Anybody that knows my preferred preference when it comes to the genre of Hip-Hop/Rap music knows I care more for the underground scene than the mainstream/commercial that dominates radio and television. Underground Hip-Hop/Rap has always had a special place in my heart, maybe for the fact that many of the artists and music are relatively unknown to the masses and you get a good feeling have known about said artist before they reach that higher level in their career or possibly because most of the songs are just of better quality in terms of production and lyricism, and still hold the culture and art above the money and fame. I believe the latter reason holds to for an artist like Statik Selektah who obviously still views Hip-Hop/Rap as an art as evident in his music, which preserve an authentic feel of “real Hip-Hop” that is seemingly missing in most of the music the genre’s most celebrated artists. 100 Proof (The Hangover) serves as Statik Selektah’s 3rd studio album with Spell My Name Right (The Album) (2007) and Stick 2 The Script (2008) preceding it. Statik Selektah is a proclaimed student of the game, having taken influence from the likes of DJ Premier and Pete Rock as heard in his production, and he usually uses his albums as a chance to pair artists together with tailor-made beats. Statik’s first two offerings have been those of superb quality in comparison to albums from his peers in the industry. In a time where quality Hip-Hop/Rap is needed more than ever, does Statik deliver on this strength of his alcohol-based album title…

Inside A Change (Intro)
Produced by Statik Selektah
The “Intro” whose song title borrows from the 2009 Rik Cordero indie film Inside A Change, serves to interpret the album title 100 Proof (The Hanger) as the narrator talks about human relationships as being either toxic or nourishing similar to the effects of alcohol (depending on choice). Along with some dramatic production value, Statik uses this track to put the listener in the proper mindset for the rest of the album.

So Close, So Far
Featuring Bun B, Wale, & Colin Munroe; Produced by Statik Selektah
Things start off on the right foot with a motivational track built off some mellow, jazzy production from Statik Selektah as Bun B and Wale deliver lyrics focused on better days and how they can seem close within reach but still far from realization. Vocals from Colin Munroe prove to be fitting for both the mood and message of the song.

Critically Acclaimed
Featuring Lil’ Fame, Saigon, & Sean Price; Produced by Statik Selektah
Just as things seem to be mellow and calm Statik turns up the heat with this track, which proves to be a certified head-nodder. The hard-hitting drums combined with the energetic sample provide the perfect backdrop for featured guest Lil Fame, Saigon, and Sean Price to drop lyrical bombs on as each emcee spits with something to prove.

Night People
Featuring Freeway, Red Cafe, & Masspike Miles; Produced by Statik Selektah
For a producer as diverse as Statik Selektah, matching artists with production comes easy as he creates a soulful composition for Freeway and Red Cafe to drop bars over. Philadelphia Freeway comes correct as usual (Stimulus Package coming soon) as he sounds very comfortable on Statik’s production with Red Cafe dropping a quick verse of equal quality. The hook sung by Masspike Miles completes the song and gives it a feel that could easily be heard on the airwaves (If radio was brave enough to play a song like this… Thanks Sirius/XM).

Follow Me
Featuring Smif N Wessun; Produced by Statik Selektah
Things take a turn with this track as the mood of the album get dark and sinister from fitting production as Statik combines pulsing synths, strings, and piano keys for a horror-styled beat. Smif-N-Wessun proceed to deliver rhymes that are suitable but far from memorable, which can be said about this track overall. The production on this track is average for a producer with the track record of Statik Selektah, and comes of sounding like something you could’ve heard from AraabMuzik for Cam’ron on Crime Pays or the Diplomats post-Diplomatic Immunity.

Do It 2 Death
Featuring Lil’ Fame, Havoc, & Kool G Rap; Produced by Statik Selektah
Statik picks things back up following a misstep with the previous track as Lil’ Fame returns with Havoc and Kool G Rap joining the list of guests for some authentic street rap. The production from Statik is fitting on this track all three emcees deliver fitting rhymes that serve their purpose. Not too much to say about this track other than it being a solid offering.

Come Around
Featuring Termanology & Royce Da 5’9”; Produced by Statik Selektah
When I heard this track on Shade 45 and heard it was off Statik’s new album my interest and anticipation grew even more. Getting back to the laid-back, smooth production that was heard in earlier tracks, Statik delivers a fantastic beat for Termanology and Royce Da 5’9” to let loose on. Fellow Boston representative Termanology delivers a respectable verse, but it’s Royce who steals the show with his metaphor-driven verse backed by a superb flow.

