For a while now, we’ve been kicking around the idea of doing a podcast and how to do it. We’ve done research and all of this stuff, but at the end of the day, the first one has to be done. So, I jumped in. My boys Easy and Jerm are busy doing all the stuff us slackers aren’t so I took it upon myself to go for it.

As far as theme, eh, it’s music. I tried to give you a mix of stuff you haven’t heard, some stuff you may have heard, some new, some old, but all enjoyable. Now, its the first attempt so there are some issues. The file is HUGE, the intro part sounds crazy…not in a good way, but I couldn’t fix it. After “x” amount of takes, it just wasn’t happening. I got much better luck with the conclusion, but hey, it’s a beginning. As we get better and do more, it will get better and be more.

Anyway, enjoy it, hit up the form post about it, and offer up suggestions for the next one or talk about this one. It enjoyed doing it and hopefully you all appreciate the effort. (Update: Added tracklist)

Tracklist:
“Intro” – Saule Wright
“Grown Simba” – J. Cole
“Elephant Rome” – Cyne
“Strange Fruit” – Danny Swain
“Closer” – Drake
“Lock Shit Down” – Chali 2na feat. Talib Kweli
“Show Stealers” – Tef Poe
“Real Smoov” – Children Of The Night
“Granny Smith” – Random feat. Niz
“Long Days” – Somobe feat. Shadow Pilot
“Arrival And Departure” – Finale feat. Awesome Dre
“Graff Time” – Chali 2na
“Whatever You Want” – John Sportin
“Mash” – Strange Fruit Project feat. Big Pooh and Kay
“Pit Stop” – Cunninglinguists
“Culture Cut” – Bahamadia
“Check” – Murphy Lee
“One For the Road” – Cee-Lo
“The Getaway” – Little Brother
“Official” – Pharoae Monche
“See It In Your Eyes” – Rah DIgga feat. Fabolous
“Coldhearted” – Blu & Exile
“Plan B – Tanya Morgan
“How Can It Be” – Reks
“Outro” – Saule Wight

Listen Below:

Download: Frocast: 11.9.09 (Premier Edition)

We haven’t dealt much with the 2009 BET Hip Hop Awards outside of the cyphers this year, but I can’t act like it didn’t happen. This year’s show was, performance wise, one of the worst. However, from a production standpoint and things of that nature, it was one of the best shows they’ve had. It did however, leave some questions burning in my mind.

1. Is Joe Buddens THAT good?
I’ve heard some Buddens stuff, I’m not going to act like I am well versed on that dude. However, I don’t remember a time that I was like THIS DUDE IS A PROBLEM. After his flow on the first cypher, I was left scrambling to get re-acclimated. He perked my ears with the Slaughterhouse album, but it still didn’t send me searching for his music. But now, the combination of the album and the cypher, I need to go back to ground zero and research dude, because clearly, there is more to him than I thought.

2. Has Nicki Minaj FINALLY found her formula for success?
Minaj gets more than her fair share of hatred and doubt. Those two attacks are pretty standard uniform for female emcees in the game. I’ve always liked her on the mic and that was BEFORE I saw what she looked like. The net seems to be hell bent with proving she’s got fake body and Weezy writes her rhymes but lets be completely honest here. Number one, sex sells. It has sold since there was a way to put a price on it. If you are in the entertainment biz, and you are female, chance are, you are going to go under the knife at some point or at least add some tracks, nails, or something man-made to your structure. Lets not crucify her for what may or may not have happened to her, but routinely happens in the business. Secondly, ghostwriting or flat out writing for someone else is regular in music. I understand that Hip-Hop puts paramount importance on authenticity, but at the same time, its music is a form of entertainment. When we get around those two formalities, her new animated delivery and flow along with the void in the game, may have finally put her in prime position to make her mark. I’ve often found myself on an island when I speak highly of Minaj, but even those that didn’t care for her too much saw the light after her cypher and recent verse on the remix of “5 Star Chick”. Hopefully, folks will pay attention to her “Killin’ these bitches, Mike Vickin’ it up.”

3. When is BET going to really bring back RapCity or at LEAST do a show called The Booth?
Cypher 3 featured Mos Def, Black Thought, and Eminem spitting some of the most “oh shit” worthy flows ever done on BET. With everyone being able to write down lyrics and drop an album on iTunes, we rarely get to see this side of the game from experienced emcees anymore. You may get some hotlines from them when they show up to the radio station, but rarely do you get emcees of this caliber on at one time, doing what they love. BET, you can reach me at  saulewright at gmail.com if you want to work on this idea. I’m just saying…

4. What about graffiti?
There are four or five elements of Hip-Hop, depending on who you ask. However, no matter WHO you ask, they will both name graffiti as part of it. It clearly has transitioned to a legitimate art-form to the masses, but it has also seemingly been neglected and ignored by what we know as the Hip-Hop culture. I’ve seen more cars, jewelry, and basket ball hoops in music videos than I’ve seen actual tagging being done. Again, BET, you can reach me at  saulewright at gmail.com if you want to work on THIS idea. I’m just saying…

5.What happened to the Emceeing part of Hip Hop?
Disclaimer: Little Brother nor the Justus League do not pay nappyafro.com for our support or anything similar to that kind of agreement. Now that that’s out of the way, have any of you seen Little Brother in concert? If not, YouTube them, they are a recent example of stage presence and what being an emcee is about. They are clearly cut from the same cloth as Big Daddy Kane, KRS-One, LL Cool J, Run DMC and other emcees that understand how rocking/moving the crowd is not just a hot lyric. The ability to put on a show doesn’t come with the signing bonus. The amount of underwear, crotch grabbing, pacing, etc. were at an all time high during this show while ability to perform was absent. I don’t know that I’ve been as unmoved or uninspired as I was with the collection of stage performances that happened at this show. I could go onto a number 6 being about having some excitable fans around the stage, but I think if the show is up to par, then the audience will show it, no matter how motionless they are.

