Reviews: Ice Cube - Laugh Now, Cry Later, Jay-Z - Kingdom Come, Jim Jones - Hustler's P.O.M.E., LL Cool J - Todd Smith, Lloyd Banks - Rotten Apple, Lord Jamar - The 5% Album, Ludacris - Release Therapy, Lupe Fiasco - Food & Liquor, Method Man - The Day After, M-1 - Dead Prez Presents M-1: Confidential, Mobb Deep - Blood Money, Pharoahe Monch - Desire, Mos Def - True Magic Nas - Hip-Hop Is Dead, Obie Trice - Second Rounds On Me, Outkast - Idlewild, P.Diddy - Press Play, Sean Price - Jesus Price Superstar The Product - One Hunid, Prodigy - Return of the Mac, Public Enemy - Rebirth of a Nation
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Ratings Scale: 100-90 A+/- Hater Proof 89-80 B+/- Heavy Rotation 79-70 C+/- It's Your Money 69-60 D+/- Kazaa Anyone? 59-40 F - Use to Balance Tables Only! |
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Grade Breakdown: Lyrics: 15% Originality/Creativity: 25% Content: 15% Quality Percentage: 20% Production: 25% Skits/Bonus Cuts: 5% |
Ice Cube - Laugh Now, Cry Later |
Lyrics: B- Content: B Production: B |
Creativity: B Quality %: B- Bonus: N/A |
Release Date: June 6th, 2006
If your rap history doesn't go back before 1990 you might recognize Ice Cube more as an actor and medium budget film semi-mogul than a founding member of the legendary rap group NWA, a group whose influence in rap for better or worse, cannot be overstated. Clearly finances and his relative success in cinema dictate that Ice Cube no longer needs to make music at this point in his career, so Laugh Now, Cry Later, Ice Cube's first solo album in about 6 years is clearly about him indulging himself and maybe reminding a few of his "bad ass kids" who he feels is the "father of this gangster shit" as he does on the cut "Child Support". Laugh Now, Cry Later for the most part shouldn't be confused with Ice Cube, posturing as a tough guy, as he says in the aforementioned tune, "too all those who say I went Hollywood, I'm a Gangsta' I know when I got it good", as he proceeds to lambaste "gangsta" rappers for their tough talk and very public legal problems. Ice Cube also takes time out to issue a good amount of social commentary, songs like "Why We Thugs" and "The Ni&&a Trap" recalling his earlier recording days, though Cube has always been a bit of a chameleon in not a plain opportunist, so most kinds of song could recall "his earlier recording days". Perfect examples of this affinity for changing colors and jumping on bandwagons are "Stop Snitchin'" and "Go To Church (featuring Snoop Dogg & Lil Jon)", which sounds like 90 percent of every rap song Lil' John has ever produced and been featured on. Other than that "Click, Clack - Get Back!" offers more energy and attitude but it could have just as well been the last song on the album as most of the songs that come after it do little to inspire or add much worth to the album. Overall however, Laugh Now, Cry Later is a worthy effort even if it's only for Cube's personal indulgence.
Overall: B :Review by Eyecalone
LL Cool J - Todd Smith |
Lyrics: B- Content: B- Production: B |
Creativity: A Quality %: B Bonus: N/A |
Release Date: April 11th, 2006
This album is one of the best kept secrets of the year. The fact that I am reviewing it more than a month after it was released is proof of that. LL Cool J is straight Hip Hop romancing. He reminds us from the outset that this is his 12th album launch - how time flies, I still recall his first album vividly. LL is strictly talking to the ladies on this album. It’s noticeable that he is rhyming to a captivated fan base and hopes that cats that have lived a smidgen of what he has, will be able to relate. At other times he reminds us he is a Christian as direct as Kanye but not as phony as Mase or DMX. LL does not lose himself trying to do other styles, in fact he gets a little monolithic but he is carving his territory and reminding us he does “hip hop romance”. Mary J. Blige, 112, NeYo and Ginuwine are some of the almost dozen R&B voices on the disc. There are so many singers it's almost an R&B album, but then again what top 10 selling rapper isn’t singing.
Although LL has scoped out his fan base as the young ladies he is looking 40 years young in the face so it's not really the same when you hear him talking to women, not calling him a pedophile but sisters from his generation simply aren’t supporting rap albums for the most part. Many female fans also are not supporting married guys despite the physical attraction because it destroys their fantasy ...then again nothing stops the groupie love. LL looks younger now than he ever did and if anybody can get away with crossing over to one demographic it's him. Speaking of which, this album is listed as Urban Crossover not in the hip hop directory. He was certified Gold by RIAA last month but unless you buy it you probably won’t hear it on the streets or radio. LL opens up with Julez Santana to help him crossover but the opening track is wack, it’s just so phony to hear LL rocking with the Dipset mindset. He does come back occasionally as the "hard rhymer" when he teams up with Philly’s own Freeway and they put forth a stellar track cautioning young cats to stop ice grilling older cats. This track hits hard without using the n-word , the b-word or any curses, but its clear this album is about romance and the fact that Ladies Love Cool James – still.
Overall: B- :Review by Bruce Banter
Lord Jamar - The 5% Album |
Lyrics: B+ Content: A- Production: B+ |
Creativity: B+ Quality %: B+ Bonus: N/A |
Release Date: June 27th, 2006
I’ll be honest with you when the NY Post ran a story saying that Sadat X pulled out a pistol on a teenager and threatened him over some childish conflict, it made me think Brand Nubian members may have fallen from grace. I figured Lord Jamar and the whole click that made up Brand Nubian were becoming the 95% of the masses they criticize. In case you are lost by that mention. You should understand the title of the album alludes to the Five Percent Nation's belief that the black man is God and that only 5% of the population knows their true divinity (with 85% blind, deaf and ignorant and the other 10% devils using their knowledge to control the 85%). On second thought though, the NY Post is not the most credible source and I decided to keep it gully and buy the album to see if my ideas of a fall from grace were accurate. It's a purchase I'm glad I made.
Although I am not a 5-Percenter. I am fully versed in the rhetoric of the Five Percent Nation and have followed the history of the organization vicariously by default of friends and associates. The role of the Five Percenters in hip hop cannot be underestimated in the least. Followers like Rakim have pioneered the consciousness of many in the hip hop nation. Later hip hop Five Percenters like Busta Rhymes have very little of the teachings in their music, but the Five Percent slang and it's influence is quite consistent even with artist who are not Five Percenters. Most Five Percenters are more so lyricist and you won't hear them bumping Crunk or anything else, it’s often all about the lyrics. No matter how insane the lyrics might be – just ask the Wu Tang Clan.
