4th solo album. 5 years of waiting. Now we’re finally here, Only Built 4 Cuban Linx 2; sequel to the certified classic of the same name, without the 2 of course. Generally Hip-Hop and movies had a rule that sequels sucked, with the exception of a name few. As of late, both genres have found the ability to craft further extensions to an original story without killing the quality of what the original stood for.

If you’re a fan of Raekwon, then you’re aware of his status of storyteller supreme within the Wu-Tang Clan. You also might be aware of the 5 years of politics, pushbacks, label issues, etc that almost kept this from coming out. This very well could have gone the way of Detox or –sniffle- Crunk Rock; but it has finally made it to store shelves and true Hip-Hop heads are chomping at the bit. The Twitter buzz alone from heavy-hitters like Q-Tip and Fabolous to the educated Hip-Hop fan is ridiculous.

There’s not much more to say on this release other than it’s a put-up or shut-up proposition. Raekwon has shown the fire is still there with quality features over the past few years and despite the 5 year wait, the buzz surrounding this album is still there. Is the Chef serving up a quality follow-up to an all time classic, or was this better shelved? The wait is finally over nevertheless.

1. Return Of The North Star
Featuring Poppa Wu; Produced by BT
You can always count on a mean intro on any Wu related album and this is no exception. Beautiful horn and string beat here; a throwback to the blaxploitation flicks of the 70’s and I love it. Poppa Wu is spitting some real talk in his street preaching, then brings the comedy by trying to nab a couple of dollars during his motivation. Listen for it.

The preaching, and subsequently, the beat; fade around the last 40 seconds to give way to Raekwon plotting his hustle. It’s like coming down from a dream and realizing you got work to do to get to it. Definitely starting on the right track, let’s see what else we have in store.

2. House of Flying Daggers
Featuring Inspectah Deck, Ghostface Killah, & Method Man; Produced by J Dilla
A thumping drum pattern like only J Dilla (R.I.P.) knew how to do ushers in this track. The moment the Wu-Tang quote finishes to start this track, we’re thrown right into the track. Driven and unrelenting, save for a quiet pause here and there; you have 4 of the more lyrically-inclined members of the Clan getting into scary detail about what they’ll do to anyone standing in their way of getting a dollar. Again, what makes their spit different from a lot of rappers these days, I tend to believe them.

Nice group collab here and a great way to start the album at an energetic pace. Ghostface and Meth drop absolute show-stealers here; and it’s not like Rae and Deck weren’t trying.

3. Sonny’s Missing
Produced by Pete Rock
Now we bring the mood down a bit and Pete Rock laces a subdued, almost street noir type beat. It’s not meant to be overpowering and with good reason, you’ll miss the superb storytelling of Raekwon here as he gets into details about torture and murder that only experience could give you. Seriously, the initial torture of their victim is cringe-worthy alone…and they haven’t even gotten to the murder yet. Quality if for nothing else but the picture it paints, just be prepared.

4. Pyrex Vision
Produced by Marley Marl
UGH. I hate when a song is too short for it’s own good. The legendary Marley Marl hooks up a minimalist’s dream, light drums with a looped guitar chord. Raekwon proceeds to go into the anatomy of crack rock, in less than 58 glorious seconds. From stove to the dividends it yields, I only wonder if he had 3-4 minutes to relate this one and I find myself cheated he didn’t; especially with such an awesome beat.

Worth a listen, but the promise this track had is extinguished and snuffed due to how short it is.

5. Cold Outside
Featuring Ghostface Killah & Suga Bang; Produced by Icewater
Another throwback beat done quite well. Feels like one of those old school, “quiet storm” soul songs, complete with Suga Bang belting out the hook along with an intro verse to open the track. His worn, leathery voice adds to the street grit of this song. The beat may be beautiful, but the subject matter is not and a singer with a smoother voice would threaten to ruin the picture being painted.

Raekwon and Ghostface spit focused verses about the plights of the hoods they represent. Dead bodies, kids on drugs, senseless violence, and broken homes. Beautifully depressing is the best way I can describe this song. With the wrong artists, this would be a preachy track. However, the detail and emotion found in this track make it a worthy listen. Thumbs up.

6. Black Mozart
Featuring Inspectah Deck, RZA, & Tash Mahagony; Produced by RZA
Nothing wrong with the subject matter, just nothing particularly sticks out about this track. And I’m shocked to be saying this, but we stand at a RZA production that I’m not quite feeling. The track is almost too cartoonish in comparison to what we’ve heard before. May have been their intention to lighten the mood after such heavy subject matter, but it’s just not a particularly good attempt at doing so.

It’s merely okay and the album could have moved right along without it. Skippable. You’ll never miss it.

7. Gihad
Featuring Ghostface Killah; Produced by Necro
This song is pretty cool in the sense that it’s like a telling in the day of the life of Raekwon and GFK. Rae is telling stories of his cooking days, earning the title of Chef while Ghostface recalls the good days of easy living, womanizing, and having to fend off their jealous girlfriends. The beat is subdued in a series of them, showcasing the lyrical content of the players at hand. I wish the beat had more of those heavy bass breaks in between the ghostly “La La’s” and light drums. Definitely like this one.

By the by, Ghostface’s tirade at the end of this track is priceless, threatening to steal the track with something that’s not even a verse. Funny, funny shit.

8. New Wu
Featuring Ghostface Killah & Method Man; Produced by RZA
RZA’s back on track with this beat after the uninspired work he did on “Black Mozart”. This track is mad relaxed and the trio of Meth, GFK, and Raekwon works so well. I love how they’re representing the Clan, but don’t feel the need to yell and scream to make their point. Strong lyrics, good production, and the occasional call to throw your W’s up make this a left field Wu-Tang anthem that works. Thumbs up and strangely original in the delivery for the type of track it is. Everything just WORKS.

9. Penitentiary
Featuring Ghostface Killah; Produced by BT
The relaxation provided by the last track is turned on ear as a tense piano driven beat takes over. If Oz had a song written for it [without all the homoerotic undertones of course] I’d imagine it’d come off like this. Two prisoners who make you wonder who’s really running the jail at the end of the day. Crazy stuff, worthy listen as well.

A lot of rappers could take notice of the storytelling these last few tracks have had.

10. Baggin’ Crack
Produced by Erick Sermon
I feel like the Way Back Machine has taken us to 1980. This is the first beat I’ve heard by Erick Sermon and it’s as disciplined and old school as his flow. It’s nothing special, but it’s just throwback enough to get with. I’m amazed at how many stories The Chef has about the various aspects of the dope game, yet all of them remain interesting. He’s damn near the Hemingway of crack cocaine in terms of detail. Good song, wouldn’t say a standout, but a solid addition as we make our way through.

11. Surgical Gloves
Produced by The Alchemist
I love the rough synth of this track. Alchemist has given Raekwon a canvas for him to paint a picture of bragging and boasting that only crack cocaine could provide. Definitely a change of pace in regards to what else he has on the album, but there is no slack in his flow just because he gets boastful. Definitely worth the listen. Between the beat and the flow, a standout from this album.

12. Broken Safety
Featuring Jadakiss & Styles P; Produced by Scram Jones
I got excited when I saw this on the track listing and it fails to disappoint. Raekwon is the filling sandwiched between flows as raw as anything you’ve heard from P or Jada. The beat by Scram is like a patchwork of different sounds to create something wildly original and worth a listen. It’s like a rhythmic churning of an engine, but in a positive manner.

This is up North flow on display with no hooks and raw lyricism and I found myself bringing this one back plenty of times. You need this on your Zune, iPod, or whatever MP3 device you’re using. The only knock you can make on this is length. Wish there was a bit more. Among the best on the album by far. Styles P drops a verse that rivals the goodness he dropped for The Roots on their Rising Down album. What’s not to like about this?

13. Canal Street
Produced by Icewater
I love how grand and ominous this beat is. You get that feeling like something bad is going to happen. Icewater had to be a student of the game when it comes to producing soul music. I could see any of his beats being used on a 70’s crime flick and loving it.

What follows is a story about what happens when you go down the wrong streets in a dirty city. Again, I love the detail of the stories and examples given. That’s sorely missing in the rap game and they toss you into that atmosphere whether you like it or not, which makes for quality listening, ya dig? This is menace done correctly and I’m pleased at how well these tracks are coming together by this point in terms of production fitting the lyrics.

14. Ason Jones
Produced by J Dilla
A track in remembrance of Ason Jones AKA Ol’ Dirty Bastard.

ODB would be proud.

Seriously, touching track with a soulful J Dilla beat as Raekwon reflects lyrically on the man behind the ODB moniker. It’s crazy, because you almost find it hard to believe ODB is the same man that Raekwon is revering, but the sincerity in his flow is nothing but true. One of the most beautiful and human tracks of the album and any ODB fan would be commend this track. A great track in it’s own right.

15. Have Mercy
Featuring Beanie Sigel & Blue Raspberry; Produced by Icewater
I remember reading The Blueprint 3 and on the track “Real As It Gets”, it was mentioned that it felt more like a Jeezy track than a Jay-Z track. I will have to echo that feeling whereas this feels like a Beanie track as opposed to a Raekwon cut. Not a terribly impressive song at that. Beanie’s flow is back at the levels of the B.Coming, with a roughly introspective style of spit.

Despite that though, the song feels like it’s just…well…there. It’s not that it’s not trying to be good, but it just seems to lack the x-factor the other tracks on this album have brought. Blue Raspberry’s vocals are fine, but nothing blow away about them. Raekwon’s verse isn’t bad either; but this song just feels like a slow number for the sake of a slow number. I doubt you’ll miss it, but you can listen. I’d call it filler though.

16. 10 Bricks
Featuring Cappadonna & Ghostface Killah; Produced by J Dilla
If you own J Dilla albums the way I do, you’ll know that beat when you hear it and you’ll be glad it’s getting put to good use. More stories revolving around coke and the seedy dealings behind it await you; along with a little boasting of how well-connected their operation is.

Again, it’s the details and presentation that make these songs. He’s talked about cocaine for 3/4ths of the album and it remains interesting based on the features and the wordplay. Expect to remain entranced by the storytelling the way you have the past few tracks.

17. Fat Lady Sing
Produced by RZA
It takes a while for this track get going, they take time to establish the situation before Raekwon gets going. I’d call this more of an interlude track of sorts with a nice background beat by the RZA as Raekwon spins a yarn about selling on the wrong block and the consequences that come with it.

You can probably guess by the title how it all ends up. Short, but effective.

18. Catalina
Featuring Lyfe Jennings; Produced by Dr. Dre
The 1st of two Dr. Dre beats on this album and he fails to disappoint [WHERE’S DETOX YOU BASTARD!?!? –mad he missed the 7 year quota-] on this piano driven production. Has an almost island feel to it. Raekwon rides this with ease, letting you know what it takes and the motivation behind being a dope boy.

Lyfe is a welcome addition to the track and his hook duty evens out the smooth verses from Raekwon. I’m definitely feeling this track and Raekwon is showcasing his ability to ride all sorts of beats. A winner of a track and Dre is 1 for 2 on beats thus far. Glad he hasn’t lost a step.

19. We Will Rob You
Featuring GZA, Masta Killa, & Slick Rick; Produced by Allah Justice
Wow.

I’m loving this. The hook is a thugged out interpolation of “We Will Rock You” by Queen and although he may have used a moniker to craft this beat, Allah Justice is easily exposed as GZA after listening to how well crafted this beat is. The shit’ll have you nodding and watch for the “Across 110th” street sample that rears it’s head throughout.

All the flows here are so polished and this is a case where everybody comes through on their parts to craft an awesome track here. GZA is especially motivated and he always brings a party vibe to any track he’s apart of. One of the best of the album and good to see Rick, Killa, and GZA still at it.