So those are my questions, what are yours?

As an artist, the thinnest of lines are the ones between growth, signature style, and success or failure. Camp Lo hit the music scene hard with the debut album Uptown Saturday Night which featured hit singles like “Lucihini (This is it)”, “Coolie High”, and “Black Nostaljack.” However, since then, they’ve been trying to recapture that fame. This album is at least a return that formula after releasing Stone & Rob: Caught On Tape, an album that seemed to focus solely on being a sound in efforts to grab more fans. They abandoned the sound that we are familiar with and the cinematic quality of the composition of the previous 3 albums. The disconnect can largely be attributed to the absence of Ski and his ability to create a complete sounding album (he only produced one track…and even that didn’t sound like what we’re used to for this group). Now that he’s back, let’s see if how this screenplay comes together and if those lines are noticeable.

Another Heist
Produced by Ski
Staying true to from, we get a high energy, head-nod track to start the album. I liken this track to the action sequences of the Blaxploitation flicks they emulate not only in sound, but naming convention and method. I can see them kicking in doors, yielding weapons, and demanding the respect that has seemingly escaped them up to this, their 5th “Audio Picture”. The guitar licks don’t stop and the simple drum pattern plays well to blend with the music and let the guitar and the deliveries take precedent on this intro.

Uptown
Produced by Ski
This is one of those scenes that if you miss part of it, no one is going to reach for the remote and rewind it. It’s not a bad song, but after such a funky kick off, this track sounds like a tertiary thought to seemed to be the mood and thought process of the intro song. Cheeba does a fantastic job of weaving words together into what is known as one of the smoothest deliveries in the game. Other than his contribution to this one, there isn’t much to note about this song itself. Scene.

Satin Amnesia
Produced by Ski
Hello signature sound. Smooth track, melodic celebration of chords, harps, and xylophones, this song sounds like the montage of sex and good times between the protagonist and the object of his affection. Not coincidentally, the song is lyrically about the same setting. I think the hook could have been done a little better, but I’d be nitpicking. I really enjoy how this track feels and the picture painted when it all converges on this track.

Get Em Lo
Produced by Ski
This episode finds our duo draped in bongos and more 70’s excellence as they play the vigilantes to fake ones in the game. I think this feature has the most action in this movie with a frenetic pace and relentless action. This is one of the most captivating songs on this album.

Boogie Nights
Produced by Ski
We arrive as The Lo get ready to hit the streets. Sped up sample in tow, more bongos and drums, they pack up and provide another song that I can almost see the video for as well imagine using this to set the table as we pre-game for the night. Ski typically plays with instrumental samples and chops, but this singing on this one is a nice injection into an already enjoyable sound. With a hook that tickles us old heads that remember those Martini and Rossi Asti Spumante commercials and a dance between the different flows, this caper goes off without a hitch.

Son Of A…
Produced by Ski
Make no mistake, this is an action sequence in the movie. From the funk of the bass and the anthemesque chords that frame this track to the noticeably absent body of the sound this one will leave you waiting for the other shoe to drop. Don’t get too close to the edge tho, at a brisk 1:36, this is merely a interlude/bridge to the next scene…

Good Green
Produced by Ski
…which kicks in with a smooth transition and retains the kick and knock of the previous song even though the tempo is drastically different. The title leaves no mystery as to what this one is about, just depends on how you hear it. Green typically means one of two things…. That aside, while the song is cool, it’ doesn’t really seem to fit the rest of the album.

Beautiful People
Produced by Ski
As Sonny, Geechi, and Ski enter the disco, I picture the scene complete with velvet, bell bottoms, and powerful Afros. Don’t forget the band on stage dippin’ in synch as the club patrons two step with each other like the best choreographed video. This song is almost a direct port of the 70’s show tune sound and the Blaxploitation era that the crew uses to inspire and drive their careers in the biz.

Bionic
Produced by Ski
I get the attempt on this one, but I don’t like it. With so much soul being present in the rest of the album and a distinct harmony from track to track, this track’s slightly off melody and dragging beat make this one better left on the cutting room floor. Not that it’s a bad song, but it is terribly out of place. This is even more evidenced by the lyrics that seem to go on, but not really tell much. There seems to be an attempt at painting a scene but the missteps of dragging out the word A-A-A-A-ATUMN make this song come off as a lazy filler.

Black Connect 3
Produced by Ski
They really could have used this song to end the album. This song paints the illest scene on the album and is definitely one of the songs I’d use to make a Best Of album. With tag team style reminiscent of the great Hip Hop duos like EPMD, Run DMC, Nice and Smooth, and others, they really are at their best on this one. The sample and meticulously musical orchestra make this track one of Ski’s most enjoyable music offerings to the group. Even at 4:27, I’m not ready for this one to end when it does.