Drunken Nights
Featuring Reks, Joe Scudda & J.F.K.; Produced by Statik Selektah
Statik proceeds to slow things back down with this track themed about nights spent with a bottle as the closest companion. Statik keeps things smooth with a jazz-styled beat that fits nicely with the rhymes from guests Reks, Joe Scudda, and J.F.K. Much like “Do It 2 Death” this track ends up being another solid offering on the album, not really standing out much from it’s purpose.

Life Is Short
Featuring Consequence; Produced by Statik Selektah
On this track Statik picks up the pace and hooks up with G.O.O.D. Music’s Consequence for a song detailing how life is too short to not enjoy it while you can. Cons uses his verses to tell about his own life indulgences and why you won’t catch him letting life pass him by. This is a good track that brings some life back to the album after the slow-paced previous track.

100 Proof (Interlude)
Featuring J.F.K.; Produced by Statik Selektah
Ten tracks into the album, this track serves as the halfway mark with J.F.K. speaking some words of wisdom over some vintage Statik Selektah production. This track reminds me of something that could have been heard from DJ Premier on Group Home’s Livin’ Proof album.

The Thrill Is Gone
Featuring Styles P & Talib Kweli; Produced by Statik Selektah
Getting back to the program we hear what I think is the best song on the album as Statik provides some trademark production in which we hear Styles P and Talib Kweli drops gems about the industry’s ills and problems of the world. The pairing of Styles and Kweli wouldn’t seem typical but it works quite well on this track. The scratched Biggie vocals on the chorus serve as a nice completion to this album’s highlight track.

Get Out
Featuring Skyzoo, Rapper Pooh, Torae, & Lee Wilson; Produced by Statik Selektah
This track features some basic production from Statik as well as some of rap’s most potent lyricists in Skyzoo, Rapper Pooh, and Torae as they speak about their journey away from the street life to something better. While Rapper Pooh and Torae drop good verses, Skyzoo displays exactly why he’s one of the nicest up-and-coming rappers to be on the watch for. Lee Wilson provides a suitable hook on the job that does its job.

Laughin
Featuring Souls Of Mischief; Produced by Statik Selektah
Statik gets back into his regular form on this track with some lively sampled production suited for 90’s-famed rap group Souls Of Mischief who don’t sound like they have lost a step since their “93 Til Infinity” days. This track sounds like one that would have been perfect to start off the album but fits nicely here as a refresher for the listener with SOM droppin’ some well-placed verses.

The Coast
Featuring Evidence, Fashawn, & Kali; Produced by Statik Selektah
Even though Statik Selektah represents the East Coast as a native of Boston, he hasn’t forgot about his brethren on the West Coast that are holding it down for Hip-Hop. Statik provides some nice, subtle production as Cali veteran Evidence and Left Coast rookie Fashawn along with Kali properly represent their home state.

Fake Love (Yes Men)
Featuring Reks, Kali, Termanology, & Good Brotha; Produced by Statik Selektah
This is the kind of track that’s so necessary right now for the Hip-Hop industry and should serve as a guide for a new rappers trying to get in the game or building a name. Backed by some mellow production from Statik, the featured artists speak on one of the most dangerous factors to an artist in “yes men” who agree to whatever and are foreign to constructive criticism. Next to industry rule #1080, should be this song for artists to take notice of for their careers.

Eighty-Two
Featuring Termanology; Produced by Statik Selektah
Fittingly this track serves as an acknowledgment to Statik Selektah and Termanology’s born year, which sees Term rapping about his growth as a youth to his current status as well as the things he had to go through to reach said point. Statik keeps the mood consistent with from the previously tracks with more smooth production that keeps your head nodding before you realize how short the track is.

Walking Away
Featuring Kali & Novel; Produced by Statik Selektah
Statik decides to finish off the album with a more serious themed track backed by some piano driven production that hears Novel and Kali speaking about several issues that they’re facing in life and knowing when it’s time to walk away from those issues in hopes of a better situation. I think this is a good way to end the album as it gives a sense of closure and completion for the listener and all that has been heard.