20. About Me
Featuring Busta Rhymes; Produced by Dr. Dre
Two for two, Dre. Two for two.

Speaking of twos, Busta and Raekwon pair up quite nicely and I hope there will be more on the horizon for the two in terms of collabs. Not much rocket science to this track, just two rappers letting you know what they’re about, what they do, and what they WILL do if pushed. Definitely and no need to reinvent the wheel when the beat and lyrics are this well done. Thumbs up.

21. Mean Streets
Featuring Inspectah Deck, Ghostface Killah, & Suga Bang; Produced by Allah Mathematics
Wu-Tang’s resident DJ handles production on this track. The production is fine, but we’ve had Icewater already give a college course class on how these type of beats should be done. Suga lends his rough crooning to this track, not quite the home run like it was in his previous feature, but still good stuff.

All three break down what goes down on their streets, where not to cross, and what happens if you dare make enemies with them. Ghostface is especially unapologetic about what he’s got to do in his streets and if this track has a failing, it may be that the hook doesn’t quite seize you like other usages of it on this album. This may have been the place for a hookless flow, but a minor complaint.

22. Kiss The Ring
Featuring Inspectah Deck & Masta Killa; Produced by Scram Jones
I love when an ending track SOUNDS like an ending track, with all the fanfare that goes with it. Scram is responsible for another must listen of the album and this beat works because it’s so space age compared to everything else on this album. Captivating.

There’s nothing terribly deep about this, but given how long this album took and after listening to how well-crafted it was…you can’t help but agree that this is indeed Raekwon’s night and he has a lot to celebrate. It sounds like victory and it is well deserved by The Chef and all parties involved.

A fitting end to an album many thought wouldn’t happen. Kiss the ring, bitch.

Bottom Line:
Raekwon should be proud.

This album for all intents and purposes shouldn’t have made it out and should have been an afterthought in the changing landscape of Hip-Hop.

Not only is it out, but it upholds the stature associated with Only Built 4 Cuban Linx. This is a worthy sequel with only two songs of 22(!!) that don’t quite live up to stature. Forgive me if I love an underdog, but this album had every reason not to be good and here it is, holding up against anything out there on the shelves now.

This is quality Hip-Hop start to finish and albeit throwback in nature, injects just enough surprises and bucks against tradition to show you that The Chef, Wu-Tang, and a bevy of others aren’t prepared to go quietly while Hip-Hop gets bastardized. Loving the attitude and I’m hoping other artists are paying attention.

My only regret is this album being released against the pushed up Blueprint 3, which makes me fear how it will sell. But whether 1 or 1 milli, there is nothing to be ashamed of on this release and if anybody questions if the wait was worth it it, it is a resounding YES. No question.

Scratch “Black Mozart” and “Have Mercy” and you have a no-bullshit, quality track listing from start to finish. Here’s hoping Raekwon works up the nerve and fire to make this a trilogy. I don’t think I’m quite ready for it to stop here and I hope real fans of Hip-Hop feel the same way.

You need this in your collection. No question. This sequel doesn’t suck.

nappyPicks: “Broken Safety”, “New Wu”, “Kiss The Ring”, “Ason Jones”, “We Will Rob You”, “Pyrex Vision”, “Catalina”, “House of Flying Daggers”

Download: Raekwon – “Walk Wit Me” (UK Bonus Track)

Download: Raekwon feat. Ghostface Killah – “The Badlands” (iTunes Bonus Track)

I trust you read the title. Now that I have your attention…. Mixtapes. Mixtapes. Mixtapes. I love them as much as the next guy. Cheap, inventive, and it’s an avenue in many cases where artists can cut loose and do some amazing things. We’re in that day and age at the moment where it seems like mixtapes yield higher quality and are more anticipated than the actual album of an artist.

And that is a MAJOR issue.

I’m always hearing about how MC Such N’ Such [As much as I’d love to point out Gucci Mane for this example, I don’t feel he deserves the publicity.] is the truth on the 5 million mixtape variations he’s got out. Indeed, he might be deadly impressive on someone else’s beats or the cut of his verse from someone else’s track; but why do his albums suck so much? How come left to his own devices, powerhouse producers, and infinite features; his album is “okay” at best. Nothing more I hate than a hype train that takes me to a destination I’ve already been to over and over. Frankly, I’m tired of so many rappers nabbing “Best in The Game” statuses based off of mixtapes when they can’t bring it where it truly counts…the STUDIO ALBUM.

I think a lot of this frustration stems from how mixtapes are perceived. I’ll sum it up like this. Movies have trailers to get you amped for a film coming your way soon. They’re cut intricately and are designed to get your ass to the theater so you can drop that money down on the real deal, the actual film. The mixtape is an auditory trailer for the grand feature, I’ll repeat, the studio album.

So imagine when I see a trailer for a movie that should be awesome then I pay my money, sit down, and realize I’ve been duped into 100 minutes of straight bullshit. Of course I’m going to be mad. Same thing for mixtapes. You’ve showcased what you can do and you’ve got my anticipation up. The A&R’s have heard you and you got that label signing and the big album is due soon. Then it drops and for whatever reason, it fails on all accounts to live up to all this hype you bombarded me with prior.

Be honest with yourself as I ask you this question.

How many albums have lived up to the hype based on mixtapes not named Tha Carter 3? And even then, we have those wishing to debate the issue, given that Tha Carter 3’s anticipation had more heat than the oven door.

Used properly and distributed sparingly, mixtapes are an effective hype tool in preparation for what could be a quality album. As much hate as the man garners lately, much of it deserved, 50 Cent’s mixtape run before Get Rich Or Die Tryin’ was perfect. Just the right amount of street singles, freestyles, and showcasing to get everyone ready for an album that took the world by storm; and launched a career.

Another problem I’m seeing with mixtapes is over saturation. So many come out for an artist, it may be viewed as a waste to even worry about the album; especially in the case of track leaks being all over official and unofficial mixtapes. Let us not forget how just like the radio, TOO MUCH of an artist could easily lead to backlash.

Let us not forget that with mixtapes being a cheap alternative and less people willing to pay for music; mixtapes see more money than the actual studio albums and it’s the studio albums that keep your favorite rappers out of the “Where Are They Now” category. [See Gunnas, Young or Kwon, J]. The general populace treats the mixtape with the reverence and scrutiny that the studio album should get. I can ask the average Hip-Hop fan a release date on a mixtape and get solid answers; whereas they’re shocked half the time when an album drops. I repeat, you can spit hot fire like Dylan and have the world talking about you; if the studio album sucks, how good of an artist are they really?

Now, I’m not saying you’ve got to do Outkast numbers; or more recently, Wayne numbers. An album’s QUALITY is not always judged by how fast it flies off shelves. That proverb is as old as my I Declare War CD [Oh, the days when Pastor Troy claimed Augusta] and doesn’t look to change for the foreseeable future.

There are artists being victimized by mixtapes as well when the mixtape is all the fans will deal with. With sales declining across the board and leaks running rampant, now is the best time for artists to focus on creating quality studio works for the masses. Honestly, CD’s and legal downloading need a boost before it gets worse than it is now. I’ll be honest, if the CD is QUALITY, I’ll buy it.

It’s those buys that keep them making albums for the foreseeable future. How supportive are you really digesting every mixtape and downloading everything without giving something back to them to keep them in the game? I’m looking at the Slim Thug fans out there. Boss of All Bosses should have at least got that gold plaque, but I didn’t see anyone shying away from his quality mixtapes, which lead to a quality album.

Artists are getting released out of contracts due to declining sales and we the fans aren’t saving their chances of staying in the spotlight; yet we ask why they don’t get more mainstream love. The label could care less how many mixtapes they move. The STUDIO ALBUM keeps them afloat and the artist in the spotlight that you, as a fan, would want them to bask in. I just see an ass of no-wins involved, because I’m rarely seeing mixtape heavy-hitters with justifiable sales AND/OR quality studio work that was worth the hype.

On the heels of Mixtape Messiah 7 dropping, I’m just asking Hip-Hop fans to realize we have to put in what we take and be realistic about it. If the trailer rules and the movie sucks, the movie failed you. Same for music. Albums are original pieces of work that an artist will be judged by for years to come in terms of sales, quality, and overall staying power. I love them as much as the next man, but it takes more than these underground pieces of art to be considered among an elite crop of Hip-Hop standards.

We as fans deserve more than hype and you should demand more for your dollar and for your ears. While I’d never want to see mixtapes die, it’d be nice for someone to tell me how good someone’s album is in a debate; as opposed to me telling them how sorry an album was then them defending it with the latest mixtape that dropped.

Forgive me. I want more than bits and pieces, I want the whole thing. And as Eminem, Wayne, and possibly Drake are showing; we’re willing to pay for quality. Just don’t leave all that genius where it won’t count in the long run.

I see mixtape posts up in abundance around the Fro; so I feel the need to get a little leftfield with my pick. I like originality and the unexpected, so naturally, I’m drawn to this release here. Entitled Southerngold, we are introduced to mashes of popular Southern rap songs with the hypnotic sounds of Santigold. The critically-acclaimed Brooklyn native was sampled for “Brooklyn Go Hard” and her Santogold album is a wonderfully abstract piece of work. Hearing it mashed with favorites like “Nann Nigga”, “Hustlin’”, “Still Tippin”, and more not only create wildly original sound; but mash up North and South so they meet somewhere in outer space.

Mixtapes like these always interest me too because you’re exposed to auditory you wouldn’t normally get, but are eased in because it’s JUST familiar enough. Ready to take that chance?

Proper credit is to be given to Illroots.com (wonderful site that features the works of Terry Urban and Mick Boogie often, two producers definitely worth a shout) and Gold Coin Clothing for sponsoring the release. I’m proud to bring this to the attention of nappyafro readers and downloaders and if you’re looking for something space age [one of them there 8-Ball phrases] this will definitely fit the bill. Expand your horizons eh?

1. M.I.A. Artistes (feat. Pitbull & Ying Yang Twins)
2. You’ll Find A Way Player (feat. Andre 3000 & Bun B)
3. Still Tippin’ It (feat. Slim Thug & Mike Jones)
4. Can’t Say It (feat. T-Pain)
5. Creating Kryptonite (feat. Purple Ribbon All-Stars)
6. Fire Superman (feat. Lil’ Wayne) [Prod. By Mike Cash]
7. Hustlin’ With The Lights Out (feat. Rick Ross)
8. Shawty Is Starstuck (feat. The Dream)
9. Unfreakable Girl (feat. Gucci Mane)
10. Nann Lady (feat. Trick Daddy & Trina) [Prod. By JKhan]
11. Anne’s Plan (feat. Chip Tha Ripper) [Prod. By Mike Cash]
12. You’ll Go Crazy (feat. Young Jeezy) [Prod. By Mike Cash]

Download: Terry Urban & Gold Coin – Southerngold

With love comes jealousy. And a strong rise always leaves room for a rough fall. However, I never understood why Wu-Tang caught such strong hate after Wu-Tang Forever. It may have been over saturation of the market between the highly successful classic 36 Chambers; with the addition of successful solo efforts from the members as well. The concept of a group of strong rappers and producers creating superb group work then boosting their own singles cred was a huge success; a formula still flawed to this day due to ego.

As mentioned though, over saturation led to Wu-Tang only holding to a loyal fanbase; the climate of music and new artists taking the place of the Shaolin street sweepers. But why do people talk about the Wu like they can’t spit or something? 5 albums deep and quality material along the way. But if a good album happens and nobody listens…did it really happen?

There’s your philosophical question for the day, in the spirit of the Shaolin monk.

But it now leads us to Chamber Music, a compilation album endorsed by the Clan, featuring 5 [Inspectah Deck, Ghkostface Killah(!!!), U-God, Raekwon, and RZA] of the standing 8 members of Wu-Tang [We miss you ODB. I like it raaaaaaw too.] with two interesting concepts introduced by lead producer RZA, naturally. The first are features by a who’s who of NY spitters from Havoc of Mobb Deep to M.O.P; adding a fresh sound to the familiar Wu-Tang rhymes and beats we know and love. The second, a very welcome decision, is the use of LIVE instruments from soul band, The Revelations.