Love It Then
Produced by Ski
I don’t know if it’s possible to go wrong with a Stevie sample, and thank god they don’t prove otherwise. The music on this one is really on par with the last one and even tho the hook isn’t solid, the scene is flawless as our crew hits the city again with the ladies in tow. Again, nothing bad to say about this one other than the hook being a problem, but the song is dope as hell. With songs like this, what the hell were they thinking with that last album?

Uptown (Remix)
Produced by Ski
It’s been a minute since I’ve heard 3 songs come off as strong as these last 3 have for this album. Like I said above, this song should have been THE version for the album and the previous offering should have been edited out. The El Debarge sample on the hook and this being the slowest song on the album almost lead your right back into the first song which is the second fastest offering on the movie that we are calling Another Heist.

Bottom Line:
I’ve never thought growth was a product of abandoning your style, but more-so the child of perfection of what you’ve been doing. I support expression and changes in pace, but it doesn’t always lead to success. We could almost do an entire week on artists who tried to “grow” while doing something different and ended up stifling that very aspiration in the process. Every group can’t be Outkast and consistently reinvent themselves on a level where others are still trying to achieve with familiar surroundings. This album is a great return to from and the cohesiveness and style that made us fall in love with the group when we went Uptown Saturday Night. They don’t capture lightening in glass again with this album, but they do provide another enjoyable movie to the Camp Lo studio and leave us looking forward to yet another offering. There are some definite signs of the magic that we remember, and I already can’t wait til the next soundtrack comes out.

nappyPicks: “Satin Amnesia”, “Get Em Lo”, “Black Connect 3”, “Love It Then”, “Uptown (Remix)”

Download: Camp Lo – “Get Em Lo”

Download: Camp Lo – “Black Connect 3″

I’m not going to lead into this one lightly or anything. Simply put, this is an instant classic and album of the year. Who the fuck is Brother Ali? Hands down the best rapper you don’t know. I’ve said folks are one of this, and that album may be one of that…but this shit right here, this shit right here? Unrelenting, unparalleled, unapologetic, thought provoking, masterful, classic, and perfect are words that MAY begin to describe this album. I’ve done over 40 reviews for The Fro’ and I joined the crew after Eardrum dropped, which was the last album that I deem classic or at least REALLY close to classic. I have only given two albums 4.5 ratings and while I think both Relapse and Rising Down are personal faves, they haven’t made classic status for me. But this shit right here? This shit right here? Flawless.

Sometimes, doing a track by track review gets difficult because at the extremes you can only sing praises or voice displeasure so many different ways and do justice to the folks that take time to read what you took time to say. This album would be one where each track would be a new way to say amazing…15 different times.This is nothing new for Brother Ali though. This man has dedicated his Hip-Hop life to giving you top quality albums that are all underground staples to the game. His lyricism is up there with your favorites and he tends to be one of those that has done such high quality work for so long that you tend to take it for granted. I have NO improvements, complaints or anything negative to say about this album, and the song “Best @It” with Freeway and Joell Ortiz is pure napalm. No matter if it’s story telling, brash lyricism, conscious lyrics, or heartfelt songs, Brother Ali delivers. Us is the best offering from an emcee who is just as outspoken and controversial as he is talented. Do you hear me now? Good. (Shout out to anyone who gets that.) Make SURE to Turn Yo’ Headphones Up to Brother Ali.

Download: Brother Ali – “Best @It”

For any soul that has had a conversation with me or read my blog, you know that there are 3 things I love. Women, Hip-Hop, and My People (all of these being used as very broad, open terms.) After hearing about, and watching the fatal beating of Derrion Albert this week, I felt it was appropriate that we take time out for this weeks Song of the Week, not just send our love and prayers to his family and friends as well as those that were affected by the events, but to reflect on what it means to be a community. That one day, that one moment, as many as 5 lives were dynamically altered, one of which will not be replaced. At some point, it’s bigger than you and what may be convenient and comfortable. We’ve been long past that point…so what are YOU going to do about it? I’m speaking specifically to those who “look like me” when I say this: We each have a responsibility to ourselves and others in our community. We’ve got to do better. I’m sorry that I haven’t done more in my past, but thankful that I will do more in my future. We just can’t sit bye and let this stuff happen. Yes, I know you come here for Hip-Hop, but sometimes, it really IS bigger than Hip-Hop. R.I.P. Derrion Albert

Download: Donny Hathaway – “To Be Young, Black, And Gifted”

Typically, when we think of Pro Black, prideful, conscious rap, KRS-One tends to triumphantly erupt from our souls as the poster child and is highly regarded as a top 5 emcee…probably more like top 3. It doesn’t take much effort or digging to get into a conversation about this man or his greatness. Buckshot’s name may not have the same resounding name recognition for someone who isn’t heavy into the game. It’s not because he’s not an ill emcee, but the byproduct of being a part of such lyrical assassin groups as Black Moon and the Boot Camp Clik. While grinding on the underground scene, those that are familiar with his work were ready to celebrate when they heard that these two verbal samurais were working on this project together.