This album is pulling no punches, its like that classic “One for All” Brand Nubian album in that it’s not trying to be anything other than what it is. Every member of the 5 percent nation should have this album. The album gives us outsiders some help in understanding the meaning of the alphabet or "mathematics" used. "Greatest Story Never Told" (done with Rakim style) alone makes the album a collector’s item. In that it tells the history of their founder Clarence 13X and it tells the never before story of his life and mysterious murder. The way he built his nation by convincing members of the NOI that the black man was God not just Farad Muhammad as the nation of Islam was teaching. The clues left are surely worth debating for those interested in the socio political relationship and similarities with Islam, Christianity, The Nation of Islam and the followers of Clarence 13X a.k.a. The Nation of Gods and Earth (5 Percenters). If you are new to hip hop, this album may seem like proselytizing to you.
This is the sort of album that I can appreciate; it’s really street and raw. The style put forth actually represents a breath of fresh air. Yeah Lord Jamar is pointing fingers but it’s ok because that’s what happens when a member of the Five Percent Nation “studies his lessons” and wants to share the "Mathematics of the day". It is finger pointing on 95% of society and much of it is accurate. Nuff said.
P.S. - In regards to track 20 a Black Panther was falsely convicted for the murder of Clarence 13X but the overwhelming belief in the community is that this former political prisoner spent 23 years in prison for the 1960’s Government COINTELPRO assassination of Clarence 13X which thus remains unsolved to this day.
Overall: B+ :Review by Bruce Banter
Jay-Z - Kingdom Come |
Lyrics: B Content: B Production: C |
Creativity: B Quality %: B- Bonus: N/A |
Release Date: November 21st, 2006
One of my playahatin (constructive criticism) colleagues (Papi) assumed I was not going to like Kingdom Come because of my 2001 essay on the drama involving Jay-Z and Nas, citing that he would never forget the way I was critical of Jay-Z. Fact is that I like Kingdom Come even though its more of a pop effort along the lines of Outkast multi-platinum double album, Speakerbox/The Love Below, than a hardcore Hip-hop album. However it’s unique in that the pop guest appearances by John Legend, Beyonce, etc don’t overwhelm the artist but instead complement. It’s also rare in that it is one of the few times that Jay-Z opens up on what goes on in his head. Let’s just start with the “Prelude” where Jay-Z says he wants people to stop downloading the album and pay for it (if they like it - Ok I downloaded it weeks ago but I am going to get the real deal on Tuesday or when I get some money).
I enjoyed the maturity reflected in this album and the slick jabs at Damon Dash, Jim Jones, Fiddy-Cent, and other detractors. Jay-Z warns Dame Dash, “I see your fingerprints” on all these DIPSET publicity stunts designed to attack Jay-Z. Telling us he is just waiting for the right time before he outright slams Dash also. In “Lost Ones” he basically tells Dame to get over the Rocafella break up. He mentions Jim Jones “Ballin” song, but does not respect Jim enough to actually name him in the diss. Obviously from his interviews Jay-Z feels artist like Jim Jones and Cam'ron are beneath him (peep the Bossip audio).
The Fiddy disses are more subtle telling rap rans, “ya’ll respect the dude who got shot, I respect the shooter” and then making another reference to the infamous dry snitching of Curtis Jackson later in the LP. Jay-Z also test his ability to be a trendsetter in other areas telling his audiences that now that he has matured he won’t smoke blunts, apparently too refined now, he will roll a joint. He then mentions how he won't mess up the look of a expensive car by putting rims on it and tinting the windows leaving that stuff for young boys. Telling brothers to pull their pants up, Jay is no longer running from his age, but embracing it on cuts like “The Prelude” and “30 is the new 20?.
He lets listeners know that he hears what they hear despite the fact that he seems so removed from Hip-hop. On the cut “Trouble”, he mentions that, no disrespect intended, but he wouldn’t touch Free and that if he were to cheat it would have to be with a megastar. On this same track the chorus is venomous and he calls out “little niggas” enough times to make a slave master blush. He also references the fact that his so called Cristal boycott was not really important but he does what he can and that his U.N. water project is a reflection of what he can also do. He rounds out his thoughts with one socially conscious track called “Minority Report” about Hurricane Katrina and the Bush administration’s negligence. The most introspective track being “Beach Chair” where Jay-Z talks about his philosophical outlook on life and his thoughts about the future. Outside of that we see Jay-Z doing the club friendly/commercial projects that make good soundtracks etc. Overall Kingdom Come is pretty much in line with what most have come to expect from a Jay-Z project, commercially friendly though sometimes musically lazy, but with enough solid material to land it in your CD changer with some frequency. (See what others are saying)
Overall: B- :Review by Bruce Banter
Jim Jones - Hustler's P.O.M.E. |
Lyrics: C+ Content: F Production: C- |
Creativity: F Quality %: D Bonus: N/A |
Release Date: October 31st, 2006
KOCH Records recording artist Jim Jones shocked the world by selling nearly 100,000 units of his new album “Hustler’s P.O.M.E. (Product of My Environment)”. His marketing campaign is claiming 106,450 units in its first week but don’t blame him for that lie. His deceit comes from simply being a product of his environment. Hustlers P.O.M.E debuted at #6 on the Billboard Top 200, #1 on the Billboard Independent Chart this week and #1 on the Billboard Rap chart. The movement of these units is fueled by one very popular song called “We Fly High”. The popular chorus of “ballin” has been pushed heavy thanks to the New York Giants defensive players mimicking the jump shot movement after every quarterback sack. Dipset members shoot jumpers in the video; Michael Strahan and co. shoots jumpers after a sack.
I myself have become consumed with the hook and anthem of “ballin”; I can’t go a day without thinking of the hook - Ballin. It’s not only the main attraction of P.O.M.E., its overused. Jones uses the phrase over 4100 times (ok not that much, but at the end of every single line on this album), so you won't ever want to listen to this album again after the first day- Ballin. Even the R&B flavored songs have the phrase “ballin”. Let me warn you that his friend Max B is singing on much of this album and his throat appears to have been cooked by some bad crack. The tracks are unoriginal topics which range from dodging drug police, cooking crack or heroin, hiding lots of undeclared money and the endless hollering of “Ballin!” Sometimes Jones is witty but usually he is not very creative or ambitious in his subject matter unless we consider noting all the things that he is doing wrong via his lyrics. He can’t do 8 bars much less 16 even without a ghostwriter. His strength is in the one liner - Ballin. He should be a comedian maybe that is why they signed one to their team (Kat Williams), but most of the one-liners suck like -”That’s why you’re ballin’ but you’re foolish / Getting’ locked up for crimes and your lawyers isn’t Jewish”. One saving grace is that there is only one Cam’ron guest appearance on the album; ironically it’s the worse song.