Bottom Line:
Keeping the same formula that brought him successful results on his first two albums Spell My Name Right (The Album) and Stick 2 The Script, Statik Selektah produces another quality album that showcases his ever improving production skills and knack for matching it with the right artists. Listeners who are in the crowd of those that prefer lyricism and production value over club hits and dance tracks are who this album is for and it shows as Statik isn’t trying to make it to #1 on 106 & Park or have the hottest song in the club. Statik is a producer/DJ that recognizes and acknowledges the music that influenced him and is focused on making the same kind of the music that will hopefully influence other young listener the same that listen to his music. Once relatively unknown for his producer role and more on the mixtape circuit as a DJ, Statik Selektah is quickly evolving into one of the top producers in the game equipped with the skill and talent of diverse productions to match a plethora of rappers. As long as Statik continues to produce quality albums, I don’t see a need for him to change the formula that has worked three consecutive times in his favor.

nappyPicks: “The Thrill Is Gone”, “Critically Acclaimed”, “Come Around”, “So Close, So Far”, “Eight-Two”, “Fake Love (Yes Men)”, “Life Is Short”, “Night People”

Download: Statik Selektah feat. Freeway, Red Cafe, & Masspike Miles – “Night People”
Download: Statik Selektah feat. Styles P & Talib Kweli – “The Thrill Is Gone”

When I heard a sample of Fashawn’s debut album Boy Meets World back in October of last year, I immediately purchased a copy on iTunes and started writing a review for the album. Unfortunately I got sidetracked from that review and never completed it, but an album the quality of Boy Meets World deserves the recognition intended. With a title like Boy Meets World, one’s mind might immediately refer to the 90’s television series starring Cory Matthews, Topanga, and Mr. Feeny, but I can assure you Fashawn’s interpretation has nothing to do with the teen drama portrayed on that sitcom. Relatively unknown outside of the underground rap scene, Fashawn is a lyrically potent emcee representing the Left Coast (Fresno, California to be exact) that has been making noise since 2006 with various mixtape releases (Grizzly City 1 & 2, The Phenom 1 & 2, The Antidote) as well a guest appearance on Evidence’s “The Far Left” (The Layover EP). In 2009 Fashawn sought to change his relative status with his debut album entirely produced by producer extraordinaire Exile known for his own 2009 release Radio as well as his collaborative album Below The Heavens with California emcee Blu, which saw critical acclaim back in 2007. With Fashawn lyrically skills and Exile strong track record, the question wasn’t if Boy Meets World was going to be a good album, but how good it would ultimately be.

Intro
Produced by Exile
Right from the beginning producer Exile starts things off on the right foot with some slow tempo production that leads right into the main beat primed for Fashawn to deliver some introductory bars. Over a soulful, high energy beat Fashawn spits about his introduction to the world and transition to the mic, giving any new listeners a great introduction to who he is as an emcee and what they should be expecting from Cali wordsmith on this album.

Freedom
Produced by Exile
Backed by a Talib Kweli vocal sample, Exile supplies Fashawn with some hard-hitting production, as he goes for dolo on the track in showing listeners why he’s one of the fiercest young lyricist in the rap game today amongst the mass of commercial rappers trapped inside a box of cliché and worn topics and concepts. Much alike to the song title, this song shows that Fashawn isn’t afraid to speak his mind as an artist and tell things how they should be said.

Hey Young World
Featuring Aloe Blacc & Devoya Mayo; Produced by Exile
This was the first song I heard off the album sample and I was immediately hooked after listening. Exile does a fantastic job in providing some soulful, piano-driven production as Fashawn provides some motivational rhymes for the youth and young people striving to reach their dreams and achieve their goals. Aloe Blacc delivers a suitable guest verse while Devoya Mayo presents stirring words in strong spoken word fashion. Interpolating two classic Hip-Hop songs in Slick Rick’s “Hey Young World” and Nas’ “The World Is Yours”, this stands as one of the best songs on the album.

Stars
Produced by Exile
Continuing in similar fashion of “Hey Young World”, Fashawn speaks some uplifting words on the concept of how everybody is a star in their own right, possessing special talents and gifts that make them different from the other stars in the sky. This time around Exile delivers some up-tempo, yet mellow production that carries on the mood and feeling of the previous track.

Life As A Shorty
Featuring J. Mitchell; Produced by Exile
Displaying his narrative skills as an emcee, Fashawn tells about the hardships he had to overcome and struggles he faced in life as a child growing up. From his troubles in school to an old relationship and that girlfriend’s future to his parents’ own dilemmas, he speaks on how he relied on Hip-Hop and his pursuit to become an emcee helped him make it through. J. Mitchell’s vocal performance on the chorus is a nice addition to the song over some lively and joyful production from Exile that connects well with the topic of childhood on this song.