1. Survival Skills
Featuring DJ Revolution; Produced by Illmind
If this is the tone for the album, I’m ready to be excited. This isn’t about glossy production and bounce, this is about returning to bass, beat, and intensity. Now, I’m sure we may get some polish and pretty effects later, but this one comes off like one of the hard hitting NY throwbacks. You also get a taste of what could be ahead with Blastmaster working this track and his flow to his advantage and Buckshot Shorty playing the Geeche Suede to his Sonny Cheeba with a smooth sound and style that works with KRS brash lyricism. The hook throws me a little, but the lyrics and track are too fly to ignore…shout out to some old school scratching.

2. Robot
Produced by Havoc
This is the lead single for the album and I can’t even pretend to like the melody of the hook. The message is one that I’m sure we will hear a lot more of in the near future (and I welcome that). Havoc keeps the theme feeling from the first track as our duo do a job of blending and not competing while both offering some of the illest commentary on the current state of the industry.

3. The Way I Live
Featuring Mary J. Blige; Produced by Black Milk
Anthem, period. The production on this joint is fantastic and Mary J. proves again that she’s one of the best to do this Hip-Hop hook thing. KRS literally destroys this song with his insightful lyrics and inspiring flow. Hell, this may be my new alarm in the morning. This is one of the best songs I’ve heard this year. If this one doesn’t make radio, all the execs need to be fired. Sometimes, things are ready for the radio because they NEED to be heard, not because they are designed to be played on the air.

4. Clean Up Crew
Featuring Rock (of Heltah Skeltah); Produced by Illmind
The track is cool, still hard hitting, but something about this one doesn’t really grab me. Lyrically, it’s ok. The concept is pretty straight forward, as you see the title, but it comes off overdone to me. Like, the analogy of cleaning, cleaning supplies, janitors, etc, gets a little boring to me after a while. It’s creative and I get it…but yeah. You’ve got to hear it, I guess the best way for me to say it is that it’s creative, but not as clever as I’d expect or hope for.

5. Oh Really
Featuring Talib Kweli & Geo (of Blue Scholars); Produced by Marco Polo
Talib! Oh shit, I’m ready…for him to only be on the chorus? Yeah, that’s all we get. Hey, I was hoping he was going to do his thing. Again, a tough track that plays the proper role and lays the foundation for offerings like this one from KRS, “I’m naughty by nature/raunchy by nature/forty by nature/y’all corny by nature/meanin’ all y’all naturally wack/and I’m naturally dope like coke before crack/but really, I’m more like the weed in this rap/and these new jacks are more like the seeds in this rap”.

6. Connection
Featuring Smif-n-Wessun; Produced by Moss
We still get grit on this one, but with a healthy dose of dark ominous chords in the background. This song is one of the missteps on the album for me. The song becomes boring and at 5:23 seconds, it’s too long to sound like this. The one thing I will mention is KRS line at the end of the song…damn…damn meaning GOOD!

7. Runnin’ Away
Featuring Immortal Technique; Produced by Black Milk
I hate to be lazy or come off like I’m on some bullshit, but Immortal Technique did some unmentionable shit to this song. Really, I don’t even want to cloud your this song review with talk about the other shit, Immortals offering wore the paint off my rewind. Just take a listen at the bottom.

8. Think Of All the Things
Featuring K’naan; Produced by DJ Mentplus
There are certain things you all know about me at that I need in albums. I don’t pretend to be the almighty scholar on all things Hip-Hop, and I Will Not Apologize for how I evaluate albums. You all know that I am a stickler for lyrics, beats, hooks, production and flow of an album. I LOVE this song…aside from KRS singing. The message is fantastic, but I have trouble with it on this album or at least hear. It just seems odd right here and now.

9. One Shot
Featuring Pharoahe Monche; Produced by Nottz
This beat drives me crazy, and not in a good way. It’s set on the down beat so you can’t really nod where you’re used to nodding…you’ll get it when you hear it. It’s not as jarring with further listens but it has yet to resonate with me. Monche is another of of those guys that doesn’t get the notoriety that he deserves in the business but unfortunately, I can’t say that he offered anything to change that. He’s only on the chorus. I do like the structure of this song and the lyrics offered as well.

10.Amazin‘
Featuring Sean Price & Loudsmouf Choir; Produced by Khrysis
Y’all know about the love the Fro’ has for the Justus League, so shout out to Khrysis right out the gate. I should probably listen to this again and count how many times they say amazing since that is the concept of the song…but oddly enough, it doesn’t get old. I’ve never heard one word sound like so many different words as I do with KRS stressing different portions of the word and the words before and after it. Buckshot continues to prove that this album is collaboration and not a competition as he lends a different sound but flow that is second to none.

11. Hear No Evil
Produced by Khrysis
Definitely a different sound on this track. Appropriately I feel like the resounding, rejoicing, triumphant horns are recruited to play at the name and theme of the song. This song is good, the track stands out on this one though.

12. Murder 1
Featuring Bounty Killer; Produced by Coptic
Another decent song, another song that doesn’t really flow with the album. Bounty is relegated to the hook and not intermingled enough to get this one over for me.