Despite the hate they catch, I was quite excited to hear about this release. Does this look to be another quality offering from a group not given enough credit for releasing them, or does this look to be a cash-in on a recognized standard in Hip-Hop? No subtitles for this one, but I’ll make my words clear and true on this.

1. Redemption (Intro)
Produced by The Revelations, Bob Perry, & Noah Rubin
The excerpt for this song makes complete sense when you think about it, featuring a old-time cinema intro for that feel of something epic. Military style drums and strings help set the tone of a disgraced warrior taking his last shot at redeeming the glory of his clan’s name. Beautiful way to set the tone of this album, the intro quite fitting. For those who know the Clan’s history, it resonates.

2. Kill Too Hard
Featuring Inspectah Deck, U-God, & Masta Ace; Produced by Gintas Junusonis & Fizzy Womack
Definitely feeling the beat. Sounds like one that Camp Lo would have hopped on with no question with the old school swag to it. Fortunately, the trio of rhymers know exactly what to do with this. All three move with a pretty brisk pace to the short track, but it’s a great way to start the album on an energized note. This is good ol’ fashioned NY street spit and there isn’t a thing wrong with that. Only gripe would be length, but that’s just nitpicking. Thumbs up.

3. The Abbot (Skit)
Featuring RZA; Produced by The Revelations, Bob Perry, & Noah Rubin
RZA kicks some knowledge in the form of an old Kung-Fu adage about an Abbot. The background music is ominous, another taste of what The Revelations can do. I’m ready to hear them on an actual song at this point. Worth listening to for the message.

4. Harbor Masters
Featuring Ghostface Killah, Inspectah Deck, & AZ; Produced by Andrew Kelley, Noah Rubin, & Fizzy Womack
Enjoying the old school feel of the beats thus far. Nothing terribly complicated, just good drum patterns with the right elements added to keep them moving. Ghostface brings the bravado and wild metaphors, describing a level of lavishness on a Jay-Z level. Deck and AZ also tell tales of rocking the show and all the spoils that come with it. Nice cruising song or just something to vibe to. I can appreciate a track like this, with “swag” tracks that try to do too much. They express that point without all the fat. Frank Lucas style, ya dig?

5. Sheep State
Featuring RZA; Produced by The Revelations, Bob Perry, Noah Rubin
More proverbs from The RZA. Another ominous overlay by the talented Revelations. I wish he’d space these things out though. Especially at the start of the album! Can we hit them over the head with some heat first before all the window dressing? It’s not that he doesn’t have a point to what he’s saying…just very ill-placed.

6. Radiant Jewels
Featuring Raekwon, Cormega, & Sean Price; Produced by Andrew Kelley, Noah Rubin, & Fizzy Womack
Beautiful.

This makes up for that ill-placed skit. In a big way.

Raekwon bursts out the gate with a wonderfully gutter verse. It’s almost impossible for Cormega and Price to catch up, but they show no lack of trying. I cannot express the simple beauty of this beat. Drum pattern and a well placed string set. Classy. A stark contrast to the venomous words laid over it, but it all blends together perfectly.

Easily the best of this album thus far. The song lives up to the title and all parties involved should be proud. Why Raekwon doesn’t get more respect, I’ll never know. His verse alone could stand against the current heavy-hitters.

7. Supreme Architecture
Featuring RZA; Produced by The Revelations, Bob Perry, & Noah Rubin
Another RZA proverb. Another ill-placed time for it. Again, no problem with what he’s saying or what is backgrounding it. It just throws the flow all off. Moving on.

8. Evil Deeds
Featuring Ghostface Killah, RZA, & Havoc of Mobb Deep; Andrew Kelley, Noah Rubin, & Fizzy Womack
This team of Kelley, Rubin, and Womack is a blessing. They have yet to falter on the production and this is another standout. There production is the level of class that Rick Ross was going for in Deeper Than Rap; this team making it seem effortless track after track.

A seductively played piano backs a ominous drum pattern; Killah, RZA, and Havoc digging into a dark place to pull their rhymes, reveling in the sins they’ve committed while reminding you they’d gladly commit more. The piano breakdown mixed with RZA’s hook is also delightful. The track is engrossing and I’m simply amazed at how well they’ve brought this together. This trio of producers need more work and when they get it, they need rappers as skilled as the three that murdered this track. We have another standout.

Props to Havoc for dropping the first GOOD Twitter punch I’ve heard. “I ain’t wit that Twitter shit, nigga’s try to follow me.” Love it.

9. Wise Man
Featuring RZA; Produced by The Revelations, Bob Perry, & Noah Rubin
Copy and paste what I’ve said about these and keep it moving. Geez. We get it. Num-Yo-Ho-Renge-Kyo and all that jazz. More FIYAH please.

10. I Wish You Were Here
Featuring Ghostface Killah & Tre Williams; Produced by Bob Perry & Fizzy Womack
Warning you now, this beat is going to sound like an unfinished version of “I’d Rather Be With You” by Bootsy Collins. That is NOT a bad thing. Tre Williams belts a soulful hook to cater to this throwback; Ghostface’s stream of consciousness flow aiding to tell of a story of love lost. Tre takes the brunt work of the track, but Ghost simply NAILS it for the time he gets. I was NOT expecting a track like this from this album, but I am so pleasantly surprised.

I’m also impressed that rappers try tracks like this and get it ALL wrong. Meanwhile, Starky Love [Ghostface ya’ll, keep up!], Tre, and their producers make this such an easy exercise in spitting your feelings. This album is hitting a block of hot tracks ever since Radiant Jewels and I’m hoping it continues. Another keeper and a go-to for how to do love profession in Hip-Hop RIGHT.

11. Fatal Hesitation
Produced by The Revelations, Bob Perry, & Noah Rubin
The same as the RZA “proverbs” just without RZA and an extended Kung-Fu movie quote. I get the sudden urge to see the Adult Swim blurbs after so many of these. Moving on…

12. Ill Figures
Featuring Raekown, M.O.P., & Kool G Rap; Produced by Fizzy Womack & Josh Werner
Minimalist drums that compound harder where the hook should be. It’s intense, focused, and so are the rappers. It’s a stripped down hustle anthem, but done very well. No hooks from anyone and it backhands you with sudden metaphors and earnest real talk from all three. In a world of over-production, this is definitely refreshing to hear and I only wish it was longer. I definitely wouldn’t skip this and I am enjoying that the album is bucking a lot of hip-hop conventions in everything from layout to production. Another winner as the hot block continues for this album.

13. Free Like ODB
Featuring RZA; Produced by The Revelations, Bob Perry, & Noah Rubin
RZA’s earnest thoughts about ODB set to a crazy drum solo. Of all of these skits like this, this definitely would be the most touching.

14. Sound The Horns
Featuring Inspectah Deck, U-God, & Sadat X; Produced by Andrew Kelley, Noah Rubin, Fizzy Womack, Gintas Janusonis, & Josh Werner
I want to like this beat. I like everything about it but the obnoxious set of horns at the beginning and peak up in the song. You’ll know em’ when you hear em’. Otherwise, we’ve got some good old fashioned up North bragging, boasting, and smack-talking. I can’t say there’s anything bad about the track aside from that horn selection. It’s just a good track.

The problem is, it is merely good compared to so much great before it. Tough listening to this after that nice block of heat prior. On its own merits, perfectly fine; but the placement creates a quick dip for the streak the album is on.

15. Enlightened Status
Featuring RZA; Produced by The Revelations, Bob Perry, & Noah Rubin
I’ll take this time to say, the Revelations should have been used on a track. I feel they’re wasted just doing these skits when I can already think of some awesome ways they could have contributed to the previous tracks. Hell, imagine what they could have crafted left to their own devices? Oh well…you know what happens here. Next.

16. NYC Crack
Featuring RZA & Thea Van Seijen; Produced by RZA, Fizzy Womack, & Andrew Kelley
This would be at home on the Afro Samurai soundtrack I love this track. RZA’s flow is driven and this beat sounds like it was made in another dimension in the best way possible. Van Seijen adds another other-worldly quality to this track, her Dutch wail making for a left field hook the likes of which would be tough to forget. Haunting and a mash of elements that create something worthy of listen after listen. You just need to hear it.

17. One Last Question…
Featuring RZA
10 seconds. Someone asks RZA what type of Buddah he’d be. I would have rather they closed with a song, but oh well.

Bottom Line:
I am simply blown away at the QUALITY of this album. The production is top shelf and layered to give it a sound unique to anything you’d hear out right now. The rappers all bring the heat. Even when one of them outshines everyone else on a track [i.e. Raekown in "Radiant Jewels"] the others still turn in worthy efforts that aren’t phoned in. I listen to this and wonder why Wu-Tang catches the hate they catch. If it weren’t for the average, compared to what else is on display, nature of “Sound The Horns” and the ill-advised placements of the skits, this would be a perfect album that I would defend to the death for a 5 star treatment.

This is an album that was crafted by rappers sure of their skill. No need for over-production, over the top features, or other gimmicks. Listening to it and thinking more about the intro…I wouldn’t be surprised if everybody involved challenges themselves to go above and beyond what everyone was used to. I’m talking for not just the Clan, but Hip-Hop as well. They’ve bent conventions and crafted something daring. For the Wu haters out there; I dare you to deny this offering. It’s a CD that can be learned from and appreciated on many levels and I encourage fans of HIP-HOP to listen it.

The production team of Kelley, Womack, and Rubin deserves major respect for a hell of a coming out party production-wise. RZA, Ghostface, and the like spit as if they were unsigned; hungry to prove themselves. It brings an energy level and mastery of their styles that helps craft something elevated from the usual. No one should be ashamed of their contributions to this album…well…maybe RZA. A SKIT AFTER EVERY SONG MAN?! Geez.

Cut the skits and get straight to the music and you have one of the best albums of this year. I expected good, I was not expecting this. Go out of your way to give this a listen, Wu-Tang fan or not and you will get a glimpse of what skill mixed with sheer creativity can get you. The score would be higher if not for the broken flow due to the skits.

With offerings this good, I hope Wu-Tang lives forever. Haters be damned.

nappyPicks: “Radiant Jewels”, “Evil Deeds”, “NYC Crack”, & “I Wish You Were Here”

Download: Wu-Tang Clan feat. Raekwon, Cormega, & Sean Price – “Radiant Jewels”

Download: Wu-Tang Clan feat. Inspectah Deck, U-God, & Masta Ace – “Kill Too Hard”

The remix as defined by Wikipedia…. “A remix is an alternative version of a song, different from the original version. A remixer uses audio mixing to compose an alternate master recording of a song, adding or subtracting elements, or simply changing the equalization, dynamics, pitch, tempo, playing time, or almost any other aspect of the various musical components. Some remixes involve substantial changes to the arrangement of a recorded work, but many are subtle, such as creating a “vocal up” version of an album cut that emphasizes the lead singer’s voice. A song may be remixed to give a song that was not popular a second chance at radio and club play, to create a stereo version of a recording that was previously only available in mono sound, to improve the fidelity of an older recording in which the original mixdown tape has been lost or degraded, or to alter a song to suit a specific music genre or radio format.”

Truth be told, the remix was one of the main reasons I got into one of my deepest loves, DJing. I was amazed at the art of these auditory technicians deconstructing everything I thought I knew about some of my favorite tracks; just to build them up into something more amazing and layered then it started. You’d think the original was a piece of work. Then a sick tactician of the turntable or a hungry producer comes along and tells you, “Fuck you, I got something for that”. They say good music is all in the interpretation and nothing proves that more than the remix.

You’d think the remix would be highly coveted in a day and age where CD’s move like they got Anthrax packaged inside. Remixes have been known to put extra steam on even the most anticipated of albums [R.Kelly has been making a career off of hot remixes] and to turn okay singles into banger status [You think Biggie’s “One More Chance” was that nice originally? No comparison].