The Ecology
Produced by Exile
After a few tracks featuring blissful production, Exile switches things up a bit with some a dark sounding beat driven by strings that match up nicely with the song’s topic and Fashawn’s rhymes. In the likeness of Marvin Gaye’s legendary song “Mercy Mercy Me (The Ecology)”, Fashawn takes time to speak about the scenes in the environment surrounding him filled with its ills and dangerous elements. This track does a great job of bringing the listeners into Fashawn’s world from vivid and descriptive lyrics.

Our Way
Featuring Evidence; Produced by Exile
Maintaining the dark vibe and feeling that was heard on the previous track, Exile’s piano driven production serves as the backdrop as Fashawn and Evidence speak about their native California and the West Coast lifestyle that they both can be found within. This track basically serves as homage to their home on the Left Coast, giving listeners not familiar with the area an idea of what they can expect to find.

Why
Produced by Exile
Getting back to the soulful production heard in earlier parts of the album is what Exile does on this track with a very smooth beat that allows Fashawn to give his rendition in the style of Jadakiss’ “Why” as he provides lyrics that question many things from unprotected sex, fatherhood/parenting, homecoming, street life, and government/politics. In the midst of all of these questions, Fash ultimately realizes that he can only be himself regardless of the changes that should be made in his life. One of the better, more introspective tracks is what you get from this song.

Samsonite Man
Featuring Blu; Produced by Exile
The title of this track is derived from the Samsonite luggage company and is a play on words to convey Fashawn’s travels as an artist on the road in a clever way. As intended, Fashawn speaks about his traveling as an artist in moving farther from California, while Blu reflects on his time away from home and the life that he has lived since leaving. Exile’s lively production fits well with the two emcees that he has made collaborative albums with, as an album from all three doesn’t sound like a bad idea after hearing this track.

The Score
Featuring Planet Asia; Produced by Exile
Production wise this is probably the most experimental beat on the entire album, which finds Exile switch back and forth between the sampling of Barry White’s smooth “Never, Never Gonna Give Ya Up” cut and a hard-hitting, edgy groove. While Planet Asia (who I haven’t listened to since his The Medicine back in 2006) makes a worthwhile contribution with his guest verse, it’s Fashawn that steals the show lyrically with his two verses. If Fashawn’s lyrical skill and ability as an emcee hadn’t been clearly displayed on the previously heard tracks, it’s put on full display with this track.

Breathe
Featuring Bravo; Produced by Exile
No, this isn’t the classic Fabolous and Just Blaze joint that you are probably well familiar with from the title; instead it’s Fashawn and Exile giving their take on the social ills of their surroundings. Similar to the previously heard “The Ecology”, Exile goes back to dark sounding production as Fashawn and Bravo talk about scenes of violence and killings in their neighborhood of friends losing his life and the thoughts of revenge for said actions.

Father
Produced by Exile
Exile gets back to the soulful production on this track with Fashawn taking time to speak to God about the difficult times that he’s facing down on Earth and receive answers to many of the questions on his mind. The diversity of this track topic wise shows Fashawn isn’t afraid to go against the grain in addressing things on a more personal level, which is needed from more emcees nowadays instead of the usual cliché concepts.

Sunny CA
Featuring Coss & Mistah FAB; Produced by Exile
From the title of this track you can see that it’s another one paying tribute to his home of California, but doesn’t come off as strong as the previously heard “Our Way”. The production from Exile on this track is a bit lackluster in comparison to what’s been heard from him on this album and what the listener knows he’s capable of. The same can be said for Fashawn, who delivers some mediocre rhymes, with the guest verses from Coss and Mistah FAB not really adding much to the equation. Unfortunately this tracks serves as one of the few average songs to be found on the album that could have been done justice to leave off the album.

Bo Jackson
Featuring Exile; Produced by Exile
Not to be defined by a bad track, things pick back up quickly with the 90’s Hip-Hop-inspired production from Exile (similar to Large Professor) as both he and Fashawn get down on the track to spit rhymes in a back and forth fashion reminiscent of duos/groups like EPMD, Run-DMC, A Tribe Called Quest, etc. This song was a great way to get back on track following misstep of the previous song with Fashawn once again displaying while he’s one of the nicest up-and-coming emcees in the game and Exile showing us that he’s not just nice on the MPC but behind the mic as well. I don’t understand the song title though with its reference to multi-sport athlete Bo Jackson (…anybody???)

