For close to two decades, the Wu has remained a cult classic staple
in rap, whether together or separate. Yet as the famed Clansmen
(Ghostface, Rza, Raekwon, Method Man) push further into the
mainstream, it appears as though the Wu unity gets consistently
tested. However, those outside of the spotlight tend to ground the
collective and harness all of the organic energy that made 36
Chambers the genesis of greatness. This is what Return of the Wu
represents. Wu Producer and DJ extraordinaire Allah Mathematics has
crafted a mix that reunites your favorite crew once again. In 2004
when Masta Killa released his solo debut No Said Date, it was just
the dose of humility Wu needed – raw tracks that didn’t rely on
bread and butter hooks to fund label agendas. Return of the Wu
flows along that same vein, where verses are lined up and knocked
down like they were in ’93. Return is meant for continuous play,
but check tracks like the old school tinged “Steppin 2 Me,”
Raekwon’s solo masterpiece “Treez,” “Rush” and the cryptic ODB
track “Early Grave. Even Mathematics checks in to rhyme on “Da Way
We Were.” It took the silent hero Math to gather his family back on
the street corner cipher, and Wu fans will be eternally
grateful.
Thirteen seems to be a lucky number for classic Queens Hip Hop
duo Capone-N-Noreaga, as it was 13 years ago that the noteworthy
The War Report dropped, and July 13 now marks the release of the
sequel. As diehard fans of the original braced themselves for what
could be a disaster, it seems that N.O.R.E. and 'Pone were busy in
the studio cooking up an album worthy of the name. In many aspects,
The War Report 2 is indeed a continuation of the original, unlike
some Rap sequels (what did Jay-Z's Blueprint 3 really have to do
with the original Blueprint anyway?). Littered with references to
the past throughout bars on almost every track, it’s as if the late
‘90s have returned with a vengeance. The matured pair is still
street stuck, still spitting their unique slang, and most
importantly they are still executing it well. Perhaps the biggest
difference between part one and part two is the absence of Tragedy
Khadafi, who in fact was released from a period of incarceration
just prior to the LP’s release date. But with age comes maturity,
and even CNN are man enough to admit the shortcomings on their most
recent effort, as evidenced by their verses on “Live On Live Long
Pt. 2.” “Trag got locked up / I really can’t believe it / The War
Report one, he was like the heart of it / The War Report 2, you
know we want you to be a part of it / Wrote letters, reached out,
and lost mad contact,” Noreaga admits, as the track boldly boasts
the exact same chorus as the standout track from 1997’s War Report.
Producer SPK even lets the original’s beat ride out for a few
seconds during the middle and end of the song. Intelligent Hoodlum
presence or not, The War Report 2 still maintains the perfect
balance of features. The lyrical and production lineup will satisfy
lovers of the Queensbridge trademark sound, yet at no point does it
overpower the two stars of the show, despite having fellow Big
Apple heavyweights such as Raekwon, Nas, and The L.O.X. showing off
their skills. This is best exemplified on “The Oath” , which finds
N.O.R.E. and Capone rhyming alongside Busta Rhymes and Hip Hop’s
favorite Chef. Instead of a traditional chorus, each emcee receives
an oath dictated to them in a language each can personally relate
to (one of which is an uncredited Damian Marley), as the drums fall
back to create a dramatic atmosphere. The boom bap returns to
complement solid verses from all four lyrical contributors. The
extremely ominous beat from Hazardis Soundz coupled with the
mafioso influence of the structure and subject matter is strongly
reminiscent of something that could have come straight from The
Firm’s album, which fittingly was released the same year as The War
Report. Addicts to the grimiest of sounds, a la “Halfway Thugs,”
will revel in The Alchemist-produced banger “Pain,” which sounds
like the theme song to a Horror flick and doubles as the
introduction to the album. Meanwhile, the two share an exchange
over a chorus revealing, “Look what happened to Haiti, it’s all
crazy / Every night I go to sleep, I kiss my baby / I feel
pain/every day the same story, war over territory / We just tryin’
to see the glory, you know?” As satisfying as it is overall, The
War Report 2 still falls victim to a few negatives. Unlike its
predecessor, that possessed the grittiest of sounds and rawest of
lyrical content from beginning to end, the sequel takes an
ever-so-slightly commercial turn from time to time. “The Corner,”
assisted by Avery Storm on the hook, may have benefited from a
different choice of singer. Storm’s voice, that conjures up
thoughts of Colin Munroe when his accent and vocal style are taken
into consideration, just seem out of place within the overall
context of the Capone-N-Noreaga sound. Additionally, that
particular track boasts one of the least hard-hitting instrumentals
on the album, as a military-style drum roll pairs with a melodic
whistling to create the visual of a Western movie rather than the
project buildings surrounding the Queensboro Bridge. On the warm
and fuzzy front, “Brother From Another” is a bit too heavy on the
platonic affection, and not “Illegal Life” enough to deserve a spot
on a lineup of their former classic. The DJ Green Lantern-produced
“Obituary” is annoyingly sluggish as the duo namedrops friends of
theirs who have passed, taking it to a personal level that may
render it tough to relate to for some listeners. Although in
concept it would be the logical track with which to end the album,
it seems a bad organizational move to end such a strong effort with
one of the weakest links of the project. Fortunately, and in rare
fashion with many sequels, these shortcomings are not enough to be
a significant detriment to the overall success of The War Report 2.