13. We Made It
Featuring Slug (of Atmosphere); Produced by Illmind
The thing that I think is most important to note about this song is how differently each emcee approaches the topic of “made it.” KRS comes with a story of life from seed to success, Slug speaks about his personal struggles and triumph in life, and Buck speaks about his motivation to be successful and make it. This is a really good song for any aspiring rappers to check out.

14. Past, Present, Future
Featuring Melanie Fiona & Naledge (of Kidz in the Hall) ; Produced by 9th Wonder
Miss Fiona will be dropping her album next week and if her vocals on this one are any indication, if you like the feel of Amel Larrieux silky voice, we need to be on the lookout. 9th Wonder is on his shit as usual, and just like most of the previous 13 tracks, lyrically, this song is really good. It’s good to see Naledge getting some shine as well.

Bottom Line:
This album is feature heavy, but that is a bit misleading. With three of the features just being on the chorus (when both of them should have been spitting) and the rest doing a pretty good job of blending with the album, it doesn’t come off as feature heavy as it is…if that makes sense. This album seems to get looser as it drones on and a lot of the grit and grime gets polished and cleaned up by track 14. There are hiccups which I attribute more to my own ideas and what I want rather than them being bad tracks. The lyricism on this album is really dope and inspiring as well is the structure of some of the songs. In a industry that tends to go with verse, hook, verse, hook format, this team offers some different set ups and interesting collaboration and subject matter throughout. All in all, this album is probably going to be a must have for those that love either KRS or Buck, but I don’t know that it will win any new fans or make a big commercial splash. To that matter, I haven’t decided if that’s more a commentary on the state of music or about our desire/disdain for hearing things that are different to what we like…or maybe just me.

nappyPicks: “The Way I Live”, “Survival Skills”, “Oh Really”, “Amazin”, “Runnin’ Away”

Download: KRS-One & Buckshot feat. Mary J. Blige – “The Way I Live”

Download: KRS-One & Buckshot feat. Immortal Technique – “Runnin’ Away”

Here at The Fro, we’ve been on our indie artists and underground/under-hyped Hip-Hop shit this year. One of these artists is D.Swain aka Danny!. He won my coveted “Turn Yo Headphones Up” award for 2008 for his 4th album. Still, most of you are the uninitiated. His 5th album is coming out at the end of this month and we plan to do it real big for that one so stay tuned. If I had to describe his sound, I’d say refreshing. He doesn’t kill anyone, or rap about money cars and hoes….well, there are songs about women, but not the same ones that you hear talked about in most songs. Danny! is a regular dude with exceptional talent. He doesn’t put on airs or try to seduce you into some fantasy world where he is driving a car with as many numbers in the price as there are letters in the name. Simply, put, he’s good Hip-Hop. This week’s SOTW is from the aforementioned Where’s Danny? that will feature Che Grand and Drake as well. Until then, enjoy this offering fam.

embed link for divshare player on page in article –

Download: Danny! feat. Von Pea – “Hoedown Showdown”

If one were to chart Beans’ career/hype on a graph, it would look like the Rocky Mountains. Of course when The Roc was doing things and making noise, it was at it’s zenith. Beans definitely benefited from the influence of Sean Carter as well as being the quiet head of State Property. Since then, things are murky. Siegel has hit the mixtape circuit and put out some nice work in doing so. So what does he have in store for us on this Siccness “official” release?

1. Beanie
Intro

2. Why Wouldn’t I
Not a bad track at all. I think that’s either the Guiding Light or some other soap opera theme playing in the back for this track. It still works though. The drums and clap add some additional depth to this one and the tempo keeps ya’ head in motion. Lyrically, Beanie comes at us with what sounds like a battle rhyme set to music. He’s not playing at all. Aggressive, angry, and assured could have been another name for the real lead in song for the album. This is a great jumpoff for the album.

3. Tear Drops
Another banger here. I can’t front on the beat either. I won’t say it’s a high quality or complex sounding track, but I really like it….until we get to the hook. The song kind of falls apart there. Not just musically, but the production and mixing just seem to be lackluster there. As far as the lyrics go, it’s not bad. With references to Tyrese/Waist Deep, “Chicken Noodle Soup”, and “Harlem Shake”, he’s intent on just saying things that work, but not make you take notice.

4. Where’s My Opponent
Featuring Omilio Sparks & Freeway
Bounce and church chords…okay. It’s not a bad beat, but it gets irritating and boring quick. The recurring chord has been used so much, I can’t even remember the original song it was from. The song has a cypher feel in that it’s just three cats jumping on a beat, the uniting factor is bullets. Basically, you get killed by three different dudes on here. Moving past that part, lyrically, I’m not overly impressed with any of the verses on this one.

5. Ready For War
Featuring Freeway & Young Chris
Young Chris obviously studied Jay’s flow and delivery. If you’d adjust the audio, you could think it was him. Freeway tries to slow down but stay intense on this Curtis Mayfield sounding beat. Sigel plays the closer on this one, but I’m not sure what he’s closing. This soulful track is one of the better produced offerings on the album.

6. All For It
At first, I’m hyped with the way the beat starts and Beans is on it. There is no intro, no lead in, nothing. Soon as you get to song 6, it starts. While I think this is a great time in the album for Beans to return tho this type of track, the track itself, again, get’s annoying quickly. It’s just on a loop and it becomes grating after a while. The other problem is the sample in the hook…we been seeing it too long in commercials for it to be credible or even take the song seriously. Sigel issues out what sounds like a open challenge to any of you “YouTube niggas” that want to get it.