Overall: D- :Review by Ooh Papi
Ludacris - Release Therapy |
Lyrics: B Content: C+ Production: C |
Creativity: B- Quality %: C Bonus: N/A |
Release Date: September 26th, 2006
After starring in an Oscar-winning (Crash), trying to do battle with Oprah, and cutting his rather large afro/long corn-roll braids it appears Jeff Bridges, a.k.a Ludacris is trying to grow up on his fifth LP Release Therapy. Unfortunately this showing of "maturity" is not without it's growing pains. Ludacris tries to invent and re-invent himself saying "we hate the term rapper these days, man. I'm an entrepreneur. I like to say I'm an entreprenegro. To me, rapper is an insult." This could be a flippant comment, proof that he is in another creative space, or a recognition that aimply rapping is probably one of the least lucrative ways to make money in entertainment. That's at least one grown-up realization, others include Ludacris admitting when talking about this LP, that “[He] kind of just went into it seeing as though I talked about so much other stuff over the past four albums; it was just getting in territory where I hadn't, you know, talked about certain things, my view on certain things. It's just more of a serious side of me, I guess you could say." This serious side has mixed results such as "Do Your Time", a heartfelt collaboration with Beanie Sigel, C-Murder and Pimp C, and features Luda encouraging others who have been incarcerated to keep their head up, telling them, "Do your time, don't let your time do you." "Tell It Like It Is" provides a music industry insider's tip sheet for success as well as a less-than-flattering look at the materialistic fantasies the rap world has created to peddle CDs. The somber "Runaway Love" details the life of a child troubled by a drug-abusing mother and her abusive beaus, while the gospel-tinged "Freedom of Preach" is part apology, part condemnation of his detractors. Despite Ludacris' cleaner-cut, I want to be on the Oprah show image, the southern rapper is still not ready to completely give up on the hoes, as evidenced by cuts like the contrived "Shake Your Money Maker" and "Woozy". Despite commercial and strip club overtures like the aforementioned songs what this album is missing is a song with hit single potential like "Stand Up" or "Pimpin' All Over the World", from previous LPs. Therapy's diagnosis, ultimately we're watching a work in progress. Ludacris has toned down the humor and spends more time rapping about the types of social issues he's previously addressed only in passing, and for that alone he should be commended, but overall Release Therapy shows Ludacris finding a new level though not necessarily a better one.
Overall: C+ :Review by Ooh Papi
Prodigy - Return of the Mac |
Lyrics: B Content: C- Production: C |
Creativity: C Quality %: C+ Bonus: N/A |
Release Date: March 27th, 2007
Prodigy is still G-Unit but this album is an attempt to regain some of the Mobb Deep persona. On at least three cuts the mission gets accomplished. Those cuts are "The Rotten Apple", "Take it to the Top" and "Bang-on-Em". The Queens MC is paranoid, violent and sometimes refreshing lyrically. After the event whereby Jay-Z showed pictures of him in a Leotard a few years ago at Summer Jam some wondered if the recovery would ever happen.
After seeing prodigy back to his paranoid self, you kind of feel he has returned home and you can see why (Prodigy and Havoc) have built a loyal fan base. If you don't think he is paranoid again, listen to his version of “My Mind’s Playin Tricks on Me” as the chorus goes “I sit alone in my dirty ass room staring at candles…high on drugs/all alone with my hand on the Mac 10 handle…scheming on you ni**as.” Prodigy sends a couple subliminal and a few conspicuous darts at Nas. The rest of the track is "P" boasting male bravado and letting his enemies know he will exact vengeance. We know its all acting or simply slick talk but it sounds really believable, like something a hoodlum would say in real life.
The New York theme that he has running through the album is hard to front on. Prodigy borrows Busta Rhymes’ "New York Shit" flow on "Return of the Mac" and then shows some respect to NY icons, LL Cool J and Run DMC on "Legends". To offer an all but brief reprieve from the gun talk, and to add a little more New York flavor shouts out slain rapper "E Money Bags".
Guns, drugs, street life and women are pretty much the staple topics which run through the veins of this album so I won't be listening to it much more after this review, but I just wanted to know if Prodigy had anything left and I see he does, though how much more is questionable since he doesn’t expand his subject matter. I'll leave that for that for the Mobb Deep fans have to wonder about.
Overall: C+ :Review by Ooh Papi
Llyod Banks - Rotten Apple |
Lyrics: C Content: C- Production: C |
Creativity: C- Quality %: C- Bonus: N/A |
Release Date: October 10th, 2006
Lloyd Banks new CD sounds less like Banks and more like Fiddy the longer you listen to it. The album features 65% of “help” but make no mistake Fiddy took control of this project and even used his influence to make sure that it got played more than it should have. Even causing one radio station personality to lose his job because he did not play the lead tracks as much as 50 would have liked, it’s sad but true from a very reliable source. There used to be a time when artist intimidated reviewers with physical presence but this sort of intimidation is much worse.
Actually it’s easy to overlook Banks and not notice him at all in his laid back demeanor. In my opinion his claim to fame is that he is part of G –Unit and he looks like an infamous gay porn star. G-Unit is usually in the news cause of some hype or drama for example there were as many write-ups about G-Unit vs. Dipset alleged beef as there were write-ups on The Rotten Apple. The beefs stemmed from a report that members of the G-Unit were backstage, chanting “Boring” instead of “Ballin,” which is the chorus of a Dipset member song (Jim Jones). Laid back Banks told MTV.com, “Nah, I mean there ain’t no problem, man. Whenever you get a lot of energy into the same building, people don’t know what to expect. So just walking by somebody without saying, ‘Wassup,’ might get taken the wrong way. But it’s nothing. The rapper added, “But I can’t X out anything. Who knows? Records might come. That goes for anybody who you don’t have a solid beef with. I don’t really got beef with nobody. I got bread“.
He has bread thanks to the groups ability to keep potential drama on the horizon and market beef in other forms but not cause his CD is selling like hot cakes although he did open to a decent number 3 on the Billboard 200 albums chart last week by selling 142,000 copies its first week in stores. As I stated in my opening paragraphs the album is being forced on to the public. The album isn’t anything I can really write a review on in detail (if you a "G-unit Stan") you will like it no matter what, nothing stands out or is noteworthy it doesn’t appear to have been really planned. It very similar to his mix tape flow, which he uses to keep his name in the public. He’s been putting out a steady diet of mix tapes and he’s scheduled to release a new one within the next two week. Banks said, “I’m going to let the Rotten album breathe about two weeks. But I got Mo’ Money in the Bank Pt. 5 already geared up and ready to go. Mo’ Money in the Bank Pt. 4 with DJ Whoo Kid is on the street right now — (the one with) the green cover. Now it’s time for the blue cover. That’ll be out in a matter of days.” It’s just proof to me that either he is a genius or that not much planning and creativity are going into these albums, they are just coming out because they can. Just like I tell G-Unit fans who asked me why review an album you don’t like, its simple…….”because I can”. - Nuff said
Overall: C- :Review by Ooh Papi
Lupe Fiasco - Food and Liquor |
Lyrics: A Content: A+ Production: B |
Creativity: A Quality %: B+ Bonus: N/A |
Release Date: September 19th, 2006
Depending on how one looks at it Lupe Fiasco is either very fortunate or "snakebitten". Already a bit of a square peg in a music industry full of nearly identical, seemingly assembly-line produced, round holes, he had a buzz going and was receiving praise long before he ever had an album. This buzz was due at least in part to mix-tape material put out by Lupe's handlers but also due to the incessant leaking of tracks from his LP that caused the album to be pushed back several times. It's also didn't hurt to be linked to a fellow Chicagoan and a currently hot artist, such as Kanye West, though in a marketplace dominated by ultra-macho rap posers Lupe's somewhat "geeky", skateboarder-like persona probably wouldn't be much of an asset commercially. Whether all that happened in the run-up to the release of Lupe Fiasco's Food & Liquor worked to his detriment or benefit is an open question but the quality of his debut is not.