Transcending subpar sequel syndrome, the follow-up LP isn’t going
to be perfection in anyone’s eyes who considers the original one of
their favorites, but it’s a definite step up from much of Noreaga’s
solo work, or even Channel 10. Sure, the guy who tried a random
Reggaeton crossover and his oft-incarcerated friend aren’t the most
amazing lyricists, but were they ever? They haven’t declined in
quality or even gotten noticeably better this time around, but
that’s just proof that one need not spit creatively multi-syllabic
hot fire every second of the day in order to create high quality
Rap music. That held true for The War Report, and over a decade
later, it’s shockingly refreshing to be able to say that it still
holds true now.
Rhymefest is just a name, but Che is a calling. Though the
Grammy Award-winner consciously chose his Rap alias, Rhymefest’s
birth name - Che Smith - carries a burden considering that it was
inspired by controversial revolutionary Che Guevara. On his
deeply-delayed, highly-anctipated sophomore release, El Che, Mr.
Smith does his best to live up to that weighty name and still keep
fans tuned-in to the charismatic style that first attracted them to
his debut. Despite the title, El Che is as much “Dead Presidents”
as it is dead prez because the content is not overtly political. In
fact, Rhymefest has never been a "revolutionary" in the soapbox
sense. He's always represented the real life perspective: smart
enough to speak on important issues but cool and flawed enough to
not be above enjoyment. It's clear throughout El Che that Rhymefest
tries to represent his fun-loving nature and substantive message
with equal importance. 'Fest shows his balance as he goes Gump on
"Chocolates," an ode to the many flavors of women that he just
can't resist. And while the Windy City native has more than a few
ditties aimed at the fairer sex (“Agony” and “Say Wassup”), he
switches modes and trades perseverance stories with Little Brother
on "How High." Over a diverse set of electric guitars and prolonged
keyboard notes, Rhymefest passionately raps, "Heart felt sting,
push past the pain / But I still stay fly when it rains on my wings
/ Icarus, sky high, picture this / Look down, it's all
insignificant / Look up, ooh, it's magnificence / It's so intense I
feel like my wings left prints on the cloud." While El Che has its
faults, they are not completely flagrant fouls. The only complete
misfires are "Agony" and "Last Night," two songs that sound far too
familiar and forgettable. But when Rhymefest delivers tracks that
play to his strongpoints, the results are incredible.
Production-duo Best Kept Secret helps inspire what's arguably El
Che's best song, "Talk My Shit." Fused with a bit of Go-Go that
leaves listeners little choice but to bounce, the song allows
Rhymefest to addresses his middleground nature and say, "Fest, do
some ignorant shit, I ain't ignorant / I don't like that nerd rap
either, I'm not into it." The energetic "Give It To Me" then
delivers insight into world affairs likely to appeal to both Che's.
Rhymefest's voice booms over Scram Jones' frenetic horn and vocal
samples as he raps about Chicago’s large death toll and being in
Mumbai during the 2008 terrorist attacks. The perils of the
Israeli-Palestinian conflict then give way to the stress of
relationships on "City Has Fallen." Drums are largely absent during
his verses, but ‘Fest handles the jazzy horns with equally smooth
lyrics about needing "Red Cross for heart loss." Yes, baby-mama
drama is a well-traveled path; but "City" is more laid-back than
the typically up-tempo songs on El Che, so the song's relaxing
nature helps balance the record's vibe much like it wobbles between
subjects. Interludes with weak skits preface strong acapella verses
that draw links between Rhymefest and Guevara. It’s an interesting
move considering that El Che could prove polarizing, just like
Guevara. Not everyone will appreciate the album’s love songs and
others may reject the music-with-a-message mantra that it embraces.