I know what you’re saying.

“Jamar, what you mean that the remix is dead?! They remixed “A Milli” like 50-leven times!”

Perhaps I need to be clear about how I define a remix. Yes, the remixes where new rappers are added or the main artist changes his verses are good. They’re needed and in some cases, turn chicken shit into chicken salad. I don’t even pay the original “Dey Know” mind when the hulked up version dropped featuring Wayne, Plies, and Jeezy; it was just a better version by far. I’m talking about the good ol’ days when the song would sound like an alternate reality of what you loved before. I remember cruising with my brother back home around that 9PM hour, back when Power would have the fresh DJ mixes, and they dropped the “Vivrant Thing” remix on my head. I was astounded.

“Vivrant Thing” is one of my favorite Q-Tip songs ever, and among my top ten favorite rap songs ever. Nothing touched it at that time for me. Then I heard the Violator remix of it featuring Missy and Busta and I was floored. The bass hit harder, the drum patterns changed just enough, the verses were wilder. Even the hook changed up with Tip alternating between “viv-a-rent” and “vivrant”. But it was still what I knew, what I loved. Justice done to the source material, but an enjoyable re-imagination of an already good thing.

In a way, a good song is something like a relationship. Lasting relationships have points where your partner displays surprises and changes that draw you back in; making them almost new again, sometimes completely fresh. Like cheating on your girlfriend WITH your girlfriend. Let that sink in for a second.

A strong remix is like when you lady (or guy, for our female readers out there) changes her hair to something sexier than what it started. Or when she takes a step in a new direction you would have never guessed, for the better. Or the best case; when she evolves into something greater than when she started. Same thing with our music.

I see the “remix” today as almost lazy. It’s a general lack of vision in a time where vision is already looked down upon and severely lacking in the Hip-Hop genre. If you take a look at one of our contemporaries, techno music (beep-bop-beep-boop-bop music to some, wake up music for me.), they have songs that stay classics for decades while we’re hard-pressed to remember hot tracks from a few years ago. Why is that? The thing to learn from techno is they have a passionate community and set of artists that aren’t afraid to reinterpret upon reinterpretation of their music. Remix upon remix that keeps a worthy original alive and well, stimulating a new set of listeners while educating them to a track they weren’t there to discover when it was fresh.

The technology is as good as it’s ever been. The mixtape game is booming and a standard of this stage of Hip-Hop. DJ’s and producers are no longer background, but main players and reasons to buy an album based on name value alone. So why am I getting the word rearranged on the same old beat I’ve heard a million times? Is it wrong to want better for my art by having them do something we did better than ANYONE just a few years back?

When I started taking notice that Hip-Hop was growing a little by-the-numbers; I knew the transition was complete when the full-bodied remix died too. Now, artists are too scared to take a chance on what proved itself a sure thing and won’t challenge themselves (or someone else) to attempt something magical. Admittedly, there are some terrible remixes out there just like there are terrible remakes of classic movies. But haven’t the hits been worth more than the misses? I’ve got a challenge for you. Pull up your favorite file-sharing or Bit-Torrent related program.

I’ll wait.

-hold music plays-

Good. I need you to download Paid in Full by Eric B. and Rakim. Really LISTEN to that song, a Hip-Hop classic if there ever was one by two greats in the game.

Now I need you to download “Paid in Full (Colduct Remix)”. Listen to THAT. Tell me that song doesn’t tap a nerve in your soul somewhere? A marriage of obscure sounds, scratch, quotes, and yet still grounded in the story of trying to get those dead presidents.

That’s what I’m talking about. It’s all I’ve been getting at by writing this. I want to be shocked and amazed at what I thought I knew about Hip-Hop. We’ve got talented producers like Terry Urban, Mick Boogie, Ape Blends, and many more that are mashing and remixing some class stuff these days in an effort to give us new ways to enjoy our sound; even making it accessible to people who normally wouldn’t care to hear it. For you Jay-Z fans out there, go out of your way to listen to Viva La Hova. A mashing of Coldplays classics with Jay-Z’s bravado and intricate storytelling, you may find a new favorite band and earn greater appreciation for one of rap’s elder statesmen.

As much as I’ve noticed how the rap community is all about what’s hot at the moment, lets take notice of keeping our heat preserved and remembered so they can EARN those ‘classic” titles being tossed around with little concern. The remix isn’t a solution to what I’m stating, but It’s an enjoyable aid on the path towards it.

Want more from what you enjoy and you just might get it.

I’ll just keep writing waiting for the day Hip-Hop lets her hair down and gives me a new reason to fall in love with her. She shows me from time to time. Can she show me more often?

-Listens to “Luv 2 Luv U (Remix)”, wondering-

DJ Drama. Arguably one of the most powerful and well-connected DJs in the game; the mastermind of the Gangsta Grillz series is back again with his new studio offering, Gangsta Grillz Vol. 2.

Diddy may have went overboard on the hype (like usual) in regards to the importance of Drama to the game, but hyperbole aside; the man is important. Drama gets new artists out in the open, brings out things you’ve never seen in some of your favorites (and not so favs), and stamps approval on what should be the new hotness. Gangsta Grillz as a series is the stuff of mixtape legends and a Cadillac standard that other DJ’s aspire to. Have you heard an artist shoot ANY ill will towards the Philly native?

….

…….

-still waiting-

That’s a rarity on it’s own. Aside from getting a little wordy over some of my favorite tracks (which is a cardinal sin amongst DJ’s aside from the DJ echo/echo/echo) Drama manages to put together heat with a seemingly limitless talent pool. The original Gangsta Grillz album had to be seen as an all-star meeting of Hip-Hop heavyweights. However, the album released with a bloated 21 tracks and not all of them as heated as tracks like “Cannon”, “The Art of Storytellin’ Part 4” or “Taking Pictures”. It just was too much and even Drama has acknowledged this, stating that he intended Volume 2 to be a focused, wall-to-wall banger.

So with the sequel on deck and the fat trimmed for this one at a sleek 13 tracks, DJ Drama faces the challenge of improvement (a trend these past few reviews) for Gangsta Grillz as a studio offering. And here…we…go.

1. A-Town
Featuring T.I., Young Dro, Sean P, & Lonnie Mac; Produced by David Banner
I love it when an album gets popping to start off. David Banner lays down a rapid fire drum pattern with his trademark horns and synth, a perfect canvas for our cast of Atlanta natives. T.I. leads the charge (naturally) with a smooth, autobiographical flow into his hustling roots. His company takes the same approach, making sure to shout out various neighborhoods and landmarks; authenticity is a plus on this. Nice to see Sean P still laying down his Southern style bravado; Lonnie Mac threatens to steal the song in terms of engrossing storytelling which I found impressive for my first listen of him. Young Dro is Young Dro, definitely not an insult. Just not show stealing.

Unexpectedly lyrical, with a nice bounce to it. This was definitely a choice track to start the charge and I’d definitely keep the windows down while making that ride on 85, ya dig?

2. We Must Be Heard
Featuring Ludacris, Willie the Kid, & Busta Rhymes; Produced by V12 the Hitman
A lyrical heavy-hitter on an album I wasn’t expecting many on. Not that I doubted him, but Willie (a Gangsta Grillz favorite) really holds his own with two proven lyricists in Busta and Luda. I love this beat and not just for the Godfather sample. This beat seems to be subdued on purpose for the sake of letting the trinity of flows shine as opposed to overpowering what they have to say. Definitely not a trio I was expecting for a track like this, but I love surprises, especially good ones. This track is all about the message here and it’s a well told, gritty one where paper is getting rough to stack. Must listen.

3. Love For Money
Featuring Trey Songz, Willie the Kid, Gucci Mane, La the Darkman, Yung Joc, Bun B, & Flo Rida; Produced by V12 the Hitman
V12 switches gears and unfortunately, takes a step backward with an almost generic synth and drum beat here. You’ve heard one like this beat, you’ve heard em’ all unfortunately.

The wordplay here is fortunately better. I was expecting this track to go epic lengths the likes of “I’m So Hood (remix)” given the feature list, but everyone takes abbreviated verses and it works. They do more with less and get straight to the punches. With some in this cast of characters (*cough*Gucci*cough*Joc*cough*) it’s a good thing. Trey Songz actually sounds motivated for a hook for a change and what a difference that makes. A better track than the sum of its parts. Not a standout, but very listenable.

4. I’m Fresh
Featuring Mike Jones, Rick Ross, & Trick Daddy; Produced by V12 the Hitman
V12 again, and this beat has a bit more meat to it than the previous. It’s like a refined alternate version of the one before; a tad more menacing. Mikes Jones handles hook duty on this one, probably the best place for him given his love of repetition. Trick Daddy hasn’t lost a step and Ross continues showcasing his improved lyrical ability. Even in swagger tracks like this, he’s come such a long way from his Port Of Miami style.

My only complaint lies in the fact that it’s just a good track. Still lacks a standout quality to it despite the participants and how well placed the participants were. [Mike Jones woulda been on my murder list if he had a verse like any on “Happy Birthday”. –readies suicide pill-] Otherwise, another hit for the album, just waiting to be taken back by something since “We Must Be Heard”.

5. Day Dreaming
Featuring Akon, Snoop Dogg, & T.I.; Produced by Drumma Boy
I see why this was a single. Beautiful, well crafted track on all accounts. This was originally set to be a track for Akon’s “Freedom” album entitled “Go-Go Dancer”, but found it’s way here as “Day Dreaming”. Akon’s loss, Drama’s gain. Drumma Boy crafts a synth track the way it SHOULD be done and it is perfectly seductive, how any girl could resist a tease to this song is beyond me.

Some have nicknamed this “I Wanna Fuck You Part 2” and I can see the similarities (especially in regard to two of the players involved, Akon & Snoop), but this I dare say is a better track and I can’t say enough good about it. Snoop turns in the kind of verse you KNOW he can turn in and T.I. continues his hot streak of features with a song stealing verse to bookend this one.

“Hey I sit and gaze hazy eyed as I day dream
Her and n her girls on the stage doin’ they thing
Double D’s full of silicon and saline
She thirty but don’t look a day over 18
Her booty big enough to swallow up a g-string
Hey gon put that ass on me like a bee sting
Hey let the King on, beat it like a tambourine
And peel ya out ya jeans and eat it like a tangerine
You see her face down, ass high

Make everybody throw they cash high
Back in the club already

she been stuck in my head since last night
That’s right
Girl you got my dreams so
Sexy when I sleep
No mo fanatsies
I want the real thing”

Standout by far and a good example of the right kind of single. I’m usually not a stickler for the ladies songs for the sake of them, but when they’re put together as well as this, I’m all for them. We have a winner.

6. Sweat
Featuring Ray J, Fabolous & La the Darkman; Produced by V12 the Hitman
Who knew Gangsta Grillz would have two shining examples of for the ladies/sexin’ (Got reintroduced to that word again recently.) songs done CORRECTLY. I’m shocked. I’m even more shocked that Ray J slays this track. I find him a very hit and miss artist, but he destroys this track and makes you believe he’s after the tenderoni (I’m bringing it back dammit.) in this track. Fabolous turns in his usual reliable feature and listening to it, I can’t understand why he’s left off so many “Best Rapper” lists. Man has got punches for days like Mayweather. Catch his Shawty LO metaphor early in his verse.

La comes through proper on this as well, lending the track the rough edge it needs when compared to Ray and Fabo. This track comes together so well and the V12 beat brings it all together to create a double feature of naughty tracks that wouldn’t be out of place for a business time mix, if you catch my drift. –hint hint-

A surprising winner on an album like this.