Lupita
Produced by Exile
Most rap albums nowadays have the mandatory track for the ladies or one dealing with relationships, and Fashawn is not one to break that trend (sort of). While this is that track in the traditional sense, Fash keeps it different from the cliché with a song about his pursue of a young lady that has his attention. Similar to Lupe Fiasco’s song “And He Gets The Girl”, Fashawn talks about his fear in approaching said girl only to be turned down in the end after gathering the courage to overcome his fear. The guitar filled beat produced by Exile meshes nicely with song’s topic and lyrics resulting in track that some guys might be able to relate to on a personal level when dealing with “the one”.

When She Calls
Produced by Exile
With the last dark sounding production of the album, Fashawn takes the listeners on a twisting tale of a broken relationship and fatal suicide in telling the story from multiple perspectives. In a sense, the structure of this song is similar to that of Lupe Fiasco’s “He Say, She Say” but with much darker narrative. Lyrically this is probably the most descriptive and emotional song on the album with Fashawn’s storytelling ability on full display with this track.

Boy Meets World
Produced by Exile
The title track is saved for last as this song brings the album full circle with Fashawn telling about the struggles of his earlier years in a retrospective fashion, speaking about living in a group home, life minus a father figure, and using rhymes as his escape. The soulful production provided by Exile on this track gives the album a sense of completion and closure as the listener feels like they know all that Fashawn has been through as a person to arrive where he is currently as an artist.

Bottom Line:
During a period in Hip-Hop/Rap music where commercialism is at an all-time high with artists like Drake, Lil’ Wayne, and Jay-Z focused on being mainstays on airwaves and television, an artist like Fashawn provides some much needed oxygen to a genre that’s becoming stagnant. While said artists are good for the expansion and growth of the genre on a greater level bringing the music to the attention of a wider audience, artists like Fashawn are just as vital for maintaining the foundation of Hip-Hop/Rap music. The saying “To understand where you’re going, you have to know where you came from” holds true in this instance as Fashawn realizes the importance with an album like Boy Meets World. Music is supposed to evoke emotion and provide a sense of relation for multiple feelings, and there are plenty of songs that do that on this album. Songs like “Life As A Shorty”, “Boy Meets World”, “Lupita”, “Why”, and “When She Calls” accomplish that task with incredible fashion as they give listeners the chance to connect on a more personal level, while songs like “Hey Young World” and “Stars” serve a motivation to listeners on the road to their ambitions in life. The diversity of this album allows it to be found enjoyable to listeners of all kind no matter their preference. Despite The Blueprint 3 taking the honors, this was an album a lot of people deserving thought should have won along with Only Built For Cuban Linx… Pt. II. But while it didn’t win it shows that for a debut album an artist like Fashawn has great potential to deliver an even better album in years to come and has set the bar very high for his following albums (ala Nas’ Illmatic). While Hip-Hop next generation is described with the names Drake, J. Cole, Kid Cudi, Wale, and Nicki Minaj among others, Fashawn is a name that shouldn’t be excluded from that list as he has firmly cemented his spot in the game with one of the best and most slept on albums of 2009, and leads the pack in the West Coast resurgence.

nappyPicks: “Hey Young World”, “Boy Meets World”, “Life As A Shorty”, “Stars”, “Bo Jackson”, “Why”… Pick up an album that caught too many Zzz’s in ’09.

Download: Fashawn feat. J. Mitchell – “Life As A Shorty”
Download: Fashawn feat. Exile – “Bo Jackson”

In 2008 it couldn’t be denied by anybody that it was the year of Weezy. With the release of his sixth album Tha Carter III, which saw accolades such as one million first week sales (3x Platinum to date), Grammy awards for Best Rap Album, Best Rap Song (“Lollipop”), and Best Rap Solo Performance (“A Milli”), it was clear that Lil Wayne had finally reached the apex of the rap game and 2008 was his breakout year. While I provided my thoughts on Why Jay-Z Should Be Man Of The Year with his Glastonbury festival headlining performance, successful Heart Of The City tour (w/ Mary J. Blige), and $150 Million deal with Live Nation, it wasn’t enough to discredit Wayne from the achievements and accomplishments he had in the same year. 2009 was a different story though as Jay-Z got back to business and showed the industry and the world that at 40 years old, age ain’t nothing but a number.