However, El Che is a solid album with its greatest strength being a
balance of content and subject. Though many albums fail because
artists try to make “something for everyone,” Rhymefest succeeds by
releasing something everyone could benefit from hearing.
Much has been said about Nas and Damian Marley since they
announced their collaborative endeavor as Distant Relatives. While
much of it was praise in anticipation, expectations grew to nearly
unattainable heights. Both Nas and Jr. Gong are no strangers to
this - both sons of famous musicians, both with hits in their
history. Each held in high regard within their respective genres,
individually, they have managed to forge rich legacies in the
streets, while always maintaining a message in the music. With the
message behind a project like Distant Relatives - drawing strong
parrells between the music of Africa, America and the Carribean, as
well as the "one blood" that flows within us all, it would be easy
to get too preachy, too informational. Luckily, Damian Marley's
powerful production creates the perfect surface for he and Nas to
educate and demonstrate their points masterfully. Lyrically, the
album boasts thought-provoking, introspective writing. Distant
Relatives exemplifies the type of lyrical prowess both artists have
become known for, with songs like "Welcome To Jamrock" and "If I
Ruled The World" in their respective catalogs. The Realtives speak
on current events (“My Generation” ), their own triumphs through
troubles (“Strong Will Continue” ) and worldly issues (“Africa Must
Wake Up” ) with the same amount of dexterity, deftly covering
topics with skill and insight. They lend words to the power of
loyalty (“Friends”), good fortune (“Count Your Blessings”) and
religious beliefs (“In His Own Words”), sharing personal touches
with every turn. Both take risks, and balance their master-plan, as
Nas candidly forecasts the birth of his youngest child. Throughout
the album, Nas and Jr. Gong ask the right questions (“Why do we all
collide? Why do the young die?”) and provide just enough
inspiration in the process (“Only the strong will continue, I know
you have it in you”). They offer the right amount of positive
influence with a balanced realism, juggling intellect with lived
experience. They also manage to do something few traditionally
"conscious"-labeled artists pull off; they never sound corny or
contrived. Only artists of this stature could pull of this kind of
undertaking. With honest emotion, intelligent bars, enjoyable
melodies and fluid delivery throughout, this is a benchmark album
for Damian and Nas, both as artists, but also as social poetical
prophets. The production on the album shows just how much thought
was put into the project, one that also shows range. Where many
have forgotten about the lost art of full length album making, this
project is best served whole. Whether mixing live instrumentation
with cleverly flipped samples (“The Promised Land” ) or borrowing
from various cultures and genres, the beats here do not disappoint.
Not often thought of as a Hip Hop producer, Bob Marley's youngest
son (with some assistance from brother Stephen) assert themselves
as versatile studio conductors. It’s refreshing, for instance, to
hear tribal drums on “Tribal War” following the up-tempo breakbeats
of “As We Enter” . All of this sets the stage for “Strong Will
Continue,” which acts as one of the standouts in a heap of uniqye
cuts, an anthem that blares with electric guitars, piano keys and a
potent drum pattern. They can also mellow things down (“Leaders”),
bringing the acoustic guitars out (“Count Your Blessings” and “In
His Own Words”) and borrow from various cultures and languages,
something heard on chants in “Patience” “Dispear” and “Friends.”
They can go from the accessible (“My Generation”) to the gritty
(“Nah Mean”) with ease and keep heads nodding throughout, without
ever losing the cohesion that makes this a complete album. Like
Madlib, Damian Marley has the ability to make his music sound
globally relevant. The production matches the lyrical points
perfectly, which may be one of the most challenging achievements on
such an ambitious project. From the moment the listener absorbs
opening-cut, “As We Enter,” the chemistry is solidified within
Distant Relatives as the two trade bars and this collaborative
spirit can be seen throughout the album. Nas' and Damian's work
together is superb and each guest (Stephen Marley, Joss Stone, Lil
Wayne, Dennis Brown and two guest spots from K’naan) fits sensibly
with the project's perimeters, ensuring that nothing is done for
show and no detail is spared. Front to back, this album provides no
filler and boasts substance. In a genre-bending effort, the duo
manages to succeed in creating a best of both worlds collaboration
without compromising anything - a feat rarely seen. The relativity
between Nas and Marley comes across in this music as well as it
does in their message, as both men create a benchmark in their rich
careers.