7. Sicker Than Your Average
Featuring Freeway
This is another soulful track that I really dig. The name and sound go with each other perfectly here. Freeway sounds fantastic on this track. He really owns this song and probably should have stole it for one of his releases. Unfortunately for Sigel, he doesn’t step up to the challenge on this one enough to be memorable over what Freeway spit. I have no idea what’s going on with the hook on this one either…but that’s not new. I’ll explain later.

8. Run To The Roc
Featuring Young Chris & Omilio Sparks
Jamaican influence in full tow down to the sample, this song is completely different from anything else on the album. (If anyone knows the sample for the hook, let me know.) I won’t pretend to know what happened between Beans and Jay, hell, I don’t know that anything happened, but this song can definitely feed the idea that they fell out. The concept is that someone you lean on, someone who is your rock, isn’t there for you like they said they would be. Each rapper references Judas and “big homie” not standing by their side. I think we’re getting some inside info on this one.

9. Bang Bang
Featuring Murda Mill
This song disappoints me. The track is okay, but the production is terrible. I feel like Beans and Murda are yelling over a really low beat. The hook is disgustingly bad and the lyrics are elementary in comparison with the rest of the album. SKIP

10. Return Of The Chain Gang
Featuring Young Chris
Okay, this Young Chris cat really sounds a lot like Jigga, to the point he sounds like he’s just trying to be Jigga. It’s damn annoying at this point. I like how Beans get this one in and delivers some of his darkest wordplay on the album. Once again, the hook is lackluster and helps bring the song down from what it could have been.

11. You Over Did It
Featuring Young Chris & Murda Mill
We get yet another Biggie reference on this track to get it started. The cadence and flow sounds very familiar to B.I.G. at times, that’s kind of odd for me. Young Chris…well, you’ve read what I think of him. Let me be clear, he’s nice with it, unfortunately, so is the person who famously has that same sound and flow. I may be wrong, but I feel like Murda Mill just spit a freestyle flow and they added the beat later. He leaves the beat at times and seems to keep up his own tempo here. It’s not a bad flow, but it does sound very street battle made and not constructed around a song for an album.

12. The Ghetto
Shout out to Vincent Price with the spooky lead in voice over. The song is ominous and I think Beans is at his best on this song. “This fuckin’ recession got everybody stuck broke/This shit depressin’/Everybody cut throat/If you ain’t spendin’ 45 hard on a whole joint/You’re forced to buy 9 hard compressed from a small point”. The picture he paints with his words is powerful and welcome. Then you get to the hook… (Check out the music video here)

Bottom Line:
I’ve read a lot of reviews and promo articles that seem to hint, along with the intro of this album, that paints this album as a collection of unreleased material. That’s unfortunate because I like Beans and his flow, but if true, this explains why this comes off with a mixtape feel and not being cohesive as an album. This one is for the streets, no doubt about that, but as an album? I’m not sold. I think that a lot of these songs were Beans just going at a track or reciting rhymes from battles that may have been influenced a bit by the late B.I.G. and them adding the hooks later. Matter of fact, that’s my one of the biggest problem with this album. The hooks are, by large, terrible. That is a major part of a song, the ability to construct a solid hook is part of what separates battle rappers from successful artists. We can damn near make a who’s who list of battle rappers that didn’t make it in the business. This album being proceeded by The Solution really doesn’t help this one at all either. The previous albums all were released on Roc/Def Jam and this one is done by Siccness. The production value is low and as an album, this offering is less than average.

nappyPicks: “The Ghetto”, “Why Wouldn’t I”, & “Run To The Roc”

Download: Beanie Sigel – “Why Wouldn’t I”

Download: Beanie Sigel feat. Young Chris & Omilio Sparks – “Run To The Roc”

With “Chamillitarymayne” coming out with the last of his mixtape series, Mixtape Messiah 7, I figured now was as good a time as any to start a new column…or at least write this article. I plan on doing this and hopefully the staff will get involved and do a few of their own because let’s be honest, we don’t always get it right the first time…even though I think we do more times than not. Sure, we could just change the score but sometimes, we may want to talk about it. So let’s get into this.

My rating on Chamillionaire’s Ultimate Victory back on September 18, 2007 was 1.5 / 5. I can’t really openly say that I’d change that grade based on aging because hey, I haven’t played that album since that review posted. I have, since that date, listened to some of his mixtapes in the series as well as have written MANY more reviews (I think that may have been one of my first reviews). I can freely say that this was not a shining moment of me being objective. I don’t dig dude’s style or delivery at all, I think that his music is kinda run of the mill and all that detracts from what is some decent wordplay and pretty fly concepts as an approach to the game. That said, it’s hard to grade dude. I’ve listened to his last mixtape and it’s the same guise. Good/dope concepts, nice wordplay, terrible delivery and hooks, and mediocre beats. I just can’t get into dude, pause.