7. Ridiculous
Featuring Gucci Mane, Yo Gotti, Lonnie Mac, & OJ Da Juiceman; Produced by Zaytoeven
-Shakes head-
I’m that grown man crying in Scarface’s song when I listen to shit like this. They had the NERVE to make this a single and make this the longest song on the album. The beat is as uninspired as the collection of flows on this track, with Lonnie probably the only one attempting to raise this up to something listenable. Again, I wonder where Juiceman gets all this hype with the stir-fried bullshit he called a verse on this one.

Skip. Please do. Barely listenable and compared to the other things popping on this album, it really points out just how bad this is. This whole track is ridiculous…and by that I mean the dictionary term….meaning it sucks. Thank you.

8. Come Up Boys
Featuring La the Darkman & Willie the Kid ; Produced by V12 the Hitman
I like tracks like this. Two hype MC’s on a star-studded album with a track to themselves. It’s up to them whether they rip it up or not. Fortunately, they make it happen and you may gain further respect for La and Willie after a strong track like this. V12 puts together a focused beat with light guitar samples to give it a sense of urgency and intensity. The kids get 2:27 to make something special and they do just that, but I can’t help but wonder why THEY didn’t get 3 more minutes added to shine; as if the Wack Wonders of the World© needed it on the track before. [Some might say that was harsh, but all 4 have the talent (allegedly) to prove me wrong.]

A winner and unfortunately, too short. Hope both find some new fans after this one.

9. Yacht Music
Featuring Nas, Willie the Kid, Scarface, & Marsha Ambrosius; Produced by DJ Khalil
It’s criminal how laid back this track is. I absolutely love it and DJ Khalil gets props for making a classy beat for all those blessing it. I was excited to see Marsha Ambrosius (formerly of Floetry, miss those dames.) on this, because she had a hand in the hands-down banger of the last Gangsta Grillz album, “Art of Storytellin’ Part 4”. She doesn’t disappoint on this one, a steady voice cooing lightly in the background and adding to the mellow factor when she belts out the hook effortlessly.

Another strange trio is made with Nas, Scarface, and Willie; and again, it works. All three produce subdued flows that still represent their styles, but add to the chill factor of this track. Another surprise on this album and not something I would have excepted to hear, especially the way the last album was crafted. Make sure to give this a listen, preferably after listening to “Yacht Club” by Rick Ross for your sea-based mixtape.

10. Stripper Love
Featuring The-Dream, La the Darkman, & Too Short; Produced by Christopher “Tricky” Stewart
Compared to the other tracks of this type, “Sweat” & “Day Dreaming”, this is decidedly average. It definitely sounds like a Dream track, even produced by his right hand man Tricky Stewart. It just feels out of place on this album and at times, lightweight. La’s verse is probably the weakest of his many on this album and Too Short’s feature is, no pun intended, too short to mean anything really. Yes, he does say “bitch”…but not like we know and love. This saddens me. Regardless, the track is merely okay, just lacks a quality to really add to this album as a whole. Can’t say you’re missing anything here.

11. Smoke
Featuring Gucci Mane, Willie the Kid, & Lonnie Mac; Produced by V12 the Hitman
Not bad here. V12 works overtime, producing his 6th of 7 tracks on this album. He’s in danger of getting exposed unfortunately, given 4 of the 7 come off like alternate versions of each other. Regardless, not a bad track at all here. The young guns take this track over and turn it some heated verses, Lonnie’s being his weakest of the album. Gucci Mane comes with his best of the album, which isn’t saying much, but at least he doesn’t come off like an idiot like on “Ridiculous”. Worth a listen for the sake of Kid and Lonnie. A nice addition to them album, just not among the strongest.

12. Pimpin’ Ain’t Easy
Featuring La the Darkman, Bun B, Styles P, & Jovan Davis; Produced by V12 the Hitman
V12 can finally take a rest after this one, his last beat being one of the better ones of this album. Jovan Davis, doing his best neo-Curtis Mayfield voice to offset the mean-spirit in the beat, hooks this track and it definitely works. Bun B takes honors for best verse, bringing it rough and rugged with the matter of fact metaphors you expect from him. P and La hold up their end as well, making this track an enjoyable mix of production and wordplay from another strange mix of suspects. Thumbs up to this.

13. Gotta Get It
Featuring B.G., Juvenile, & Soulja Slim; Produced by Drumma Boy
B.G. SIGHTING! And he hasn’t lost a step either. New Orleans stand up on this one, with Drumma Boy giving them a beat that’s worth ripping on this one. Haven’t heard from Juvi the Great in a good while either and his flow is more focused than his usual, given the abbreviated time on this track. Again I ask, why are bangers like this shortened, but we got 6 minutes for Ridiculous? -sigh-

Despite that gripe, awesome track and Soulja Slim comes from beyond the grave to put it down with his squad one good time. Banger status for sure, and a great way to close out Volume 2 of Gangsta Grillz. Now bring on the Hot Boyz reunion ASAP!

Bottom Line:
Drama made good on his promise to keep it focused and strictly the music on this one. The skits are packed in with the songs and aren’t long enough to take away from what it’s supposed to be about, hot tracks presented by one of the most respect DJ’s in the game. The formula works, already making this a better album than Gangsta Grillz Volume 1 for it.

I’m impressed with the combinations made for this album as well as the young guns they chose [La, Lonnie, Willie] to shine with established artists on this CD. They more than held their own and I hope nothing but big things for all three in the rap game. “A-Town”, “Yacht Club”, “Pimpin’ Ain’t Easy”, and “Come Up Boys” put this formula on display and produce worthy tracks every time. I’m also surprised heavily by “Day Dreaming” and “Sweat”, two tracks that deserve play in the club or in a bedroom near you. They’re both THAT good.

You can see the care taken in crafting this album to be a cut above his last and that is to be commended. Just two issues when it’s all said and done.

“Ridiculous”, no matter how much (undeserved) hype many of the features had, DID NOT need that much time and arguably didn’t deserve to make the album. It really drags down what he was trying to accomplish here by having banger after banger.

Also, V12 put in some extra work for this one. However, some producers are meant to handle album brunts, others aren’t. I wouldn’t have made him my first choice with how similar some of the beats sounded. Drumma Boy coulda used more to do the way he was creating heat and Drama I’m sure had carte blanche of whoever he woulda’ wanted to use. Just a phone call away like Chingy, ya dig?

Despite all that, the bangers definitely outweigh the average and the bullshit and Drama has got a worthy successor to his previous studio album. Gangsta Grillz Volume 2 is focused, intense, hypnotic, and a look into the possible future of the rap game all wrapped in one. Steer clear of “Ridiculous” and you’ll find an awesome mix of artists and tracks. Definitely not a 4 star affair, a little more clean-up could have got it there, but a worthy addition to any Drama fan’s collection and a worthy banger for your CD or MP3 collection. This grill is gleamin’ and definitely a good look.

nappyPicks: “Day Dreaming”, “Sweat”, “Yacht Music”, “Gotta Get It”, “Come Up Boys”, “We Must Be Heard”, & “Pimpin’ Ain’t Easy”

Download: DJ Drama feat. Ludacris, Willie the Kid, & Busta Rhymes – “We Must Be Heard”

Download: DJ Drama feat. B.G., Juvenile, & Soulja Slim – “Gotta Get It”

I’m going to get it out the way and say that I like Paul Wall. The first time I heard his metaphor laden, laid back voice on “Still Tippin’”; something struck me about him as an artist and a person. In a day and age where so many rappers have property on 9th and Front Street, Wall looks to be unaffected by his celebrity or bank statement, an everyman with a matter of fact style of flow. It’s hard NOT to be able to at least accept that.

What I’m getting at is that what you see with Paul is what you get. Honestly, it’s a nice change of pace. He’s a white rapper who’s not compared to Eminem and at least is up front with the subject matter he wants to talk about. There’s not an air about him where’s he’s trying to be more to the rap game then what he is. Despite his flaws [major metaphor recycling, a flow too lazy for his own good at times]; Paul Wall may be one of the most accessible rappers in the game with his lyrical yarns about hustling, drink, women, and posting up.

Often, Wall is jabbed at for being TOO simplistic, with no real meat to his flows. He’s been guilty as charged in various outings, but he has shown glimpses of surprising storytelling matched with an earnest sense of self and humor. Which one he plans to bring to the table is anyone’s guess and it’s that inconsistency that has held him back from time to time.

The People’s Champ was a solid major debut for the Houston native, whereas Get Money, Stay True had it’s share of stumbles in regards to repetition and general lack of energy; despite it being another solid outing. So after a brief hiatus, a trend I noticed among a lot of Swishahouse representers, and some features; Paul Wall is back with Fast Life. Much like Mike Jones, Paul made sure to note in interviews that he hopes to display a mature flow and sound with his 3rd studio album. With Mike Jones failing to live up to those expectations, is Paul Wall set to have the same problem as his contemporary? Or can he evolve and rise to a polished follow-up like another contemporary of his, Slim Thug.

I’ve got the answers to these concerns and more. So like paper, let’s get it.

1. I Need Mo
Featuring Kobe; Produced by Travis Barker
Who knew Travis Barker was going to be such a natural fit for Hip-Hop production and remixes? Welcome to Hip-Hop Travis. Keep up the originality, we need it.

This is an intense, piano and guitar driven beat that opens up the album as Paul spits about how focused he is on his hustle. He shows more fire than his usual flow and brings the metaphors for what I’d consider a solid intro to the album. Kobe is easily interchangeable with a number of upstart Auto-tuned hookmen, but doesn’t detract from this driven album opener. Thumbs up and gets things rolling on a proper note.

2. Got To Get It
Featuring Fat Pat; Produced by Beanz & Kornbread
The best track on the album, hands down. It’s really THAT good.

A hustler anthem if I’ve ever heard one. Beanz & Kornbread are to be commended for marrying West Coast synth with that slow Texas flavor of production. Fat Pat provides a hot hook, screwed and chopped of course, and Paul Wall’s laid back delivery hugs the curves on this number.

I’ve listened to this track over and over again and am simply amazed at how well it came together. This is Paul Wall making good on the maturity of his sound with great style. Place this not only as THE album standout, but among one of his best at that.

3. Bizzy Body
Featuring Webbie & Mouse; Produced by Mouse
Painfully uneven, especially coming off of two winners for tracks. This one is about females with their own hustles by any means, detailed in raw form by the three on the track.

The beat works, but lacks the quality to really make it stand out among the 5 million other “dip it low” tracks out. Webbie’s verse doesn’t really click, almost losing the beat once or twice. Mouse has a fun verse to bookend this track, giving his best Juvenile tribute with his style and voice. Paul actually handles his portion well and again shows an assurance and a delivery way ahead of his previous two studios. Catch his clever line about a girl on her knees, but not to pray. Average track that had more potential.

4. Lemon Drop
Featuring Baby Bash
This one is an obvious slide in for the ladies. The beat is okay, sounding like a Lil’ Jon synth leftover that he sold at cut rate [Probably to pay for Crunk Rock. One day…one day…]. Baby Bash and Paul Wall actually don’t make for a bad combination, given they both share a laid back approach to their deliveries. Just wish they had a better track to showcase the chemistry.

The hook for this one is laughably bad I must say though. Paul Wall sounds like a damn idiot going “POP” over and over some forgettable backup vocals on the hook. I was hoping for more, because this very well could have been an enjoyable dance number. Instead, it finds itself the first REAL stumble of the album.

5. Fly
Featuring Yung Joc & Gorilla Zoe; Produced by Amadeus
A perfect example of the sum being greater than the parts. I didn’t go into the track expecting much, but everyone drops fun verses to compliment the [now commonplace] screwed and chopped hooked beat. It sounds like something Joc himself would have on his album, but it’s a solid addition to Fast Life and a fun romp for all parties involved. Inoffensive. An easy track to bounce around to while cruising.