Had I written this review for the album's originally planned
release date in 1996, I would have probably opened it by simply
saying, "The Large Professor, the main ingredient in The Main
Source has gone solo." The long-awaited and long-anticipated first
solo studio album from Large Professor, was ready to be heard by
the masses way back in 1996, but it was unceremoniously shelved by
Geffen Records. His actual sophomore release, 1st Class in 2002
transformed into his debut solo album, while a select group of
bootleggers championed The LP. Thirteen years late, the Queens
emcee/producer acquired his masterpiece, threw on some stuff that
didn't make the '96, and The LP was officially released. Armed with
a special swagger and confidence from the get-go, even the mostly
instrumental, “Intro” has you anticipating on what’s next as it
asks, “Yo Professor, what’s up?” “That Bullshit” quickly transports
you back to the lyrical prowess and emcee suave bola-ness of the
mid-1990s. The Large Pro laments about it gettin’ harder in the
streets to survive as he exhorts folks to get their minds together
and avoid the social pitfalls (including a minor explanation of his
Main Source departure). “Hungry” is a braggadocios-yet-captivating
display from a stellar emcee, written at a time when his
productions with Nas and Kool G Rap were overshadowing his mic
skills in the media. Extra P’s vocal delivery is crisp and full of
clarity, while the track is accompanied by the mandatory
in-your-face hard snare and a funky baseline. The track and its
aforementioned elements are the foundation and the blueprint for
any and all Large Professor-produced offerings. Throughout, the man
who mentored DJ Premier with the chop has produced tracks for the
likes of A Tribe Called Quest and Nas exalts on the fact that he
has mastered the art and craft of looping a track. Unveiled as a
single during the changing of the guard from "golden era" morals to
the shiny suit era, “I Juswanna Chill” marks P's 1996 needed
commentary. The song thrives on the mantra of, “I don’t wanna ill,
I just wanna chill and keep my hand around a hundred dollar bill,”
which is the Professor’s introspective realization that he was
meant to rhyme not commit crimes. Cutting, scratching and
transforming is artistically and skillfully utilized like a
tutorial throughout this album. The turntable mastery flourishes
and thrives in “Funky 2 Listen 2” and “The LP (For My People).”
With “Funky 2 Listen 2,” transformer scratches are used like an
instrument as it vibes underneath the cutting of Big Daddy Kane
saying, “funky to listen to.” Meanwhile “The LP (For My People)” is
a smooth track that bounds with a hard snare that still manages not
to destroy the smooth ambiance. Greg Nice saying “LP” is precisely
scratched, as the creative give and take track inspired by the
people and made for the people gets funky for the people. After
all, it was Large Professor who reconstructed "recognize" to "Nas"
on the remix to "It Ain't Hard To Tell." The 1989 rookie
demonstrated his turntablism at a time when deejays were being
phased out from major label projects. “Queens Lounge” is a
pleasurable trip through the borough, while “Hard” is a shout out
to the Professor’s beats and production, as well as the community
that he comes from. When you come from hard times and hard streets
you get inspired to create hard beats and a hard ghetto style.
After giving Queens' Nas and Akinyele and stellar production
throughout the decade, The LP had the creator's lifelong home in
mind. Nas catches this vibe briiliantly, on one of his finest
unheard 1996 moments, "One Plus One." This album felt like an old
friend; when I pressed play, I was hearing 98% of the cuts for the
very first time, but I was smoothly transported musically back to
1996. The skillful funky basslines and the hard pulverizing snares
of a Large Professor production maintain their vibrancy and energy.
Meanwhile, Extra P’s lyrics and delivery like a funky fossil,
leaves an imprint in the Hip Hop soil that lasts and permeates
music of today. Those who understand the importance, the
originality and the experimental significance of music from that
time period like a Hip-Hop Archaeologists will fully appreciate
this freshly dug up and well preserved musical offering.