This year had many contenders for the “Man Of The Year” title from President Barack Obama and his Nobel Peace Prize achievement to Drake and his breakout year in Hip-Hop/Rap music, but out of the contenders it was clear that Jay-Z stood out above the rest to take the honor. In such as short amount of time Jay-Z was able to accomplish so much following the release of The Blueprint 3 back in September 2009. But before the release of his eleventh album, he made an unprecedented deal with his former record label Def Jam for $5 Million, which allowed him release from his contract and the label, and control over his future master recordings. The Blueprint 3 while met with mixed reviews went on to be Jay-Z’s 11th U.S. number one album (surpassing Elvis Presley on the all-time list), the second highest selling Hip-Hop/Rap album of 2009 (behind Eminem’s Relapse at 1.5 million), and his first UK number one single with “Run This Town”.

Beyond the album’s accomplishments, the marketing and promotion for The Blueprint 3 saw Jay-Z embarking on a nationwide Blueprint 3 tour (w/ N.E.R.D., J. Cole, and Wale), making TV and Radio appearances both nationwide (The Oprah Winfrey Show, The Jay Leno Show, The David Letterman Show, Real Time With Bill Maher) and international (German TVTotal, Friday Night w/ Jonathan Ross, Radio 1’s Live Lounge), concert/award show/miscellaneous appearances/performances (World AIDS Day, American Music Awards, MTV Europe Music Awards, Yankees Stadium/Yankees Parade, BET Hip-Hop Awards, BET Awards, MTV Video Music Awards), and endorsement (DJ Hero). Along with Jay-Z earning the #1 spot on the MTV Hottest MC In The Game list, he went on to orchestrate and present a benefit concert entitled Answer The Call in remembrance of the victims that lost their lives on the tragic day of 9/11 with proceeds from the concert going to New York Police and Fire Widows and Children’s Benefit Fund.

Following the ‘Fro’s posting of The Blueprint 3 as Album Of The Year honors for 2009, it’s easy to see why as Jay-Z did more this year in terms of accomplishments and contributions with the album and as an artist. An award like Man Of The Year encompasses much more than just music in terms of album sales and awards, it includes the involvement and impact of said artist made outside of the genre as well as within. From the almost immediate halting of the Auto-Tune trend in Hip-Hop music with the single “D.O.A. (Death Of Auto-Tune)” to the Answer The Call benefit concert to Oprah in Marcy Projects as well as still being top earning rapper on Forbes 2009 list with $35 million, Jay-Z indeed provided a blueprint this year both musically (album) and professionally (business strategies) for rappers to follow and borrow from for years to come.

Runners Up:
Drake
Gucci Mane

Any Hip-Hop enthusiast, “Hip-Hop head”, or casual listeners should almost immediately recognize the name Rakim in connection with the genre of Hip-Hop music and its history. Rakim’s trail in Hip-Hop music is one that can be traced back to the Golden Age of the 80’s when the music was said to be in its truest and rarest form. As a duo with DJ Eric Barrier, the two made up the team of Eric B. & Rakim in releasing one of the most storied and influential Hip-Hop albums of all-time in Paid In Full, as well as other memorable albums that followed (Follow The Leader, Let The Rhythm Hit ‘Em, Don’t Sweat The Technique). Like most good Hip-Hop groups (Little Brother, Pete Rock & C.L. Smooth, Gang Starr, etc.) all things must come to an end eventually and that end came in 1992 for Eric B. & Rakim. But from that end came a new beginning for Rakim in the form of a solo career with two releases in 1997 (The 18th Letter) and 1999 (The Master) that saw moderate success with hits like “When I B On The Mic”, “The Saga Begins”, “New York (Ya Out There)” and “It’s Been A Long Time”. Just like the DJ Premier produced track it has been a long time (ten years in fact) since we last heard and saw an album from Rakim and now in 2009 we have his third solo release entitled The Seventh Seal. In describing the album’s title Rakim stated, “I’m using it metaphorically in Hip-Hop hoping to kill the old state of Hip-Hop and start with the new.” building off the number 7’s significance and influence from the Bible. Any extended period of time between releases for any artist has the possibility to have positive and negative results (see: Raekwon’s Only Built 4 Cuban Linx… Pt. II, Royce Da 5’9”’s Street Hop), it’ll be interesting to see if a ten year span has brought on rust or recovery for The God MC Rakim.