The spoken word intro and first song "Real" set the tone for the entire album, and the second cut "Just Might Be OK" lays to rest any concerns over whether Fiasco is skilled at proper use of a microphone. The lyricism on this LP runs deep and thick, at times perhaps too deep and thick, or maybe just too abstract as even I, someone who prides himself on the dissection and comprehension of verse, had to study more than a few lines and songs. On "The Cool" Fiasco paints a vivid and intricate scenario of a `G' who finds there's "no heaven for gangster" and pulls himself out of his grave to continue chasing "the cool". We have contemplative and profound gems like on "Hurt Me Soul" where Lupe confronts some of his conflicting emotions about rap artist he likes with questionable content saying, "I had a ghetto boy boppa/Jay-Z boycott/'Cause he said that he never prayed to God, he prayed to Gotti/I'm thinking golly, God, guard me from the ungodly/But by my 30th watchin' of Streets Is Watching, I was back to givin' props again/And that was botherin'/'Bout as comfortable as a untouchable touching you." Then there is the veiled attack on consumerism and materialism "The Instrumental" which won't make much sense unless you're paying attention. Despite his consistently dealing with current and relevant subject matter much of it is simply from a thinking man's point of view, not out-of-touch or too judgmental. "Kick, Push" the infectious cut that turned into a bit of a skateboarder's anthem before the album ever hit shelves, is part double-entendre for street life, and is in fact dedicated to everyone out there "grinding legally and illegally".
There are times like the 1st verse of Jill Scott assisted hit "Day Dreaming" where it's not clear what Fiasco is referring to when he speaks of “giant robots”, but by the 2nd verse he is saying something heavy, tongue-in-cheek, and perfectly understandable like, "now come on everybody let's make cocaine cool / we need a few more half-naked women up in the pool /and hold this mac-10 that's all covered in jewels / and could you please put your titties closer to the 22's / and where's the champagne? We need champagne / now look as hard as you can with this blunt in your hand / now hold up your chain slow-motion through the flames / now que the smoke machine and the simulated rain / but not too loud cause the baby's sleeping / I wonder if he knows what the world is keeping up both sleeves / why he lays there dreaming / me and my roadblock tip-toe round creeping / I had to turn my back on what got you paid / couldn't see had the hood on me like Abu Ghraib / but I'd like to thank the streets that drove me crazy / and all the televisions out there that raised me." "He Say, She Say" is a heartfelt 3rd person plea for a boy who needs a father while cuts like "Pressure" and "The Emperor's Soundtrack" give the album all the street edge it needs. Even with all this Fiasco's thoughts are not confined to the streets and music industry. He has his eye on what goes on in the world, inside and outside the U.S., and keeps his Islamic faith close though he doesn't wear it on his sleeve. If it's not evident in his metaphors he makes this clear in a cut like "American Terrorist" where he makes a run at America's history of terrorism both past and present. Not to be overlooked all this superior lyricism, content, and creativity is done over generally strong and varied production from The Neptunes, Kanye West, Mike, Shinoda, and 1st & 15th affiliates Soundtrakk and Prolyfic. At a listed age of only 25 (who knows if that's accurate) Food and Liquor is a stellar debut from all the angles at which Hip-hop should be examined. Lupe Fiasco should have a bright future ahead of him, I can't wait to hear what's next.
Overall: A- :Review by Eyecalone
Method Man - 4:21: The Day After |
Lyrics: B Content: B- Production: B |
Creativity: B Quality %: B Bonus: N/A |
Release Date: August 29th, 2006
Method Man is back and he is mad as heck, and its not just Wendy Williams or the general media he is mad at. Its rap critics, those playahatin, hatin and basically saying anything about him that he disagrees with. One line he says “The last album wasn’t feeling my style/This time my foot up in they ass, bet they feeling me now.” It doesn’t end there with venom for reviewers. “F**k a rap critic, He talk about it while I live it/ If Red got the blunt I’m the second one to hit it”. Well we must have struck a truth nerve because our perception seems to have motivated him. Method said in an interview “You feel like you’re not in on the joke, and everyone’s laughing at you. I felt like no one was taking me seriously. I got real angry and I just starting writing.” After starring in corny minstrel movies like How High, Soul Plane and that god awful TV show before it was cancelled, is it any wonder that he was having a “David Chapelle moment”. Make no mistake MM had spent nearly five of his last 13 years doing movies, TV and selling fragrance deodorant. It still stunk to true fans, he faced a lot of criticism and the result is his most personal and introspective work yet. This album could save his music career.
Known by so many different monikers Iron Lung, Tical, Wu Brother #1, Johnny Blaze, and of course…Method Man. It seems they all have different personalities and we wonder which one will come into the studio to record. 4:21 The Day After is Method's best solo album to date. "4:21 The Day After" (because 4/21 is the day after national weed smoking day, its a moment of clarity). There are signs of the “Hollywood Meth” that his true fans aren’t feeling but he returns to strong lyricism and word play.
I like the critic diss track, “Say’ Only” which samples Lauryn Hill (that is not actually her in studio work ). I really like O. D. B’s cameo who is quite possibly rapping in his most lyrically recognizable stanza ever. "Ya’Meen" is the anthem with the tired mantra of “Let’s bring hip hop back to N.Y.” and which trades in finger snaps for hand claps. If he would have stay true to the original Method, “it would have never left”. Doing the work behind the boards on 4:21, are Wu Tang mastermind and long-time collaborator, RZA as well as Scott Storch, Havoc, K1 and Eric Sermon.
Method man admits “Anger proved to be a great motivator, the creative process has been cathartic, and though my skin hasn’t gotten any thicker, I am able to use this writing talent to inspire self-confidence.” So he should not be mad at anything I or any critical reviewer says. “It’s real talk, I’m going to keep my spirits up and not let it get things to me. You know, if you start reading your own press and feeding into it, and you start questioning yourself, like, ‘am I wack?’ and you have to be like, ‘No!’ I learned to pat myself on the back, and that it’s ok to pat myself on the back sometimes.” I agree but to the tune of a B he still has a lot of lab work to do. I was just glad people like me were able to assist.