For Souls of Mischief’s latest album they take it back to the
days of the past. They rented a town home on San Francisco's
Montezuma Street with 20-year super-producer Prince Paul and
recorded Montezuma’s Revenge in its entirety. It’s a welcomed break
from the electronic collaborations that take place and the project
benefits from the tight-knit chemistry and the organic approach
that they took to make the album. The album isn’t flawless but
Souls of Mischief delivered an album that rightfully stands beside
their first two releases, dating back a decade-and-a-half. Prince
Paul is a star addition to this project. He has a keen ability for
creating albums that sonically flow from start to finish, a trait
that played a role in De La Soul's legendary status. He may be far
removed from hit records that garner spins, but he fosters a sonic
narrative which each emcee is forced to match. Tracks like “Postal”
show how talented and detailed of a producer he is while on “For
Real Y’all” the emcees ride a dope bass line and a vibing sample.
The song is blessed equally with dope verses and a catchy hook. It
proves to be arguably the best song on the album. The Souls of
Mischief have a full grasp on the skill of sharing a verse. You can
tell they’ve done it for close to 20 years, yet the passion for
their craft still is reflected in each bar. On “Fourmation” the
emcees go back and forth over a simple, but effective track.
Meanwhile, on “Proper Aim” each emcee kicks a dope verse that
lyrically complements the verse before. Tajai starts the track off
strong with lyrics like, “I stress the maximum effort / I can’t
relax 'cause I’m reppin' / so face the fact that I’m fresher / and
take it back to the essence,” that highlight a dope cut. A-Plus,
Tajai, Phesto, and Opio are consistent throughout, well aware of
their individual boundaries, but not shy about pushing them. They
are comfortable in their own skin and it’s quite evident on “Home
Game” a track that makes you wish summer was right around the
corner. The album isn’t without flaws. The group constantly toes
the line between brilliance and obscure. Tracks like “Poets” leave
the listener yearning for a bit more from the crew. The Souls'
common "I’m-better-than-you" tracks may actually be better than
most recent releases, but they’re nothing revolutionary, and they
fail to match up with some of their classic cuts in the Hiero
catalogue. Prince Paul puts forth a righteous effort, but even he
is guilty of delivering some off the wall beats or bland sample
like “You Got It” or “Hiero HQ.” Even these so-so efforts, that are
occasionally seen throughout the 18 tracks, are passionate records.
They go hard on every verse and that alone is commendable. Souls of
Mischief prove that they can still put out a dope consistent effort
and have fun doing it. While Hip Hop is stuck in the age of
conformity, the Bay Area originators of the abstract are still
pushing the limits and making music that feels good to them. The
bottom line is Souls of Mischief know who they are, and who their
audience is and isn’t. They aren’t trying to become a group that
they aren’t and after 20 years of kicking rhymes, they still have
plenty more to say. The end result comes out fresh, even if the
occasional track misses the target. Montezuma’s Revenge may have
been created by Prince Paul, but it’s told by Souls of Mischief and
it is quite the entertaining adventure.
Some people say good things happen to those who wait. Those
people are idiots, or lazy, or both. Patience may be a virtue, but
it’s not a formula for success and respect. Just take Sha Stimuli,
an intensely creative and uncompromising Brooklyn born rapper who
has been told that with a little patience, he’d be the next big
thing since The Sourceplaced him in their coveted Unsigned Hype
column way back in 2002. But then a contentious legal battle
between Virgin and Def Jam left Sha without a label home or
management, and suddenly the path to the top wasn’t so clear.
Unfortunately, simply making great music isn’t enough. You have to
make things happen. Tired of waiting on others to decide his fate,
Sha is now determined to forge his own path into hip-hop’s elite
circles with the release of his debut album My Soul to Keep, a work
that’s simultaneously proof of his remarkable talent and evidence
of why mainstream radio’s won’t come near him. (What can I say, no
one likes a free thinker, especially a smart one.) In other words,
you’ve probably never heard anything quite like My Soul to Keep
before, and in today’s cookie cutter hip-hop climate that alone is
enough to warrant Sha some serious praise. Honestly, Hang On might
be one of the best openings to an album I’ve heard in a long time.