How To Emcee
Produced by Slyce
If Hip-Hop was a college or school institution it’s pretty clear to say Rakim would be a professor with a Masters degree in the subject as he rhymes on the chorus (“I could show you how to emcee like I got a degree”). With the Hip-Hop landscape turning to the Pop scene and being more driven with lyrically inclined rappers, this is a type of song that is greatly needed. Lyrically Rakim comes correct with the bars in displaying to listeners why rappers (won’t name any names) have been emulating his flow and delivery since ’87. The production provided by Slyce is sufficient with an old-school feel but comes off sounding too bouncy and playful for Ra’s rhymes and the song’s subject matter.

Walk These Streets
Featuring Maino & Tracey Horton; Produced by Needlz
The second official single that had listeners thinking it was a track from Rakim & Dr. Dre’s Oh, My God sessions when it first premiered back in October. In saying that Needlz does his best “Dre” impression on the beat (which sounds similar to “Been Through The Storm” on Busta Rhymes’ The Big Bang album) in giving Ra an introspective backdrop for him and Maino to deliver tales of the trials and tribulations of the street life. Maino was a good selection for a feature on this track as he gives vivid descriptions of the life that has played a major part in his life (Jadakiss is somebody else that I could have heard easily on this track spittin’ a verse). The chorus sung by Tracey Horton gives life to the track and bring it full circle in matching the feel of the song. This was a good pick for the album’s 2nd single, which should have some nice visuals to accompany it soon.

Documentary Of A Gangsta
Featuring I.Q.; Produced by Y-Not
In similar ways to Ludacris’ “Southern Gangsta” on Theater Of The Mind, Rakim presents to listeners the life and times of a gangsta in documentary style like BET’s American Gangster series. Ra basically displays his storytelling skills on this track in telling about the moves and mindset of a gangsta in the streets. The beat by Y-Not is perfect production for the theme and feel of this song. In many ways this is the track that Luda wanted to make on his album as it presents the topic in a more convincing way.

Man Above
Featuring Tracey Horton; Produced by Nottz
As you could guess from the song’s title this track is about Rakim’s daily conversations with God in regards to the things going on around him in the world and in the hood. Nottz delivers a nicely produced beat as Ra he speaks about keeping the faith even when things aren’t looking their best and not falling into the traps that surround. On this track Rakim is able to deliver some conscious lyrics and a message without sounding too preachy, which is something that not too many rappers can claim to do (except Brother Ali). Once again Tracey Horton comes through in providing the hook for this song in a superb way that adds to the track.

You And I
Featuring Samuel Christian; Produced by Samuel Christian, J. Wells & Lorenz
While Rakim might be talking about a significant other on this track, I really believe that he’s speaking about Hip-Hop in the figurative when he speaks about the chemistry and bond that him and this other person shares until the end. A song of this topic has been done many times before and Rakim puts together a nice version for his catalog. Samuel Christian (who supplies the singing on the chorus), J. Well, and Lorenz give this track a nice dark, sinister sounding backdrop that fits well with Ra’s flow and delivery.

Won’t Be Long
Featuring Tracey Horton; Produced by Jake One
As Rakim stated at the beginning on this track in summarizing the words of Dr. Martin Luther King, Jr.’s “How Long, Not Long” speech, this song is built off those exact words in being titled “Won’t Be Long”. Rakim’s lyrics follow suit in speaking about perseverance and determination in whatever it is that you’re focused on achieving and accomplishing. Jake One’s production on this track is subtly presented with his signature bass (that sounds kind of 80’s) that serves well for Ra’s rhymes as well as Tracy Horton on the chorus again.

Holy Are You
Produced by Nick Wiz
This is the album’s lead single and the song that let everybody know Rakim was on the return with an album after ten years of waiting. Nick Wiz uses an unorthodox sample and builds a hard-pounding street beat over it that sees Rakim in prime form with lyrics and rhymes. When this song first appeared back in July it let listeners with doubts know that Rakim hadn’t lost a step over the span between his last album.

Satisfaction Guaranteed
Produced by Neo Da Matrix
Just as “Holy Are You” reassured listeners about Rakim’s skill and ability on the microphone, that’s where the basis of this track’s topic lies. Over some nicely sampled production by Neo Da Matrix, Rakim lets listeners know that his rhymes and music equals instant satisfaction. For most Hip-Hop aficionados Rakim delivers exactly what they’re searching for and feel is a missing part of Hip-Hop music today.