So the questions comes, is his music BAD or do I just dislike it? I can say that Cham, even on his latest mixtape, doesn’t get any more spins from me personally. I can respect him for having his lane, and doing his thing, but this is not my kind of music. Yeah yeah nigga, but is it BAD music? Did UV really deserve a 1.5? I think if I were reviewing that long ass album today, I’d probably grade it higher than that because I’ve better learned how to be more impartial and separate my opinion from the reviews. Let’s not go crazy, I don’t feel like that album would get a 4 or no shit like that, but a 2.5 (from what I can remember) may be applicable. I can appreciate his message, I just don’t like his methods.

We all can spell it by now, eff-aye-be-oh-el-o-you-ess, he’s successfully spelled his name right into most of our consciousness. One of the more recognizable artists to rise up from mixtapes to mainstream, Mr. Jackson hits us with his 5th effort which seems to be a concept album a kin to American Gangster. I liked his last album so I’m anxious to see if he can deliver again.

1. The Way (intro)
Produced by Street Runner
I won’t pretend to know who Fabo is beefin’ with, past, present, or future, but he ain’t happy with someone. It may have to do with folks seemingly passing him up and him being an afterthought in the game thus far. I don’t know, but he’s taking issue and asserting himself as one of the illest to “walk in the game with no crutches / no Diddy, no Dupri, no Dr. Dre / no cash money from baby, and no Roc’s from Jay”. This intro has a lot of aggression and a champion beat. We get full horns wailing’ and a drumline inspired drum set up. Simplicity works for this one as we get started on this album.

2. My Time
Featuring Jeremih; Produced by The Runners
This beat isn’t bad. It’s not revolutionary or anything, but it definitely has that head nod quality. Jeremih doesn’t sound like the same Jeremih from “Birthday Sex”. So, that said, it’s hard to really get the star pull when he doesn’t sound like what you expect. He could have easily (or maybe not so easily, what do I know) called The-Dream for this one and it would have sounded a lot better. Lyrically, there isn’t anything I can remember from this one. This one is probably made for radio and may get that love for star power and tempo alone. I’m not a big fan of this one as a complete song.

3. Imma Do It
Featuring Kobe; Produced by DJ Khalil
SOON as the intro singing starts, I actually rather hear Ron Browz doing this one. I don’t know much about Kobe or who he is, but his name is popping’ up everywhere lately. I’m also not a fan of the track on this one. There’s just too much going on and an odd sounding thump for this track just makes it too much. Fab’s best line on here is the lead in to the hook “My attitude is celibate I don’t give a fuck” and “My attitude is virgin I STILL don’t give a fuck.” The rest of his lyrics aren’t bad though, but these lines are probably the most memorable from this song.

4. Feel Like I’m Back
Produced by J.U.S.T.I.C.E. League
Look, I’m not gonna pretend to be a mixer/producer at all, but this track sounds soft. I don’t know how to explain it really. The elements are there, but overall, it’s just soft. The thump, the horns, the chords, they are all missing that extra impact. I don’t like the hook on this one at all and personally, I think this one could have been scrapped overall. SKIP

5. Everything, Everyday, Everywhere
Featuring Keri Hilson; Produced by Ryan Leslie
If you want to get on the radio, you can’t go wrong with Keri Hilson and Ryan Leslie. R. Les can produce a beat no matter what you need and Keri Hilson does a fantastic job on this hook. I’m sure we’ll see this one on the radio. I can’t wait to hear how they edit the line “We in this bitch like an unborn baby”, that shit, although cringe-worthy, is funny as hell.

6. Throw It in the Bag
Featuring The-Dream, Produced by Christopher “Tricky” Stewart
As proven again, picking the right folks to get radio play is one of Fab’s best talents. The-Dream and Tricky team up to give us the lead single. Personally, I’m not with the “it ain’t trickin’ if you got it” movement, but I ain’t got it so take that with a grain of salt…that aside this song is decent.

7. Money Goes, Honey Stay (When the Money Goes Remix)
Featuring Jay-Z; Produced by Jermaine Dupri
So far, songs 5 thru 7 sound like a strong cohesive run of radio ready, R&B influenced tracks that could give Fabo some attention for this album. I think as Jay ramps up for the release of The Blueprint 3, radio is clamoring for anything Jay. I think that with the other two songs before it, this is a consistent offering but stand alone, I’m kind of bored with it. Also, after realizing that Jay is just doing the hook and not flowing, I quickly get bored with this one. I do still think the radio may pick this one up.

8. Salute
Featuring Lil’ Wayne; Produced by Miguel Jiminez for “The Council”
Cut from the same cloth as “The Mighty O” and other marching band influence hits, Miguel Jiminez brings us the track for Salute. Some things never get old no matter how often it’s done, and this sound is one of them. Weezy offers up his signature flow…but he didn’t really say anything. Lyrically, this may be one Loso’s most quotable on the album. “You feed a sucka he just grows to be a bigger leach…told’ em I don’t see nobody I’m a rappin’ Ray Charles / I think I need a seeyin’ eye dog / come to bein’ fly, you ain’t seein’ I dog…They ain’t ballin’, these niggas is foulin’ out / they ain’t throwin’ jabs they just throwin’ towels out”. There was some unfortunate stutter style flowing on here by fab, but other than that, this song is pretty dope.

9. There He Go
Featuring Paul Cain, Red Cafe, & Freck Billionaire; Produced by Blackout Movement
The standout flow on this one is done by Red Cafe whose flow and confidence really lend themselves well to this track. Freck’s delivery is pretty nice as well and hopefully we’ll hear more from this guy in the future. The hook is pretty elementary and when coupled with the laid back emotion of the track, this one is almost a sleeper.