If you’ve never heard Sha before, this is the place to start. Hang
On begins with the voice of a young man rapping and then slowly
deepens into Sha’s adult delivery as the track progresses. It’s a
dope idea, and the execution is perfect. But special effects are
nothing without substance and Sha delivers substance in abundance,
dropping a nearly ceaseless four minute flow that careens from
serious reflection (“You stop living fast when you witness slow
death”) to off the cuff punchlines (“Wasn’t getting love from DJs,
had to sell verses on Ebay”). It’s a hell of an introduction, but
one that would prompt some to label him a quasi-spoken word rapper,
until they heard Move Back. The lead single off My Soul, Move Back
is a Just Blaze produced burner featuring a substantially harder
flow from Sha, though he still can’t resist the occasional joke (“I
talk in third person like Elmo”). To cap it all off Philly’s finest
Freeway even stops in for a typically gritty verse. Sha doesn’t
quite have a full fledged banger in him, or if he does we don’t
hear it on Soul to Keep, but Move Back proves that he’s anything
but soft. It’s a similar story on Follow the Leader (Remix), a
track featuring Sha fearlessly throwing indirect jabs at the likes
of T-Pain and Ron Browz. Sha obviously refuses to follow, but
leading can be a dangerous game, and on My Soul to keep he’s
certainly playing with fire. Just in case you thought Sha was an
overly serious artist, My Soul to Keep spends plenty of time
contemplating a more earthly pursuit, pu**y. Nowhere is that
pursuit more literally addressed than on the soon to be infamous
Smelly Cat Song (I’ll give you a moment to figure out the
correlation between the song title and the topic at hand), but more
broadly Sha repeatedly takes time on the album to address his
relationship woes, most prominently on the laid back I Wish I Was
U, an ode to unbalanced relationships featuring a hook by newcomer
Bellringer, and My Girl, the album’s only real example of sincerity
involving a woman. Most importantly, even when Sha deviates from
his more seriously minded hip-hop meditations, he doesn’t
compromise his musical mission or dumb down his flow. In other
words My Soul to Keep is about two things: the independent artist’s
fight to stay true, and the struggle to co-exist on this planet
with women. And for the record, both are worthy of deep
contemplation. With that said, I’d much rather listen to the darkly
spun What’s Wrong With That?, featuring an ill contribution from
Torae, or the 9-to-5er anthem Do It For the Doe, a gripping look
into Sha’s battle to balance the pursuit of his art with paying the
light bill (I’ve definitely been there). These are the kind of
tracks that truly make My Soul to Keep what it is: an album that’s
far from perfect, but whose imperfections primarily only make it
realer. That kind of artistic depth can’t be bought at any price.
Much like Sha Stimuli’s soul. 3 1/2 out of 5 Review by Nathan
S.
Fat Joe has consistently dropped albums since his 1993 debut,
Represent, but on his ninth solo look, Cook Coke Crack revisits his
most successful effort: 2001’s near-platinum Jealous Ones Still
Envy (J.O.S.E.). Back then, it was R. Kelly (“We Thuggin’”) and
Ashanti (“What’s Luv?”) who assisted the Fat Gangsta on his
mission, but now it’s Ron Browz and T-Pain. Time sure flies, and on
his latest, Jealous Ones Still Envy 2 (J.O.S.E. 2), the rapper
looks to recapture the magic. The Bronx Bomber may call Miami home
now, but he quickly proves it isn’t all sandy beaches and
crystal-clear waters, with the sinister “Hey Joe,” where he spits
menacing lines like, “Play Superman, fuck around, get your S lit,”
over producer Infamous’s rollicking drums. The Don Cartagena
maintains his N.Y. state of mind on the Inkredibles-helmed “Okay
Okay” and “Ice Cream,” featuring Raekwon. Still, Joe’s M-I-Yayo
influence is eventually felt, on the breezy “Congratulations” and
the Fabolous collaboration “Here We Go.” Sonically, the latter
plays out like a ride down Ocean Drive, with its soulful loop and
R&B hook, but the album’s true gem is the boastful “Music.”