Overall: B :Review by Ooh Papi
M-1 - Confidential |
Lyrics: B Content: A- Production: B- |
Creativity: B+ Quality %: B- Bonus: Dual Disc With DVD, but CD won't play on my computer! |
Release Date: March 21st, 2006
With all the label and promotion trouble the dynamic Hip-hop duo, Dead Prez, has had over the years your guess concerning their recording and performing status is as good as mine. As far as I can tell though the personal relationship between the group's members, M-1 and Sticman, is still all love. It's not sure when their next release will be but in the meantime, M-1 has to eat and live too, and also the release of Confidential, M-1's solo debut gives M-1 an opportunity to showcase another dimension of his persona, creativity, and musical contribution. Interwoven with short political interludes and discussions by M-1 explaining some of the causes and social movements he's involved in, Confidential is still a Dead Prez project in it's formulation and world outlook, but as M-1 describes on Confidential "there's a definite theme, but it's not obvious - I didn't telegraph where I'm coming from; if you know .... then you know". As he explained further "the idea if revolution will never be popular until revolutionaries are in charge. When you have ni@@as in charge who want to keep down the revolution, they see coming. I'm really a target, so it's definitely like, 'don't play that'". With guest appearances by artist ranging from Ghostface ("Been Through") and Styles P ("Comrade Call") to Cassandra Wilson and Q-Tip ("Love You Can't Borrow") their is a definite change in approach but it doesn't come at a sacrifice in content or quality.
"Early", with a hard edge and a bagging beat, and featuring Sticman, is hands down my favorite song on the album, and an ode to hard work and accomplishment . "5 Elements" picks up where Revolutionary But Gangsta's "50 In the Clip" left off touting the benefits of physical fitness and training. "Love, Bread, and Housing (featuring Raye) is a low-key and contemplative cut while title track, "Confidential (also featuring Raye)" is subversively sexy. "Love You Can't Borrow (featuring Q-Tip & Cassandra Wilson) is another laid back tune that is completely unexpected but at the same time completely welcome. "Comrade Call" featuring Styles P of The LOX returns M-1 to his edgier side telling a tale of armed conflict, but unlike most rap songs, this time it's with the police. "Been Through" featuring Ghostface and Raye and a familiar but rarely used R&B sample tells a tale of trial and tribulations through experience. Overall Confidential is a strong LP with solid production and content, but it's also a bit of a surprise and definitely refreshing. With a slight change in approach, the revolution may be televised after all, "but you didn't hear that from M-1."
Overall: B- :Review by Eyecalone
Mobb Deep - Blood Money |
Lyrics: C+ Content: D Production: B |
Creativity: C+ Quality %: B- Bonus: N/A |
Release Date: May 2nd, 2006
OK Mobb Deep had been a guilty pleasure of mine for about 2 years. The beats they have used recently have been usually mesmerizing. The content of their lyrics are never flattering but they can rhyme and again those beats were sick enough to make you bare with all the lies of how tough they were. Even if that were not the case all you have to do is watch the original Beef DVD to know "they don't really want it -with any dudes that do what they rhyme about". In a world with more musical balance on the radio I might use Mobb Deep for more than working out too. However in this over "gangsterized" pop culture dynamic that Hip-hop has experienced over the last 15 years, I have to be very careful how I articulate my endorsement of their sound. Either way as fellow Queens native Nas would say they "made you look". They made Queens look too, look so hard that 50-Cent signed them. I never thought I would see the day when Mobb Deep would shout out another name more than their own but that's exactly what happens on this album with G-Unit chants beating out Mobb Deep chants about 2 to 1.
Track 6 may skew that ratio but still Curtis Jackson in on here about 6 times, that's 5 times too many. They just seem to be bonding, too much, too fast. First Mobb Deep exchanges Tattoo's with G-Unit and add the fact that "ballerina" Prodigy said "50 Cent saved me, not Jesus Christ", and you can guess we have the markings of an infidel uprising. Nobody would ever mistake me for an evangelical or any related religious camp but I hear that quote and listen to the song "Pearly Gates" featuring 50 Cent, and I think about the Jesus diss. Peep the lyrics (via ohhla). "Tell the boss man we got beef/And tell his only son Im'a see him when I see him/And when I see him, Im'a beat him like the movie/For leaving us out to dry in straight poverty/For not showing me no signs they watching over me/Look, we the new breed in 2006/We don't give a fuck about that religious bullshit/Ni@ga show me where the cash at/And nice whips with the 3 car garage to fit them shits/Man my life is painful, pray to angels/Or praying to myself hoping I don't have to spank you/". All I can say is that if you took dance classes like Prodigy, although he was young, then I Know you went to Church. But enough of that this album is a crossover attempt trying to reach White consumers. Prodigy said in one interview "There are 9 million more people out there, we want those Eminem sales. We know about the demographics: 80% of hip hop audience is White, 6% is black. Mobb Deep been had the hood, we got the hood. It's the White consumer that we haven't had, but we want that audience Eminem got and 50 got." That right there should tell you that its there weakest album yet. Besides he should define the other 14% just for argument sake. People used to make art from the heart and hope that it sold now they try to sell their art based on what they assume people want to hear. That is why so much music sucks now, then again I guess this is what they mean when they say "get rich or die trying".
Overall: C+ :Review by
Bruce Banter
Pharoahe Monch - Desire Lyrics: B+ Content: B Production: B- Creativity: B Quality %: B- Bonus: N/A
Release Date: June 26th, 2007
8 Years between albums is a enough time to end two careers in the rap game. According to a record label A&R friend of mine, the hiatus already did as "Pharaohe Monch is no longer relevant", meanwhile folks like my friend sign the likes of "Laffy Taffy" and "Uncle Murda". During Monch's sprawling hiatus he kept himself occupied by the very occasional guest appearance and apparently doing a little ghost writing. After such a long time off you would hope Monch had about 3 albums worth of material stored within, instead Desire plays like a great 2 1/2 quarters from a veteran basketball player that just doesn't have much left for the 4th quarter stretch.
Desire is a solid LP but at only 47 minutes when your last LP was 1999's Internal Affairs (which goes down as one of the dopest' albums covers every in my opinion), you have to give the people a little more. "Free" and "Desire" bring the lyrical fire and superior verbalism that Monch has been respected for since his days with Organized Konfusion and "Welcome to the Terrordome" manages to capture the spirit and voice of Public Enemy's classic rendition. "Let's Go" possibly the hottest song on the album and one of the tightest examples of wordplay on the short LP is like this album's "Simon Says" (from solo debut Internal Affairs). From then on the album is a little uneven and definitely doesn't end with the energy it probably should have, instead opting for a cooled down feel. "Body Baby" could have been left of the cutting room floor, "So Good" reminds me of something that should have featured R&B singer Tweet, and "Trilogy" seems a bit out of place. Overall Desire is a solid LP and it's good to welcome Monch back to the scene, Lord knows rap needs real lyricist, but with my expectation being what it was, I must admit I was a little bit disappointed.