6. I Grind
Featuring Marty James of One Block Radius
Paul Wall calls in a 3rd of West Coast hip-hop trio One Block Radius for backup vocals on another piece of grinder’s inspiration. James’ voice has a quality like Adam Levine’s, just enough emotion and smooth all the way through. Paul’s flow is by the number, so that doesn’t mean bad, but I wish he turned in a stronger effort to really lift this track to the next level. The beat was well made, not overdone but made with a sense of urgency the likes of which a hustler has for his money. Good track. Could have competed with “Got To Get It” had Wall threw down harder on this.

7. Daddy Wasn’t Home (Mama Raised Me)
Produced by Beanz & Kornbread
I’m going on record and saying the best-kept secret of this album is Beanz & Kornbread. Another winner of a beat using a well placed “Dear Mama” Tupac sample, Paul Wall relates about growing up and the struggles his mother went through. He even speaks on his stepfather and how good of a husband and father he ended up becoming to his family. This is the kind of sincerity and earnest flow that sets Paul apart from so many others. His words feel real and the beat is a hook for your continued listening of his story. Excellent track and Paul Wall’s evolution into a stronger rapper continues.

8. Pop One of These
Featuring Too Short, Skinhead Rob, & The Federation; Produced by Travis Barker
Risks. I love risks and stepping outside the box. This could have turned out so bad and fortunately, it did not. Paul Wall takes his hand at hyphy and doesn’t make a fool of himself. He speeds up his flow for this and gets aid from hyphy vets, The Federation. Too Short is Too Short, and yes he drops his signature “BEEYATCH” in there(!). Barker laces a fun little dance track here and what we get is a surprisingly good taste of Texas mashed with West Coast. Another left field piece of enjoyment on this CD.

9. One Hundred
Featuring Z-Ro & Yung Redd; Produced by Howard “Chaotic” Metoyer & X-Fyle
Paul Wall’s vow to stay true his boys, up or down, opens this track as it takes a moment for the beat to really get going. Once it does, you’re treated to a space age synth produced by Chaotic and X-Fyle. I’m a fan of Z-Ro, but the hook for this song is wordy and clashes with the overall cool of this track. Fortunately his verse is much better. Yung Redd breezes through this, but lacks anything truly memorable about his verse. This track goes by pretty fast and is another case of the song not being bad; just needing a bit more to carry it to banger status.

I do have issue that the song was mostly handled by the features, but I think different artists or perhaps more Paul may have beefed this track up lyrically. Worth a listen, albeit lacking.

10. Pressin’ Them Buttons
Featuring Lil’ Keke & Trae; Produced by I.N.F.O. & NOVA
Classic Texas style on display. Money, cars, and jewelry are the subjects of the day on this track. The beat is snare, horns, and raw drums and is another made for cutting corners in a clean whip. I love how this comes on hard and won’t let up until it finally goes off. Keke and Trae are used to this kind of style and add to the general vibe of the track. Definite head-nodder and I’d suggest bumping this hard while recreating the riding scenes from “Throw Some D’s”. Even Paul’s usual subjects are heightened by improved production and a more assured style.

11. I’m Clean
Featuring Z-Ro; Produced by Beanz & Kornbread
3 for 3 for Beanz & Kornbread in the beat department; this is the weakest of their trinity on this album however. I could imagine UGK completely destroying this beat, but Paul and Z-Ro team up to make a pretty good track here.

Z-Ro definitely improves upon the weaker showing he had on “One Hundred” with a better verse and hook. Paul slips back into the cool demeanor reminiscent of tracks like “So Many Diamonds” from People’s Champ and it definitely works here. If you ride to this song, no speeds over 25 MPH please. This is textbook Texas style boasting here. Nothing more, nothing less. It’s nothing terribly deep, just enjoyable. A keeper and couldn’t imagine him staying true to the region’s sound without a track like this.

12. Sumn’ Like a Pimp
Featuring Tech N9ne & Krizz Kaliko; Produced by Howard “Chaotic” Metoyer & X-Fyle
Another left field collaboration here and yet again, it strangely gels. The beat is ominous and a tad creepy. Even the hook leads you in to a false sense of security before turning harsh with the gritty “Who da fuck you be bitch, you know me”. This is my first introduction to Krizz Kaliko and he holds his own in the company on this track to help tailor an almost warped version of the slowed Texas style. It’s what you know, but tweaked just enough to create a unique flow lyrically and sound wise. Another risk with a surprising reward.

13. Look At Me Now
Featuring Yung Chill; Produced by Yung Chill
As hard as the album started, the album closes on an opposite note. Calm, reflective, and assured of what he has become and what he is now. Yung Chill delivers a beat worthy of sending this album out on a high note as Paul candidly relates his lows to the high he now ascended to. I never could have imagined he’d have the skill to craft this track a few years ago and I’m almost made he wasn’t this good sooner. Excellent closing.

Bottom Line:
Wow.

Just wow.

This album is not a classic or a 4 star affair. But wow, Paul Wall definitely has came up from the guy who kept saying he was posted up on something every 2 lines. I read interviews of rappers constantly saying they’re going to improve their style, change it, or shock people as albums get closer to release and drop the same old bullshit over and over. Paul has done all three listed and in the process, taken some major steps up in regards to stepping up to figurehead status for Texas.

He could have easily went by the numbers, but Paul took his share of risks and changes and has produced some of his best work since his 2005 studio debut. His style isn’t compromised for his longtime fans, but it’s accessible and showing more depth than ever before. He does have weak tracks that fail to capitalize on their full potential like the misguided “Lemon Drop” and “Bizzy Body”, a misfire of features and production. However, Fast Life bounces back with earnest tracks like “Look At Me Now” and “Daddy Wasn’t Home”; Texas staples like “I’m Clean” and “Pressin’ Them Buttons”; and sheer shockers like “Pop One of These” and “Sumn’ Like a Pimp”. Lest we forget the height of Paul’s grown style in “Got To Get It”, I’m still in disbelief that it’s the same artist.

And that’s a good thing. Disbelief. Shock. Enjoyment. I love knowing an artist can completely take what I know of him and turn it upside down, while still making it worth the listen. Paul Wall has grouped unknowns and unproven producers and artists to create a CD with its share of surprises, but familiar enough not to alienate the sound you know and love. This album won’t be his 4 star…but if he keeps on this track, he may have another surprise just yet for hip-hop on the horizon.

I know that sounds hard to believe, but that’s a shock I’d love to see. Since when has it ever been bad that an artist wants to improve? Change ain’t just for Sam Cooke you know?

nappyPicks: “Got To Get It”, “Pressin’ Them Buttons”, “Daddy Wasn’t Home”, “Look At Me Now”, & “I’m Clean”

Download: Paul Wall feat. Fat Pat – “Got To Get It”

When most people hear the name Mike Jones, they say ,”Who?”. They’re either in on the joke or they have no clue who he is. When I heard Mike Jones went DOUBLE platinum off of his debut studio album Who Is Mike Jones?; I found myself not saying “who” but more like… WHAT?! And Lil’ Jon was nowhere in sight.

Granted, he came out at an awesome time for the Texas scene. Paul Wall, Slim Thug, Lil’ Flip, Chamillionare, and himself were tearing up the charts and the radios. It had to be considered a banner 2004-2006 for anything Texas at that time. Of all the names mentioned, I just can’t quite put my finger on how Mike Jones did so well. I can name redeeming abilities from every other rapper mentioned, but I can’t help but look at Jones as a spirited tag-a-long with an infectious gimmick [Can’t knock the hustle. If repeating your name gets you 2 mil sold, well…….].

I’ll give him his credit, his obnoxious flow makes for a good party song and it’s catchy in a simple way. However, he stumbles hard whenever it’s time to turn the swag switch off and hit on some other subjects. I liked “Back Then” and “Still Tippin’” as much as anyone and recent features have shown growth in his flow. Can he prove he’s more than just some catchy singles? From what I’ve heard about the track “Mr. Jones”, he may very well shock us with some lyrical content yet.

Recent interviews and even his own intro suggest that Jones is looking to shock some folk with his latest offering. So after the delays and drama leading to the release of The Voice, 4 years removed from his debut, is Mike ready to show the game something different so less people ask who he is? I certainly hope so.

1. Intro
Not even a track. Mike gives himself a pat on the back for his platinum plaque and already begins the hype train for Expect the Unexpected, a future studio album [ALREADY?!] coming soon. Quick shot at his haters and we lead in to the first real song of the album. Quick 48 seconds, has no real weight on the album one way or another. Was the mixtape DJ echo REALLY necessary though?

2. Swagger Right
Produced by Big E
Mike’s in his element right here; boasting, bragging, and taking shots at current and past haters. The beat is a mix of synth, Three 6 Mafia style drum rolls, and the commonplace repeated sample hook.

Good way to start off the album on a head nodding note, just don’t expect anything out of the ordinary from Jones. His usual “who?!” gimmick, speaking on lean and bling, and lets not forget the repeat of the verse he just dropped. Still a fun track regardless of the clichés and not a bad opener for the first song.

3. Houston Oilers
Produced by Mike D
I’m sure I don’t have to tell you the oil he’s referring to. Clever. Too bad the song’s not quite that. The beat has a space age feel to it with a hook that repeats “I’ma Houston Oiler” multiple times. He screws his voice for a few of the punchlines, but this song would have been a prime candidate to be screwed and chopped; to add to the disorienting vibe is trying to give off. Jones is doing way more repeating than rhyming on this one, with the rhymes he does spit not being all that memorable. Average track, dying to be more than it is.

4. Boi!
Featuring Young Problemz; Produced by Dat Boy Chyco
I could imagine the conversation when they made this song.

Mike: Ay, you know that song “A Milli” by Wayne?

Dat Boy Chyco: Ya mayne, that shit’s raw. What about it?

Mike: I’m wanting that, but without the Bangladesh price.

Songs like this make me realize the effect “A Milli” had on the rap game. It seems like every rapper is trying their own version of the Grammy-winning single. I must say though, this is definitely a bright spot for the album and tailor made for Mike Jones style of flow. The repeating “Boi, I got so many” may sound out of place when it starts, but fits like a glove as the song powers on.

Problemz bring good energy to the track, this being my first time hearing them. The first member especially starts this track off on the right note as everyone looks to match up. Jones drops merely a verse, but sounds confident and even drops a Kid Cudi metaphor for good measure(!). If you can get past the glaring similarities to “A Milli”, furthered by the Wayne allusions they drop throughout their combined lyrics, you’ve got a banger waiting to happen right here.

5. Cuddy Buddy
Featuring T-Pain, Twista, & Lil’ Wayne; Produced by Jim Jonsin & Bigg D
T-Pain anchors the hook here, a breeze for him at this point in his career, with solid flows by all the players involved. Unfortunately, Jones weaknesses are further accentuated in such good company; it’s criminal to compare and contrast verses, but in the interest of fairness….

Jones’ verse….
“Even though she (got a man)/
She already (Known the plan)/
She already known the deal, known the deal/
Known the deal, known the deal/
Even though I’m chubby chubby/
Your chick/
She loves me loves me/
She might be with you now but/
She’s still thinking of me/
Yall out there makin love/
I couldn’t make em love me/
In the back of the lap with it/
Just … that!”

Wayne’s verse….
“I make her hollar like when/
Mama brought her into the world/
Like I’ll let him buy you dinner tonight/
Then at the end of the night,/
You’ll be my dinner tonight/
You see he dark, you always dim in his lights/
And that girl wanna shine/
I bring her into the light/
Wa la!/
I become her Ala and I swear/
That thing feel like la, la, la/
And since he feed her lies,/
I’ll be her dessert on the side”

-Shakes head-. Crazy isn’t it? Not that Wayne hasn’t made a point of ripping other people’s songs, but it’s not even close on this. Twista has a worthwhile verse as well. It’s songs like these where Jones’ wants to branch out, but lacks skill to really own the track. He can’t use the same style he uses on say, “Swagger Right”, which he does on something like this. Jim Jonsin delivers another syrupy-smooth beat with assistance from Bigg D. Jonsin has been on a roll lately. This beat in particular I could see being used for early 90’s new jack swing groups.