Here Joe reflects on his underappreciated hip-hop contributions,
arguing, “They say, ‘Crack is too selfish, he wouldn’t let us in
the door’/I say, ‘What if I would’ve left Pun in front of that
store,’” before name-dropping other protégés, like Remy Ma and DJ
Khaled. J.O.S.E. 2 does hit some snags. The repetitive thump of
“Winding on Me,” featuring Ron Browz, is a definite low point, and
the Jim Jonsin–produced “Porn Star” sounds more like Weezy’s
“Lollipop,” with its eerily familiar guitar riffs. And although the
chopped-and-screwed hook of “Me and My Bitch” is catchy, it loses
points for predictability. Sequels rarely live up to the original,
and J.O.S.E. 2 is no exception. But, in the end, with his string of
hits, Fat Joe still remains one to envy. 3 out pf 5 stars
Even during an off season, you're guaranteed thrills from the
Yankees. With the biggest payroll in sports, New York's finest will
always field teams with talent, even if all the position players
don't congeal into a world championship team. On the shiny new CD
from Jay-Z, a rapper almost universally heralded as the greatest MC
of all-time, a lack of urgency keeps the product a significant
distance from greatness. There are flashes of brilliance, indeed,
most of the biggest names in urban music from the last decade
appear on the album, but the record sounds like something put
together by a greedy owner: someone assembling pieces without first
having a solid idea of where everything goes. The record doesn't
have much soul. Confusion surrounded the album's release, with a
leaked copy on the internet pushing the on-sale date from September
11, when Jay-Z released his original, classic Blueprint record, to
yesterday, although the new album was only available for download
in the U.S. and was never for sale at Canadian record chains like
HMV. For a businessman like 39-year-old Shawn Carter, who was
Forbes highest-grossing rapper with an estimated earning of
US$34-million in 2006, mucking up the release date, where first
week sales can determine an album's success, is startling: This is
where Jiggaman is supposed to shine. Anyway, the record came out
under uncertain terms and maybe this means nothing, but it seems to
signify the lack of focus behind the entire project. Let's get to
the tunes. And make no mistake, there are some doozies on The
Blueprint III. Empire State of Mind, with a catchy Alica Keys hook,
shows Jay-Z flaunting his ownership of New York with clever lyrics
and a pulsing, disco-infused beat that should become a massive
single when released after D.O.A., Death of Auto-Tune, the record's
first single and a good idea if not exactly an honest
pronouncement: even without a T-Pain chorus, crazed auto-tuned
computer voices pop up all over the album like b-list celebrities
at the new Yankee park. Perhaps those songs were recorded after the
D.O.A. song. Venus vs. Mars sounds like a reheated LL Cool J track
from the 90s until the third verse, where Jay-Z shows why he's
"every rapper's favorite rapper," and uses the album's wittiest
couplets in describing a relationship gone bad. Talent is never the
issue here, hunger is. Elsewhere, the Swizz Beats song On To the
Next One may be too close to Lil Wayne's A Milli, but it's still a
super-hot record with the album's most irresistable beat and A Star
is Born is an instant classic: Jay-Z's history of the last decade
of rap superstars in which he says, "Drake's up next, let's see
what he do with it." Lil Wayne was the last rapper Jay-Z anointed,
but Jay-Z may have lost a step with age. Run This Town, with the
Rihanna chorus and Jesus Walks church choir and verse from Kanye
West, is just another example of where the album falters -- not
only have we heard this before (and better), but this is The
Blueprint III from Jay-Z, where scoring a six out of ten means
failure. "I made the Yankee hat more famous than the Yankees did,"
raps Jay-Z early on in his album. Let's hope that when he fields
his next record, it will have more heart, and more brains.
Wu Tang, Wu Tang, Wu Tang!!! For many years now it seemed Wu
Tang Clan was off the radar. With the exception of a few blips here
in there thanks to Ghostface Killer carrying the Wu Torch it was
deemed all too hopeless for a wave of pure Wu Tang brand of Hip
Hop... I turn your attention to Only Built For Cuban Linx Part 2.
Raekwon for years have been all forgotten in the Hip Hop world and
truly has been a underdog for quite some time. Let me inform you
with this album I PROMISE YOU he will shut every single critic,
hater and doubter the hell up. If you are a fan of Wu Tang Clan ala
1993 to 1996 then this is the album for you. Its like he picked up
where OBFCL part 1 left off and brought it to life in 2009. Hands
down the BEST hip hop album of the year so far. You have all your
Wu Tang generals make there way through the mic along side Raekwon
and if there was problem in the past they dam sure dont show it on
this album. ILL BEATS, ILL RHYMEZ Basically A CLASSIC ALBUM!!
PERFECT 5 STARS!!!