Overall: B- :Review by Eyecalone
Mos Def - True Magic |
Lyrics: B+ Content: B+ Production: D- |
Creativity: C Quality %: C- Bonus: N/A |
Release Date: December 29th, 2006
It's not clear what kind of dispute or strife produced Mos Def's second solo rap album release, True Magic, but after listening to it, it's clear something is amiss. Word on the street is Mos Def says this isn't the album he wanted to release. It's not clear whether he was unhappy with the music or Geffen records, or the improper promotion of the LP as evidenced by it's morbid after Christmas/pre-New Year, December 29th release date, and the fact the LP was released in a clear CD case with no album notes, credits, or artwork. Rumor has it, that it will be re-released later in 2007 with a slightly different track listing and full album credits and artwork. Of course I didn't find out most of these little informational tidbits until after I purchased the LP, though such information probably wouldn't have changed my purchase decision (hearing the LP might have).
Despite all the negative foreboding I still had rather high expectations for True Magic due to positive at least 2 positive word of mouth reviews from people who had the album a little early and whose opinions I respected. Unfortunately, those early reviewers and myself are going to have to agree to disagree on this was as I found True Magic short on tricks and very disappointing. True Magic features Mos Def's signature vocals, lyricism, and adlibs but in many ways he seems subdued. The production on the album is weak and helps give the album a mix-tape feel more than that of a full length LP. In fact there is just barely enough quality material on True Magic to make me want to listen to it again. If not for cuts like "U R The One", "Dollar Day", and "Fake Bonanza" the album would be worthy of being ignored. True Magic isn't a complete disaster, Mos Def's presence and lyrics alone prevent that, but it's definitely far below what I've come to expect from him as an artist. Even with all his acting success I don't think Mos Def has lost his love for Hip-hop it just seems there are a few business arrangements that need to be worked out. We'll see how much he can and his label can get fixed before they release the album, assuming that rumor is even true.
Overall: C- :Review by Eyecalone
Nas - Hip-hop Is Dead |
Lyrics: A- Content: B+ Production: C+ |
Creativity: B+ Quality %: B Bonus: N/A |
Release Date: December 19th, 2006
If Hip-hop is dead I would like to lead the investigation into it's slow and deliberate poisoning. I have a short list of suspects. Visiting each of them would definitely take us to the corporate boardrooms of America's leading media companies, from radio stations to record labels. We would have to question countless lazy and timid A&R's who work as gatekeepers to make sure only the most inane of sounds make it on to the pop charts. We would have to interrogate numerous untalented, ignorant, and money-hungry pretend MC's under those hot police lights too. This is even before we get to questioning the DJs, and mostly suburban White teens, who up until recently had been steadily buying bad music. Even with all these interrogations that still might leave out a couple of accomplices.
However definitive the title seems, it's not really clear that Hip-hop is dead. Even Nas seems ambivalent about such a claim, in some songs "Can't Forget About You" , "Hip-Hop Is Dead", and "Who Killed It" for example he raps about the art form at times as if it's dead, as if it's dying, and as if the jury is still out, and what happens depends on us. I think I understand what was truly meant by the claim "Hip-Hop Is Dead". It's more that it can't actually be killed since it's a product of the people but the music commercially parading itself as Hip-Hop is "dead" from the standpoint of content and creativity. It's now a disposable and easily exploitable corporate controlled product, a transformation for which the earlier commercial success of artist like Nas, is at least partially responsible. I think it's also meant to start a discussion and be taken as a challenge by other artists especially some of the newcomers. The claim that "Hip-Hop Is Dead" has already caused at least one rapper, Atlanta's Young Jeezy, to take exception to the claim though he did a less than a stellar jobs of defending his position. It's also caused grumbles from at least a couple of other Southern rappers who feel the claim is a veiled critique of Southern rap which is currently the flavor of the month. If Hip-Hop is dead however, it's not the South's fault; if anything most of the current crop of prominent rappers and their usually bad music is a symptom of a larger problem.
Making such powerful claims puts a lot of pressure on Nas for this release to be a standout work of art. Overall Hip-Hop Is Dead is a solid LP but not a classic. It's a themed and generally cohesive LP, that spends much time waxing poetic and lamenting over Hip-Hop's demise. The format works most of the LP except on cuts like "Blunt Ashes", "Where Are The Now", and "Who Killed It?", the saving grace of the last of these being it's creativity and willingness to take risk. The lead single, "Hip-Hop Is Dead" is a potentially stellar song made mediocre by Nas' inexplicable choice to re-use a beat from his previous LP's single, "Thief's Theme". Those are some of the blemishes, but they are outnumbered by the positives like the standout "Still Dreaming" featuring Kanye West on the beats and the mic and newcomer vocalist, Chrisette Michele; "Let There Be Light" features Tre Williams sounding every bit like Anthony Hamilton; and "Play of Playa" which continues Snoop Dogg's recent hot streak of tight, guest and lead appearances. "Hustlers" one of the albums best tracks features a strong guest appearance from The Game, and production from West Coast luminary and producer extraordinaire, Dr. Dre which is a but peculiar considering The Game couldn't get Dr. Dre to work on his sophomore LP. "Black Republicans" is another solid cut delivered fittingly over "Marcia Religiosa" from The Godfather II, though it comes off as every bit a business move and seems a bit short, or maybe it's just that it leaves us wanting more. "Can't Forget About You" deserves much respect for it's sampling of Nat King Cole's "Unforgettable", a feat in itself but it's the cut "Carry On Tradition" and the acappella out-tro "Hope" that best sum up this album. "Carry On Tradition" lays out a blueprint for continuing to keep Hip-Hop alive and respecting the genre and it's origins. Meanwhile "Hope" expresses his frustration as Nas laments, "ain't got nothing to do with Old School, New School, Dirty South, West Coast, East Coast, this is about us this is our thing.... this came from the blood, the gut, the soul, right here man, this our thing so I say what I say, and I say what I say and i mean it. Ya'll take it how you want to take it, cause if you're asking why is Hip-Hop dead it's a pretty good chance you're the reason that it died, it's a pretty good chance that your lame ass, your corny ass is the reason it died man. Cause you don't give a f&ck about it, you don't know nothing about it, you want this paper, be a hustler. You're a hustler, you ain't a rapper, get your paper man, but this rap shit is real... Bitch!"
Overall: B :Review by Eyecalone
Obie Trice - Second Rounds On Me |
Lyrics: B- Content: C- Production: C |
Creativity: C- Quality %: C Bonus: N/A |
Release Date: August 15th, 2006
Obie Trice can finally say he put out his album since he received minimal help from Eminem on the creative side. He brags “you know, I kind of put the album together myself, too. So, you know, I brought it to Eminem’s attention later on and he just mixed and mastered the album. You know, I took some of his, you know, a lot of his beats but kinda did it on my own. I was up underneath him like I was on Cheers". The rapper added: “You want to always stay busy, stay working, you know what I’m sayin’? Not just when you’re in the studio with Eminem. You know he’s already established. You want to really just want to continue to stay on the grind and stay doing what you got to do. And show him like, ‘Hey damn, you know, I don’t really have to guide Obie. He can do his own thing and get it done". So how did he do with no guidance?