Enjoyable, definitely for the ladies; Jones weaknesses are crystal clear given the excellent features chosen here and it’s dangerous to let that happen.

6. I Know
Produced by Pretty Todd; Featuring Trey Songz
Obligatory “holding your man down” song. Trey provides an enjoyable hook here; good emotion. The beat is okay, nothing truly standout about it and Jones runs through the usual “thanks for standing by me, baby” lyrics. “21 Questions” this ain’t. This suffers from Jones being…well…Jones. He’s got the same emotion, tone, etc pretty much every track. If she’s all that, act like you care eh? You’re not missing anything here by any means. Well, except Jones bringing “tenderoni” out the mothballs….[It’s due for a comeback, I say!]

7. Drop And Gimme 50
Featuring Hurricane Chris; Produced by Mr. Collipark
What can I say about this song? This song isn’t really about lyrical content, the ladies and the gents know that. They got the right man on the beat and the combined energy of Hurricane Chris and Jones makes for a proven club banger. What they lack technically, they make up for in spades with command over this catchy party track. All you can really ask for on a joint like this and definitely gets the party jumping. Easy thumbs up.

8. Give Me A Call
Featuring Devin The Dude
A light beat accented by a modest drum roll. Devin The Dude amazes me with how smooth his flow is, yet keeping it so raunchy and gritty. His adaptation to the subject matter and beat is a sight to behold; unfortunately, this is not his song alone. Jones at least sounds inspired for the track, but comes up short in the creativity department. Again, his feature outclasses him, showing him how to own a track that Jones barely gets a handle on from the start. Worth it just to see Devin cut loose, otherwise, skippable.

9. Happy Birthday
Produced by Mike D
-long pause-

I was trying to think of the best way to describe this track. A full write-up would be just too much. I’m going to turn in as much effort as Mike Jones did on this track. Two words can sum this…thing that claims to be a “song”.

Hot. Garbage.

The beat may have had a chance, but it is dragged into a void of sheer wackness by Mike Jones’ uninspired flow. The first 5 seconds, you want to like it, and you slowly realize you’re listening to auditory bullshit that should have never made the album. I hate to be venomous, but DAMN, this track is sorry. Possibly a contender for worst song of 2009. If you’ve got one worse, I’d love to (not) hear it. AVOID AT ALL COSTS.

And for Mike Jones’ supporters. Download it. YouTube it. Whatever. Listen to it and HONESTLY tell me it has redeeming value OTHER than the beat? If you can do it with a straight face, you should be in politics. Next.

10. Next to You
Featuring Nae Nae; Produced by J.R. Rotem
Rotem does it again. I like this beat, a number of artists come to mind that could have done wonders with this beat…..Mike Jones is not one of them. Admittedly, his words aren’t so bad this time around (for him)….

“I aint tripping about the lime light/
cuz when im with my shawty/
She keep my mind right/
When we up in the mall/
She feel up shopping bags/
She love to pop them tags/
She love to drive the jag/
Whenever we alone/
She throw away my phone/
Cuz she dont want no interruptions while we going strong/”

Again, we suffer from lack of emotion or change in tone really. He’s not as LOUD as usual, but just not hearing the care in this track. Again, we’re going through the motion. Nae Nae reminds me of Nivea in regards to her voice and she shoulders her part on this track. Given a rapper with more squabbles [T.I., Slim Thug, Bun B, even Plies] this could have been a standout. This is a hard average and again, this is squarely on Jones. Not liking that trend.

11. Swagg Thru Da Roof
Featuring Swole; Produced by Swole
Swole does a Swizz Beats and not only produces but takes up hook duty on the vocodor, and he definitely adds to this classy number. I love how upscale this beat sounds. Jones keeps his verses brief, filled with compliments for his lady. Even while leaning on his “who” gimmick, it can’t kill the feel good vibe this one gives off.

This is actually a case all around of a “big ups to your lady” track done correctly. Pleasant surprise and peep Swole hitting a “Computer Love” high note towards the end. Thumbs up. This look to be a single I believe and if so, good choice.

12. On Top Of The Covers
Featuring Essay Potna; Produced by Essay Potna
Is there an unwritten code that rappers HAVE to use vocoder/autotune? What can I say…it’s Mike Jones on the vocodor. It’s definitely an experience to say the least.

Was not a fan of this song at first, but it grew on me. He tries to channel Wayne, especially with his emphasis on certain words, but Jones is no Wayne of course. I will say he doesn’t make a fool of himself on it, but still suffers from verse repetition. Absolutely love the Pimp C sample used in this one and Essay’s Southern drawl gives him a unique sound on the hook. Not quite as good as Swole’s producer/hook turn in the song prior, but good. Worth a listen, this one will be an acquired taste though.

13. Scandalous Hoes (Skit)
Why he felt the need to explain a track named “Scandalous Hoes”, I’ll never know. Unnecessary. We could’ve took this time wondering why Rakim hasn’t made another album. Or if Crunk Rock is EVER going to hit shelves….I wonder…..

14. Scandalous Hoes II
Featuring T-Pain; Produced by Kojack
Standout. Among the best on this album. Mike Jones actually bothers to turn in some good storytelling on this number, with T-Pain providing smooth backup. Pain isn’t a favorite of mine, but he definitely adds more to tracks then he does take away. Kojack laced this one up properly and this is a fitting sequel to the original from Who Is Mike Jones?; where the original also stood out from the pack as well. This is a matured flow for Jones and I would have enjoyed more like this. Definitely a keeper.

15. Hate On Me
Featuring Tanya Herring; Produced by Mike D
We slow things up for a surprisingly reflective track, Mike D turning in another solid beat. Shame one of his contributions is going to be associated with a terrible track. This however is a hell of a redemption song and Mike AGAIN comes with the storytelling(!).

No verse repeats. No “who”’ing. And he saves the name repeating until the end, which is excusable. Mike merely explains where he comes from and asks why he receives the hate he does. I probably could give him a few reasons musically, but tracks like this really make you want to lighten up on him. Lovely track to help bookend this album and he needs more like this if he ever wants credibility. Not as reflective mind you, but at least as assured and steady as this one.

16. Grandma II
Featuring Kai; Produced by Amadeus
Another sequel on this album. Jones switches between some light verses and spoken word, Kai crooning in the background. Her voice is fine, but she lacks a quality that takes the song to greater heights. The beat is inoffensive, but also suffers from lacking a sizzle that takes it to another level; especially with the subject matter at hand. Sadly average, was hoping for more.

Bottom Line:
Mike Jones made a half promise. He did do some unexpected thing. Many of them not well thought out from what we have here. Mike Jones is the kind of rapper with limitations and his producers as well as himself should know what they can do and can’t. If you CAN’T do it, work at it. Your sophomore release is not the time to experiment without due practice. Biz Markie and Luke are two examples of beloved artists who had limits and just made it work within them. Either learn that or work harder to adapt.

When Jones sticks to his bravado filled bangers and high energy tracks, he’s in his element. It’s not a deep ride, but enjoyable nevertheless. Unfortunately, he tries to often to create “for the ladies” tracks that fail to hit the mark and only make it to the finish line thanks to strong features. It’s a definite problem when you think about who else could have ripped beats bestowed upon Jones while listening to HIS album. I appreciate the risks taken and he does some in the proper places like “Swagg Thru The Roof” and “On Top Of The Covers”, but his stumbles are glaring and frustrating. Must I speak on “Happy Birthday” AKA “The Song of Which We Do Not Speak”?

I wanted better for this, especially after the good word of mouth he’s been earning and getting a club buzz off of “Drop And Gimme 50″, but we’re still seeing the same problems and clichés from the last 4 years from Mike. There’s heat here that keeps it from reaching bottom of the barrel levels. Unfortunately, when you’re already the weak link in a strong Texas lineup, you better deliver and this was not it.

There’s no Houston hype-nitis [Limewire Canibus, he’ll explain it.] to cover for him this time and if this is any indication of what Expect The Unexpected brings; I’d rather not. The Voice is an unfortunate example of what happens when the gimmicks get old and you refuse to step your game up.

All it gets you is WHAT?! MEDIOCRE.

WHAT?!

You didn’t hear me the first time? –shakes head-

nappyPicks: “Swagg Thru The Roof”, “Scandelous Hoes II”, “Boi”, & “Swagger Right”

Download: Mike Jones – “Swagger Right”

I will state this now. This column is NOT an issue of color or race. It’s a deeper issue that happens to be rooted in it, unnecessarily I might add. I debated writing this a number of times, but I feel somebody needs to say it; and if it gets through to one, maybe the effort was worth it.

First, my reason for writing this. I think back to a trip to Alabama with a good friend of mine for a wrestling show [Youtube “Kareem Abdul Jamar”, check my pedigree :p] and I find myself rattled by some commentary he made about what I was playing at the time. Gym Class Heroes was in the CD player, the track was “New Friend Request”.

I’m grooving and he’s laughing, so of course I want to know what the joke is.

Friend: “Man, why you listening to this white people rap?”

Me: “White people rap? Didn’t buy this CD in THAT section. Must’ve missed it.”

Friend: “Pssh. Even my SON knows that’s white people rap.”

I was willing to write it off. I’ve come under fire all my life for my musical tastes, dreams, style, and grammatical syntax [peep the grammar]; often being described as being the “White Black Guy”….I fucking hate that. I’m always black enough when I get pulled over, and my interests aren’t color-coded; open your mind.

I digress, my friend is a grown man with his own thoughts and Lord knows, that’d be a task to change. His kid though? It bothered me all day. His child is going to view music as white, black, and whatever else instead of what it should be at the end of the day….

Good or bad.

Not to sound like the older cat at the barbershop where everything was better in “his day”; but in what I’d consider the golden era of rap, 1980-1992, you had EVERYTHING. Experimentation, storytelling, mashing, consciousness, raw styles, flash, trash talk, and so much more. Everything was done just enough; not too excessively. Rap from the early 80’s to the early 90’s had to be the most exciting genre to watch unfold, because it was open to being whatever you needed it to be. There were no definitions. The most creative musical form out there.

Now, it seems like the artists that still believe in that notion are pushed to the backburner and considered irrelevant. Trap-stars, self-proclaimed killers, and hood figures are the order of the day. They all boast about the same things, their stories an unoriginal tapestry of uninspired wordplay. A dark society demands dark figures to place on a pedestal, AND OUR CHOICES ARE ENDLESS!

What people are failing to understand is that your soundtrack, the music you take in, has a huge effect on who you are and what you think. Especially in the case above where it molds our youth. African Americans already have a complex where ignorance is glorified and education/outside the box thought is considered weak or selling out. What other culture do you know where you’d gain more widespread respect holding a glock then cradling a schoolbook?

Ludacris wants to tackle serious issues in Release Therapy, wins a Grammy, and gets called a sellout for his troubles.

Wayne, wants to add a little rock to his sound and he’s already got people saying he’s “gone white”. At least he’s trying something different, whether it will be good remains to be seen.

Meanwhile, OJ Da Juiceman and Gucci Mane receive praise for wearing ignorant values on their chest; lacking the talent and creativity to make their stories worth a damn. Their stories used as motivators for people with no idea what that life is truly like. They see the flash and hear their boasts and think that’s the way to escape mediocrity and poverty. All they find for themselves is a trap more expensive then whence they came. The streets are harsh. The means to survive them are even worse and I ask this question to any fan of rappers who love to tout their body count or total bricks sold.

If that life was so good, so awesome; why not do that instead of schmooze at label parties and pop expensive collars? Why grind so hard to sell rhymes to get out of the hood in the first place? They’d still be there.

Have we grown so callous that we can’t appreciate the steps The Beastie Boys, 3rd Bass, Pharcyde, Tribe, Run DMC, and so many others tried to do to make hip-hop not only innovative, but an outlet for all? By definition, the white/sellout rap that some would say Lupe, Gym Class, and others do is the true essence of the art. Unfortunately, not enough hate or guns or drugs to make it relevant to an age where vice and violence aren’t just the answer…

…it’s the punctuation.