10. The Fabolous Life
Featuring & Produced by Ryan Leslie
It’s a R. Les joint, you know what to expect on the track. Something that will make you want to dance, nod your head, or whatever equivalent you do in your world. The line “She don’t wear skinny jeans cause her ass won’t fit” makes me wonder why no female emcee used that one…maybe I’m speaking too soon, I’m sure it will come up again by SOME talented female emcee. Anyway, overall, this song is mediocre. Not because it’s done bad or anything, it’s just really REALLY radio. Maybe I’m out of touch with what should be played on the radio but so far, this album seems like it was sculpted for it.

11. Makin’ Love
Featuring Ne-Yo; Produced by Jermaine Dupri
Say what you will about JD, but he’s been doing something right…a whole lot of something right for a really long time. I have no idea how he heard “Brokenhearted” by Brandy and found a way to Hip-Hop it up, but he did it. I think this is my favorite song on the album. Ne-Yo is THE male hook singer as far as I’m concerned and he does his thing on this one as he quips “I told her I’ll be there in a minute / she know Imma take it down soon as I get it / you can leave your hair a mess, don’t even get dressed, tonight we makin’ love (x2) / Til’ you tell me that you’ve had enough / Imma slow it down and Imma speed it up / and I will not stop do it to you like a dude that ain’t got no job / I ain’t got nowhere to be so I don’t gotta leave / get the it is in the sheets, Imma eat and go to sleep / then we wake up and repeat / everything you do to me / Imma turn and do to you then Imma black and blue that thing”. Sorry Fab, but Ne-Yo stole this song from you.

12. Last Time
Featuring Trey Songz; Produced by Jermaine Dupri
Same theme I’ve mentioned before, not a bad thing, just noticeable. This one is ready for airplay as them Ocean Boys give Fab something with a real grown man feel to it even though the story is about a man being torn from the street game and the homelife. I can respect this one as an older gent that still loves Hip-Hop….er….Hip n B….er….well, yeah.

13. Pachanga
Produced by Sid V for “Duo Live”
Um…this song doesn’t fit on the album at ALL. The album is already pretty scattered but this one just seems out of left field. I have NO idea what he’s talking about on this one but it sounds like regular changes in life. How you transition from one station in life to another and the things around you change as well, friends, love interest, etc. But the way he’s calling these changes “Pachanga’s” is annoying as shit. Now granted, I may have gotten this one ALL WRONG but one think I think I have right….SKIP.

14. Lullaby
Produced by The Alchemist (Scratches by  Just Blaze)
I’m diggin’ Loso’s flow on this one. “Do me a solid / Y’all stay in pocket like wallets / cause you can’t see me, closed eyelids / nighty night / I’m with a model chic Tyra thick Heidi’s height body suits body tight”. The track is different from the rest of the album, and although it doesn’t really fit the album either, this is one of it’s strongest songs (hook notwithstanding) especially considering that he’s rolling solo this time.

15. Stay
Featuring Marsha Ambrosius; Produced by Syience
I saw this collab and after hearing her mixtape, I wasn’t completely sure what was going to happen here, but as SOON as I hear the intro, I’m sold. The track takes simple piano play and builds into something that is quite nice. Marsha, who is one of the better and more distinguishable vocalists out there, murders the song and like Ne-Yo earlier on the album, simply steals this one from Fab. I think she’s so good, I’d stay away from her on my songs, she will “Renegade” you for sure. CLOSE second for favorite song on the album. I don’t want this one to end at all.

16. I Miss My Love
Produced by Sean C & L.V.
Fab does songs like this that make me wonder why he bothers having other folks on his album. This one is pretty damn dope and proves, yet again, that he is more than capable to hold his own with producers we don’t know on songs with no cameos. His story telling on this one takes the drivers seat as lyrically dances to a MJ influenced beat boasting some angelic singing throughout most of the track. I’m really impressed with this one and feel like he should have gone this route more with the album, solo and storytelling.

Bottom Line:
As with most artists today, we always say “remember when” when we reference their newer work. We talk about when Fab first hit the scene and would spell his name at nauseum and back to when we could set our watches to a Lil’ Mo (drool) appearance on the track. At the same time, we always cry about artists not showing growth and evolving. We can’t have it both ways I guess. However, one thing that should be constant no matter what you do is the consistency. This album is a bit scrambled. There are a lot of R&B, radio ready songs on here, followed by some street songs that are in turn followed by songs that leave you scratching your head. It’s almost like he had 3 different albums and picked some songs from each to make this album, and that doesn’t necessarily mean he picked the best songs from those 3 albums to make this one. Let’s not forget the inference to Carlito’s Way via the title but no carrying out of the concept at all on the album. I’m left confused at the end of this album…and that’s after a lot of spins. If this is Loso’s Way, he has already done waaay better than this last offering.

nappyPicks: “Salute”, “Makin’ Love”, “Last Time”, “Stay”, & “I Miss My Love”

Download: Fabolous feat. Ne-Yo – “Makin’ Love”

Download: Fabolous feat. Drake – “Throw It In The Bag (remix)“