Not bad and not good. He got carried away and the album was too long. It's obvious on which instances Obie let others guide him (Interscope suits). I don’t see Obie as a "gangsta" or thug so when the tracks come on of that nature, they reverberate as silly. I was told he cooled the violence out of his music when he took a slug in the cranium on the highway in a random act of violence and the bullet remains lodged in his brain. The irony is that Eminem is behind the boards for only about half of this album because his best friend Proof was killed in senseless violence. Somehow people believe that violent lyrics have nothing to do with that. It's amazing to hear this parroted. Truth is that Em’s productions have become agonizingly predictable. Just as Detroit casts around for ideas to revitalize itself, Trice seems to be searching for something to transform him into a genuine star, if the bullet to the head was an inspiration. Unfortunately Obie’s mostly intent on ‘keepin’ it ‘hood,’ making unlikely death threats and getting some solid punch-lines out. In other words, the Second Round isn’t much different from the first.
Overall: C- :Review by
Ooh Papi
Outkast - Idlewild Lyrics: B Content: B- Production: C+ Creativity: A Quality %: C Bonus: N/A
Release Date: August 22nd, 2006
If you believed the rumors and speculation this album wasn't supposed to happen. In fact if you believed the rumors and speculation Outkast wasn't even supposed to be a group by now. Despite a legendary rap career and numerous acclaimed LPs rumors of Outkast breaking up have persisted for roughly the past 2 years. What many probably failed to understand was that the Atlanta Hip-hop, duo Outkast, made up of Big Boi and Andre 3000, have always been very distinct individuals. This joining of completely separate personalities and sometimes musical vision has led to some of the most dynamic, creative, and enjoyable Hip-Hop to be put out by any rap group in any era.
Idlewild though named for the movie with the same title, is not a soundtrack, at least not in the typical sense, in that almost none of the songs on the album appear in the movie. To some degree this should be expected since the movie Idlewild is a period film set in the 1930's. A better description of this album would be that the music is inspired by the film, in both instrumentation and mood. Unlike previous Outkast albums there isn't a clear hit or two on this album though there are some solid cuts like "Mighty-O", which features both Andre 3000 and Big Boi rhyming on the same track, a rarity these days. However, like much of the music Outkast has been putting out recently the music on Idlewild is basically separated with the duo's members not being featured on tracks together. Morris Brown wins with a big band sound courtesy of Atlanta HBCU, Morris Brown College's, Band being featured on the track. "The Train" is another solid groove as is "When I Look In Your Eyes" but overall there is just a solid album from Outkast though from a lesser group or pair of artist not only would this album have likely been bad, it would have been near impossible to imagine much less pull it off.
Overall: C+ :Review by Eyecalone
P.Diddy - Press Play |
Lyrics: C+ Content: C+ Production: C |
Creativity: C+ Quality %: C Bonus: N/A |
Release Date: October 3rd, 2006
It's been roughly five years since P.Diddy's last "solo" album. Arguably 2006's Press Play will do little to end that drought as it features a dizzying and extensive array of guest appearances and probably "ghostwriters". The very long, short list of guest appearances includes Christina Aguilera, Mary J. Blige, Jamie Foxx, Big Boi, Brandi, Keyshia Cole, Nas, Fergie, Avant, and Pharoah Monch, and this is not including small contributions from lesser know artist looking to raise their profile. This is also not including the extensive list of producers who contributed to the LP including, Kanye West, Just Blaze, Pharrell Williams, Havoc from Mobb Deep, Will.I.Am, Rich Harrison, to name a few. It seems Press Play is Diddy's attempt to be eclectic and as he describes the album, it's "based on all my musical experiences - from the Uptown era, when I was working with Jodeci, Mary J. Blige, and Heavy D...to the Biggie, 112, Mase, Total, and No Way Out era. As time evolved, and I started traveling around the world and going into dance and techno clubs, I began to see music from a global point of view. It all came together on Press Play, all those sounds in my head. I've evolved, studied the game, been a part of it, had success." Indeed Press Play for better or for worse seems to feature a little of everything and everybody, though I would say it's far less ambitious musically than what P.Diddy makes out.
At it's core Press Play is a truly pop offering. Sure P.Diddy raps on the songs but the contributions of R&B singers is at least as prominent on the LP. It's also evident that P.Diddy has enlisted more than his fair share of "ghostwriters" for this LP as he seems to take on the persona and delivery of whatever guest is on the song with him. This is evident from the intro, "Testimonial" delivered over the beat of Tears for Fears' "Head Over Heels" which doesn't sound remotely like he wrote the lines or that they even reference him. The albums next cut, "We Gon' Make It" continues this trend as Puff delivers a rhyme with sprinkles of Jay-Z, and this cut is followed shortly after by "Hold Up" which is one of the LPs better cuts, though it sounds like something from the "Craig Mack era" of Bad Boy and finds P.Diddy this time favoring Pharaohe Monch. What might have been a good idea, so as not to be so conspicuous, even though few believe Diddy writes many rhymes ("Don't worry if I write rhymes, I write Checks"), would have been to not use the verse the another artist wrote for you on the song they are featured on. Despite repeatedly violating one of real Hip-Hop's cardinal sins, namely "thou shall write his own rhymes", Press Play is not without it's moments, though most of these moments come courtesy of R&B singers. "Come to Me" featuring Nicole Scherzinger - of the Pussycat Dolls and "Tell Me" featuring Christina Aguilera, are both ready-made club fodder. "Everything I Love" featuring Nas and C-Lo is another solid cut. "Special Feeling" is enjoyable excursion though it's such a clear Prince knockoff you'll be searching the album cover looking to see which song he sampled. Some listeners will also like "Making It Hard" produced by Rich Harrison and featuring Mary J. Blige though I wasn't very impressed since the blaring horns sound like almost everything else Harrison does and it also finds Mary J. Blige sounding like Amerie. "Though You Said" is also a solid cut featuring Brandy though it would have gone just as well if Diddy never showed up on the song as it works better with her solo. Overall the fun spots, it not necessarily bright spots, don't fully outweigh the not-so-fun spots and at roughly 19 songs the length of this very average offering will have you pressing "skip" at least as much as "play".