I can’t recall when struggle and hardship was just a “black or white” thing. I’m thrown off that you can’t be real talk or create something unique without being scrutinized by masses who choose to be so closed minded, accepting of the fact that they don’t want better. Music often times is a reflection of the times. And if the music is any reflection, then we’ve grown as uninspired and cliché as ever. It’s really sad.

There is a place for the subject matter. There is not a place in thinking that’s all there is to my beloved Hip-Hop. I find myself looking to her and asking what happened? Like a relationship gone sour, but you’re still locked in. When did she let ANYONE define what she was. All Hip-Hop had to be was possibility. Much like life, possibility makes it so worthwhile.

Much like life unfortunately, you have too many who’d rather take the easy way and not blaze their own way. It’s easier to be a killer, a pusher, a follower. So they set their soundtrack to that and pray it’s not too complicated for them to understand.

Do we fear better? Fear something new and exciting? Brave? Do the masses hate on Release Therapy because Luda because he sold out for a Grammy, or because it was harsh truths we weren’t ready to hear? Is it easier to turn your swag on; while turning off issues that still plague us as spit by Nas or K’Naan? How long are we going to be mad for no reason? Hurt others and us for no reason? Believe that hood fables are all we should aspire to learn?

These questions rattle through my brain 24-7 while I defend who I am and what I listen to. The art is on the verge of collapsing under the weight of sheer ignorance and it’s the few who still realize what Hip-Hop is that keep it going. I never thought I’d see the day I’d have to defend liking Andre 3000, as if he isn’t as real as the rap game could be; with the talent to match. Too bubblegum I guess, despite FEATURES that have been more raw then whole albums of his contemporaries. Since when did a man who blends everything that rap could be and then some have to come under fire for being too watered down for Hip-Hop?

It makes me wish I could stop the madness and give up. Then I realize all I can do is keep my ears open, accept all styles and flows, and remember that it can be only good or bad. That’s my responsibility to Hip-Hop.

What are you doing to make sure it survives another day?

Or perhaps I’m just being too white for you?

But since when was having a voice, being white? Or black? I thought intelligence was human. I suppose to enjoy Hip-Hop these days; I should just stop with that, right?

Right?

Mims. A pioneer of the “ringtone” rapper hustle. The war still rages on now; either you’re trying to move an album or you’re banking on Platinum ringtone/digital single sales; with the latter looked at as adding further to the unnecessary commercialization of the art.

I call Rida, Flo and Tell Em’, Soulja Boy to the stand. I digress.

I like Mims. If anybody caught some serious hate, especially in my Southern stomping grounds, it was the artist I’m reviewing at this moment. “This Is Why I’m Hot” was loved or hated, but the success that surrounded the song could not be denied. “Like This” failed to garner much steam and Music Is My Savior sold modestly, leaving Mims hanging in one hit wonder limbo with J-Kwon [Man was “Hood Hoppin’” a hit or what? –end sarcasm-] and Rich Boy.

Many dismissed him based on “This Is Why I’m Hot” and downed his basic, yet more than meets the eye flow. Taking a chance and listening to his last album, which had stumbles admittedly; I noticed there was promise underneath the mountain of hate he was buried under. Mims is a student of the game, with an obvious passion in his rhymes about Hip-Hop and music in general. The package is there, but can it be displayed? Can Guilt dispel the unevenness from the last album and distance his image from that of a ringtone royalty?

1. Guilt
This I wouldn’t have chose this to intro the album, although I understand WHY he chose it. A laid back, bluesy beat is laid down for Mims to rap about his issues (vaguely) with the rap game and his image in general. Try as he might, Mims is not Jay-Z and just doesn’t pull off that “reflective opening” style like Hov has perfected album after album. Too by the numbers and not enough emotion to make me believe what he’s saying, despite a steady flow.

2. The Skit
Produced by Da Internz
I enjoyed this. Merely a skit, but so original. It’s a conversation in a barbershop between a customer and rap “enthusisses” Murder Death Kill AKA MDK proceeds to say every hate I’ve heard about Mims since his debut 2 years ago and it’s refreshing that a rapper would willingly let himself get ate up, with pretty much no get back by the end of the skit. It shows confidence. Also goes a long way that “The Skit” is actually funny.

3. On & On
Produced by Da Internz
Enjoyable. The beat reminded me of ”Roses” by Kanye West, but distanced itself as it continued in a major way. It suits Mims laid back flow as he explains what he’s about in the rap game, answering a few questions along the way. This could have led the way easily, showcasing Mims rapping HIS style with an original beat that compliments.

4. Love Rollercoaster
Featuring LeToya Luckett; Produced by Da Internz
The obligatory relationship problems rap. Nothing really standout about this track, and by the numbers tracks like this do not help Mims at all, considering he’s still trying to flesh his style to begin with. LeToya brings it for her verse towards the end, but the material is so “been there, done that” on her part and Mims, it becomes an easy track to pass on. You’ve heard this done better elsewhere.

5. Move (If You Wanna)
Produced by Da Internz
NOW we’ve got something. This is the first single they released and for good reason. A little bit of chop and screw, heavy drums and bass, and Mims slides in and out of the beat with ease. This also marks the track where he FINALLY brings the punches and wordplay that won me over in spurts with his last album. For example…

“Don’t understand how can I have so many ha-ters /
Knowin’ I’m their father like my name is Darth Va-der /
I can get you hemmed up while I’m bein tay-lored /
Then I slide off to the side like a fa-der /
HOMEY I’M THE PRESIDENT, GOVERNOR AND MA-YOR!!! /
I CONTROL EVERYTHING, LIKE A DIC-TATOR!!! /
GET YOU BIZ MARKED UP, TURN YOU INTO VA-PORS!!! /
IF YOU GOT A PROBLEM GET YOU SWALLOWED LIKE A CHA-SER!!! /”

Tracks like this prove people are catching too much sleep on Mims. Money in the bank, and I’m not talking Swizz.

6. One Day
Featuring Ky-Mani Marley
WHY?! Ugh. I hate a bad song. More than anything, I hate a song that could have been great, but little things destroy it. Marley has a wonderful feature and the beat is well done, easy on the ears. Then here comes Mims using the new fad of the rap game, Autotune. It does his voice no favors and completely kills what could have been another solid number on this album. He would have been better suited without it or perhaps spitting as opposed to taking that kind of risk. Disappointing.

7. Chasing Sunshine
Featuring & Produced by KVN
I’m noticing Mims is striking gold on these beats featuring real instrumentation. The guitar, piano, and ESPECIALLY the violin portions elevate this song to must listen status. This is the reflective number he should have aimed for with Guilt. The emotion is dead on and features better storytelling. It only helps that the beat evolves with Mims as he experiences highs and lows on his memories. KVN’s feature is understated, slowly growing on you as it continues. He’s not meant to overpower the track and you realize this as it soldiers on. I believe him on this.

8. Rock ‘N Rollin’
Featuring Tech N9ne; Produced by Jim Jonsin
We slow things down here, as Mims makes sure you catch every rock related metaphor he’s prepared to throw at you. This track is definitely blazing if you can follow all of the references. A section if I may…

“Find me at Linkin Park with a Motley Crue /
You say you know the what but you do not know The Who /
Pay attention you could miss it if you Blink 182 /
And me I’m the one, just like I’m U2 /
Unforgettable fire, burning like the Wailers /
My life’s a motion picture, and this is just the trailer /
My suit’s a perfect fit just like it’s tailored /
Fuck her like an animal, I Nine Inch Nail her /”

And what a surprise on the feature! Tech N9ne drops a comfortable verse on this one, this kind of style made for his left-field flow. The metaphors alone make this worth the listen. The best isn’t particularly special, but the wordplay was meant to overshadow that anyway.

9. Be My Hustla
Featuring J. Holiday
Aside from Codeine related hook; pretty average stuff here. Holiday has never had a strong presence on a track voice-wise from what I’ve heard, leaving this void of a standout quality. Mims isn’t really working to provide that moment either; professing his love over the subject of this song with the usual drug related references. Again, Mims is not at his best when he’s trying a cliché style. It hurts him due to other rappers doing what he’s trying to do, but better. Inoffensive track, but easily forgettable

10. Makin’ Money
Produced by Da Internz
Whoever tailored this beat is an obvious Swizz Beats fan. Distorted sample hooked over and over, the usual “Hey”sample as it builds, and party drum patterns. Sounds like a rough cut of “Money In The Bank”. Mims hops on no problem; pity he’s not really saying anything out of the ordinary. He also falls victim of a few recycled metaphors from previous tracks. Not a bad track actually, just lacking. This easily could have found b-boy or club banger status with more fine tuning on production and the lyrical content.

11. In My Life (Why Oh Why)
Produced by Da Internz
Firmly in the “aight” category. He spits about taking risks and challenging himself in life for the blessings he has received. Oh the irony, because I’m not quite seeing enough of it on this album. Despite that, not a bad song here. I think they were aiming for an epic feel on the beat, but couldn’t quite nail it. This won’t hold a candle to the hottest tracks on this album, but this definitely has a place.

12. One Last Kiss
Featuring Solar Mesh
The strongest track of this album. Only “Move” could come close. Original, layered, emotional. The beat is never syrupy and drips of originality, yet stays grounded in enough hip-hop root not to lose you. Mims speaks on how he wish his mom could be here to see the things he has accomplished/has yet to accomplish, his love pouring through on this standout. Solar Mesh holds the hook together with passion in his voice, with just enough produced distortion to keep the song’s impact intact.

This is the fire I know Mims can create when he tries. He takes enough of everything and grounds it with his assured style to create a style that is his own. Listening to this, you can’t help but wish you had that one moment to tell someone, alive or dead, how much they mattered or how they affected you for the better. You won’t believe you’ve been listening to the same artist when you hear this. Thumbs way up.

13. Heal Me (Outro)
Featuring Soler Mesh
Solar Mesh follows up his supporting role in the previous track with another strong turn in this piano and drum rooted track. Mims seeks forgiveness and repentance for his sins, knocking out an extended verse in the middle of this short track, book ended by Mesh’s passionate voice. Short, to the point, and it never find the time to drag. Can’t knock that.

14. I Do
Featuring Nice & Smooth
The closer. A somber beat with enough energy to tap your feet to. This would be another track professing his love, but he accomplishes it in a way so that it’s candid, yet not alienating the listener. Nice & Smooth add to the track with singing and some Fatman Scoop style hyping, but I don’t see how their feature took it to another level. Not a bad way to close and again, this track finds Mims in his element of blending many styles to create one he can comfortably flow in. This must continue.

Bottom Line:
Mims drives me insane. He’s in that rare league with a guy like Cassidy where it just doesn’t come together when it needs to. He possesses talent that is beyond his ringtone rapper label and it shines through on tracks like “Move” and the especially brilliant “One Last Kiss”. What is holding him back from paving his own style? Every time he tries it on this album, it creates something special that set him apart from the pack. Then he decides to settle into the “safe’ topics and clichés of hip-hop and completely loses the steam he’s created. Uneven is the best way to describe this offering from the DC native.

Even when he stumbled on One Day by using Autotune, it took that to destroy what could have been another hit. I can’t knock a playa for taking risks you know? The problem is, he didn’t take enough of them to cement what Mims is about. Guilt is an album that could rise above and beyond, but chooses to take steps back, afraid to soar in a time where originality counts for so much in the rap game. That’s sad, because this really could have been the album that erased layers of the hate he receives. Now it’s just a lyrical lesson in weeding through average to get to the cool.

nappyPicks: “One Last Kiss”, “Move”, “Chasing Sunshine”, “On & On”, & “Rock ‘N Rollin’”

Download: Mims feat. Solar Mesh – “One Last Kiss”