What do you get when you get a young, confident emcee but with
the old school mentality mixed with inner city struggle and crazy
flow? You get Joe Stylez and with his debut Mix Cd (not really)
“Never Saw It Coming” the kid proves his first up to bat won’t be
his last. Birthed out of south side Bethlehem PA; Joe raps about
his inner struggle without sounding to glorifying and seemingly
searching for answers. His first opening track “Air it out”
freestlye shows how he plans to set the tone right away he is not
the one to be tested on the microphone. He was able to keep that
consistency throughout the CD and painted pictures rather vividly
for such a young artist. He raps about business from Wall Street to
down the street on “business man” and lets everyone know he can
play both sides of the fence if he has to. On the witty “Make you
Yuck” he is joined by fellow new comer Bronx NYC artist Boogie Van
Gogh where they go back and forth classic style on the final verse.
Another south side favorite Tug Mc Raw joins Joe on the laid back
Big Dreams where Joe Stylez shows he can hang toe to toe with a rap
vet like Tug. The highlight of the cd is of course his take on the
Special Ed Remake “I Got It Made 2009”. Please understand Joe was
not even born when this track was buzzing so for him to know his
history and rock the beat the way he did it shows that he is not
just your average puppet rapper… He is a emcee with awareness of
what is TRUE HIP HOP! Cop the cd on his my space and show him love!
4 out of 5 stars. www.myspace.com/joestylezmusic
From Easton Pennsylvania comes wordsmith Godilla bringing his
Boom Bap brand of Hip Hop to the masses with “Jaguar Paw”. If you
are a fan of Godilla then you already know he follows no trends but
rather sets a tone for an album and sticks that theme throughout
with no deviation of reaching just to be relevant to the now. Just
like his last album Suprilla with Dj Supreme, Godilla once again
proves he is here to make a statement while giving Hip Hop Heads
like me there much needed supply of Boom Bap original Rap!!!
Godilla always reminds me of legends like Guru who gets there point
across rough, raw and direct. Never beating around the bush Godilla
shows why he is able to stand toe to toe with some of today’s
rawest emcees. From the gritty “You and Me” featuring Army Fatigue
to “Lion’s Den” featuring Adlib and UG its all pure raw beat down!
A nice surprise was “Paxil” featuring Ed O G and Ali Arms which
gave a nice smooth laid back feel without taking away from the
albums energy. With production from Germanys favorite Snowgoons
plus many more; the album keeps you in tune with an art that is
being clouded by today’s version of what’s Hip Hop. Jaguar Paws is
an album that gives you a feeling of Freedom (30) with no worries
of who’s watching. AUGUST 11th Show the love and COP THE LP! 4 out
of 5 stars. For more info log on to www.myspace.com/licensed2illa.
It has been years since I have had the pleasure to say I can’t
wait for a album to drop. I remember when I use to hit the record
store every Tuesday looking for the hot new album of the week. I
remember hardly ever using the fast forward. I remember listening
to an album straight through just to debate about with your peers
that night.. Slaughterhouse has made all those good old feelings
come back and frankly it feels GREAT!!! Hands down the hottest Rap
Album this year period!!! Forget the Joe Budden beefs. You get put
those to the side and just ride out to a bangin lp! Lyrically you
can tell they challenged each other and there was a whole lot of
inside competition but they made it work like a perfectly built
engine with 500 horses under the hood! Great Beat selection and
even better bars!!! GO COP THAT!!!! 4 ½ out of 5
Comment by Jayson Nut on August 18, 2010 at 10:34pm
(Comment on the Souls Of Mischeif)
SOUL OF MISCHIEF! & PRINCE PAUL! TOGETHER! Ah Man.. My older brother used to love them dudes. Wait intill I tell'em about this. I also had there 1st album. I don't know what happend to them after but I know that there "Lyric's" did make a statement. And now they got "Prince Paul" on there side... Shit gotta be crazy. "What's Up with a link? How do we find them?"
(This comment is for the REAKWON review.) I'm a Wu-Tang fan forever. My favorite Mc in the Wu is
"The Chef". So once I saw the review on "Rea" I jump on it. Plus the purple tape is my favorite album. I feel it was the most consistent album from the beats to the lyric's , to the songs. I did hear a song off the new album "Only Built for Cuban Links prt.2" and that sh!t was straight FIRE! Big-ups to "The Chef" Reakwon and the whole Wu-Tang family.
Comment by Jayson Nut on August 18, 2010 at 10:34pm Comment by ThaCoach on March 8, 2010 at 9:42pm
Comment by GQ nothin pretty on September 16, 2009 at 5:20am 
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