Overall:
C :Review by Eyecalone
Sean Price - Jesus Price Superstar |
Lyrics: B Content: C Production: A- |
Creativity: B Quality %: B Bonus: N/A |
Release Date: January 30th, 2007
Since rap has seemingly replaced sports as every inner-city youths "ticket out the ghetto", Sean Price might not be the "brokest rapper alive" as he sometimes refers to himself. He may arguably be the "brokest" rapper still recording if any of the things he says about himself are true. For those not familiar Sean Price is half of the now defunct, Brooklyn based rap duo Heltah Skeltah (Ruck and Rock). Although they are not recording as the that duo any more it seems their relationship is still decent as the other half of Heltah Skeltah, "Rock" is on at least a couple of cuts on this album, as he was on Sean Price's last LP Monkey Barz. In other news for those who might have missed it, the Boot Camp Click is still recording in various forms but their camp has formed a recording alliance of sorts with the Justice League camp (Little Brother, 9th Wonder, etc). Now that we got that little bit of background out the way we can return to our regularly scheduled program, where I tell you about this album.
I'm not sure how to best describe Sean Price as a rapper. In his current incarnation which is not really much different than the persona he's always had, Price has taken the path of brutal honesty. "Mess You Made", which will probably be the album's first video and single, details the limited prospects of a rapper who doesn't make the big time. It's part humor, part serious, and part warning for all those who think all you have to do is drop an album and you'll be driving a Bentley within a week. Even when Price makes mentions of drugs and "hustling" it's not some fantasy of mansions, luxury cars, kilos of cocaine, and models around the pool. It's more the tale of a man with 1 million schemes to keep the lights on. The album is named Jesus Price Superstar which is a title too fly to follow up with a weak LP. Price plays on the title by splicing in segments from a crackhead-sounding preacher whose sermon must be somewhere on youtube as I feel I've heard it before someplace other than church. Price's sense of humor and knack for poking fun at the rap music industry in all it's synthetic manifestations shine through on cuts like "Director's Cut" and "Hearing Aid". His gritty delivery, superior cadence, and off-kilter word play shine on several cuts on the album like "Da God (featuring Sadat X)", "Oops Upside Your Head (featuring Steele of Smif N Wessun)", and "One". Most of the albums cuts contain guest appearances but only some of them contains raps by the guest and they don't overwhelm but instead enhance the LP. For instance Phonte of Little Brother shines as usual in his verse on "Let It Be Known", in fact that song shines period. One of the albums strongest points is it's production which features stellar track work mostly by 9th Wonder and Khrysis of the Justice League camp. Jesus Price Superstar is a more cohesive and consistent offering than Price's previous offering Monkey Barz. Although I would have liked to see him work the "Jesus Price Superstar" theme a little more into the album's layout this LP contains more than enough solid material to work it's way into my current listening rotation.
Overall: B :Review by Eyecalone
One Hunid - The Product |
Lyrics: B Content: C Production: B- |
Creativity: C- Quality %: C+ Bonus: N/A |
Release Date: February 21st, 2006
Most Southern Rappers cite Scarface as an authority and pioneer of Southern Rap. He is arguably the only southern rapper who is put in the classification of the likes of Nas and Jay-Z as a “living pedestal” for story telling. The Product –One Hunid was supposed to be what the game has been missing since the two rappers featured with Scarface, Wil Hen and Young Malice might be better than him according to Scarface. Scarface appears on over 90% of the tracks with the Jackson Mississippi and Bay area rappers. However we have to face it, most rappers aren’t talking about enough these days to distinguish them and make you want to listen to them independently. Scarface is talented still and these new rappers are talented but in good faith I can’t say this album provides enough originality to make you really want to keep listening to it. There are some stand out tracks that deserve multiple listens thanks to Alchemist production and Scarface's guidance of the smooth flow by the new comers for example songs like "Pride", "Not a Word", and "In the Hood".
I can respect the fact that there are not other guest appearances on the album. The CD is devoid of any undesirable appearances or tracks that are irrevocably aimed at appeasing radio station program directors, the album is an ode to the days of Scarface 90’s reality rap of his hood survival but it doesn’t feel that authentic since it is 2006. Seems like a lot of the same shit, basically seems like a copy of what others are doing. Scarface says “don’t nobody really spill their guts on what they going through anymore and speak from the heart. Rap has turned into a dance show a pop show. I would not be surprised if cats open up clubs and call them rap clubs because it’s not Hip-hop no more, Hip-hop is a way of life. This stuff going down is rap.” Even with Scarface featured, there is no way to know if the 2 newcomers are faking their experiences and guilty of what Scarface talks about. Its too hard to tell if they are glamorizing or telling it as they really feel it cause if they are in the rap studio as much as their press release says, they likely didn’t see it with their own eyes.
Overall: C+ :Review by Ooh Papi
Public Enemy - Rebirth of a Nation |
Lyrics: B+ Content: A Production: B |
Creativity: B Quality %: B+ Bonus: Flava Flav gets a solo track ( "They Call Me Flava") |
Release Date: March 7th, 2006
Just because "Da Man" gave Flavor Flav a reality TV show don’t think that Public Enemy, is no longer the Enemy of "Da Man". The lyrics have changed a little considering the fact that Paris wrote much of the lyrics and not Chuck D, and you might be a little surprised by an occasional N-word where you are not accustomed to hearing one from Chuck D. However the main diversion from the average P.E. album is that there are more guest appearances on the album than any other P.E. project. The Guest list is VIP in terms of political rappers Dead Prez, Immortal Technique, KAM, Conscious Daughters and MC Ren formerly of NWA.
It’s hard to imagine that much of the lyrics are not written by Chuck D but the flow is definitely his on "Pump the Music". I felt like I was listening to a missing cut from the “It Takes a Nation of Millions to Hold US Back album. Any talk about Public Enemy being stuck in an earlier period is cliché as P.E. offers no evidence of being in a time warp. However the album tracks bounce back and forth from Vintage 90’s, to attempts at capturing the swagger and psyche of the youth of 2006. A task that may not be possible without the help of other propaganda mediums. Flavor Flav’s new found popularity should be reason enough for curious adolescents to check the newest Public Enemy project and they will find the same energy that I discovered when I was there age, in fact although Flav is almost 50 his is voice is ten years younger and Chuck’s hasn’t changed at all.
My personal favorites are "Plastic Nation" discussing the ills of America’s Botox and plastic surgery pandemic, "Hannibal Lecture" which is rawer than Sushi, "Consequences", a Paris Solo where Flavor Flav's reality series is addressed. "Invisible Man" where Chuck D reasserts his voice as one of the most distinct in hip hop history, "Watch The Door" which has a robin hood theme that comes off as quite original, and "Rise" which may be the best track on the Album. Its hard to go into all the tracks that are pleasing in an album that scores in the Heavy Rotation category without turning this into a feature. Ironically the only track that I did not particularly like was the title Track called "Rebirth of a Nation" which may be viewed as the most official Public Enemy cut because it has Professor Griff on it; something many long time P.E. fans have missed. This album is classic just in the sense that there has never been an album to my knowledge which incorporates so many controversial political rappers. If it wasn’t an independent release it might not have ever happened.
Overall: B+ :Review by Bruce Banter|
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