Blend”- some work - Beanie Sigel & Hi-Tek’s “Get That Dough” – and some merely blend in - Mos Def, Pharaohe Monch, and Nate Dogg’s “Oh No”. However, the closest example of what Lyricist Lounge 2  aspires to be is captured on Redman and Saukrates’ “WKYA” (Will Kick Your Ass), as the gorilla funk of E-Double, and the easily accessible, yet fiery rhymes of Red and Sauk are truly universal in their flavor.

The underground portion of Lyricist Lounge 2  is more redeeming, and it is here where the true jewels of the LP reside. Kool G Rap and M.O.P.  face off on “Legendary Street Team”, and Royce Da 5-9 follows-up the momentum of “Boom”, with the autobiographical “Let’s Grow”. While Royce’s hunger is evident, it is the production of fellow Detroit native, Jay Dee, who impresses most, as his frenetic organ wails are manipulated at the tracks climax, as it slowly snowballs into a lumbering acid house hybrid. However, “Sharp Shooters” w/  Talib Kweli & Dead Prez  alone make Lyricist Lounge 2 worthy of purchasing. The team revitalizes the pro-black ideology over Hi-Tek’s spaghetti western guitar riffs on the eye-opening track.

While the inclusion of Erick Sermon’s “Battle” and Master Fuol w/ JT Money & Pastor Troy “Watcha” will surely have Rawkus’ mainly underground following screaming blasphemy. It does not prevent Lyricist Lounge 2  from becoming a more concise, and well-rounded effort then its bland counterpart. Though Lyricist Lounge 2 may not portray the idealism, or spirit that the Lyricist Lounge was initially founded on, it does successfully represent the differing tastes of all hip-hop fans. That in itself is Lyricist Lounge 2 biggest accomplishment.

Now, the label has established themselves as not only a powerful force in underground hip-hop, but also a new home for backpackers to look to when the major labels deserted them for flashy, cristal sipping mafioso crews, like…uh… The Rose Family. (Oh, the irony.)

Despite the label’s almost flawless series of 12″ singles, the full lengths that they’ve delivered haven’t always lived up to quality of the singles. Company Flow’s “Funcrusher Plus” LP was brilliant, yet many of us already vibed to it a year before when it was released as an EP. The original “Soundbombing” CD also suffered this same sickness, as virtually all of the tracks were previously released. While good for the turntable impaired, we’d heard it all before, not to mention the annoying, high pitched squeals of DJ Evil Dee talking all over the tones. The label’s most anticipated double LP and self described “compilation album of the year”, Lyricist Lounge, seemed about as organized as your average underground hip-hop event. Finally, Black Star, the LP from future stars Mos Def and Talib Kweli was decent, but still seemed like 40% filler. The thoughts of the label only being able to drop solid singles echoed in my head, until now. Behold, “Soundbombing 2″.

If there is any project that should define Rawkus Records, this is it. One could look at this as the perfect underground hip-hop starting point for beginners. Considering that this album begins with the mainstream’s favorite lyricist dropping his usual sick rhymes on “Any Man”, it probably will be. Lyrically, Eminem is in top form on the album’s starter as he exclaims: “I’m ice grillin’ you / starin’ you down with grin to grim / I’m Eminem / you’re a fag in a women’s gym / I’m Slim / cuz Shady is really a fake alias / to save me with / in case I get chased by space aliens.” Word? At this point it’s only just begun, as it flows into two more attention grabbers, the all new ’99 mix of High & Mighty’s “B-boy Document”, with Mos Def and Mad Skillz, that Mighty Mi can only describe as “jiggy-backpack”, and then into what seems like “Soundclash pt 3″, as Shabaam Sahdeeq and Pharoahe Monch declare “WWIII” on the track.

Suddenly, the momentum of the album takes a quick dive, as things begin to slow down a bit. As a matter of fact, this seems to be one of the only flaws that the album contains, as instead of attempting to build some kind of momentum by starting with the mellower tracks and moving up to the hyper shit, The Beat Junkies seem to be jumping all over the place. More relaxing tracks from R.A. The Rugged Man, Reflection Eternal, and already classics from Medina Green (“Crosstown Beef”) and Sir Menelik (“7XL” w/ Brand Nubian) are then slid into the mix.

Things begin to pick right back up again during the album’s third set, starting off with the title track, “Soundbombing”, featuring the best in the west, Dilated Peoples and Alkaholik emcee, Tash. Proceeding this soulful freestyle session is a taste of what to expect from Thirston Howl III on one verse from “Brooklyn Hard Rock”, leaving you fiending for more. The political terrorism then begins with Pharoahe Monch’s brilliant “I Shot The Mayor” and then continues into Company Flow’s Dead Kennedy-esque look at America on “Patriotism”. The album then closes out with a few top notch joints from Common, Mos Def, Diamond, Reflection Eternal, and Shabaam.

The only real problem with the album is once again the lack of momentum, as the flow of it seems to move up and down, rather then building from the most laid back track to the hypest. Secondly, this, surprisingly, isn’t the most amazing performance from The Beat Junkies. Granted, the turntablist tricks are very tight, and well executed all around, but at times, after listening to previous tapes, it seems like they may have been holding back a little. As a matter of fact, sometimes, it even seems as if the project was sewn together with a little bit more than just two turntables and a mixer. As far as the album itself goes, given that virtually every one of these tracks rate highly on the rictor scale, the album boarderline’s being a hip-hop classic. But since this is really only a mixtape, rather than the expression of one single artist as an album, it gets stole on for one-half an “@”, especially considering that 50% of these tracks will probably pop up on these artists’ albums. Nevertheless, this one does live up to it’s self-executed title, “The official mixtape of 1999″.