Workin’ For You
Produced by Jake One
While “You And I” was indeed about Rakim’s relationship with Hip-Hop, this song speaks about Rakim’s relationship with his woman. Jake One samples William Bell’s “I Forgot To Be Your Lover” for some feel good production as Rakim talks about how he’s working and doing what he can to provide for his lady. Rakim delivers some good lyrics in regards to the subject matter about loyalty and faithfulness to his other side. They say that every Hip-Hop album has to have a track dedicated to the ladies and luckily Rakim takes the better route with that choice instead of going for the cliché track heard on most albums.

Message In The Song
Featuring Destiny Griffin; Produced by SWJ
On this track Rakim talks about the one thing that is present and can be heard in his tracks regardless of the subject matter and topic, and that being a message. As heard so far through this album Rakim has touched on different topics from relationships to religion to street life, and on all of those tracks he offered lyrics with something to be learned and gained in listening. This is something that more rappers need to be focused on doing in their music instead of it just being the same cliché topics of drugs, women, partying, etc. with no real substance. SWJ provides Rakim with some great sampled production as his daughter Destiny Griffin supplies her father with a nice chorus.

Put It All To Music
Produced by Poppa Pillz
The sampled beat produced by Poppa Pillz immediately gives this track a 90’s Hip-Hop feel and Rakim uses it to his advantage as he speaks about putting everything of all subject matters to music. His analysis of using music to deal with problems and how music has a place with everything in life is something that I can relate to as a listener. Rakim sounds most comfortable on this track than on any other track on the album most likely because of the smooth production provided.

Psychic Love
Produced by Nick Wiz
In getting back to the tracks for the ladies, Rakim uses the smooth production from Nick Wiz to speak about love and his affection for a certain lady. This can be seen as a more seductive track than the previously heard “Workin’ For You”, and ultimately it works for Rakim and doesn’t come off as much of a stretch for him in terms of the theme and lyrics. It’s great how an emcee like Rakim can do a track like this and still keep it away from the area of sounding clichéd.

Still In Love
Produced by Nick Wiz
For those listeners that were curious as to how Rakim might feel about the current times of Hip-Hop music and the genre in its declining state, this track serves as your answer to that question. Ra speaks about how he still has love for Hip-Hop even though things aren’t as they were when he was in his prime delivering albums in the 80’s and 90’s. With enjoyable production as heard from Nick Wiz it’s easy to see why Rakim still has a love for the game while others are claiming “Hip-Hop Is Dead”. Like Cormega said on Born And Raised, “Hip-Hop ain’t dead, it’s just tired of the drama” and with music like this that statement from 2006 can be retired as its evident that Hip-Hop is in no way deceased.

Dedicated
Produced by Nick Wiz
After 13 tracks Rakim decides to finish off the album on a sincere note in dedicating the track to his mother and speaking about what she truly meant to him and his life. He talks about his heartbreaking experience in losing his mother and the times their bond together ever since his birth. Nick Wiz provides a nice beat that fits with Rakim’s lyrics and the song’s topic. This was a good way to end off the album as it nicely brings things to a close in allowing for listeners to start to listening experience again back at the first song.

Bottom Line:
In being ten years since his last album release with The Master I was like a lot of fans and listeners is not being quite sure about what to expect from Rakim with a new album especially in 2009 and the current state of Hip-Hop. A part of me was excited to finally be hearing some new music from The God MC after being satisfied with his two previous releases, but the other part of me was concerned about Rakim possibly changing up his style to better conform with the ways of the music industry of today. Luckily my concern was nothing more than a worry as Rakim proved that he hasn’t lost a step with The Seventh Seal and ultimately reassures listeners that he’s still one of the nicest emcees in the game regardless of the ones (Jay-Z, Lil’ Wayne, T.I., Nas, Drake, J. Cole…) that have come after him. There really aren’t any tracks on this album that are below average or sub par for an emcee like Rakim as many of them range between good to great. Throughout the album Rakim delivers lyrically on every aspect from lyrics to flow to delivery to subject matter. The only thing that holds this album back from being even better is the production that’s heard. While it’s always great to give new and lesser known producers a platform to showcase their skills, it would have been nice to hear something from the established producers that Rakim has collaborated with on past albums like DJ Premier, Pete Rock, Clark Kent, as well as including a song or two from his work with Dr. Dre during their Aftermath period together. Knowing that this isn’t Rakim final album it can be certain that we’ll eventually hear music from those sessions and music from some of Ra’s previous collaborators. Overall, Rakim sees the same success with The Seventh Seal that Raekwon saw with Only Built 4 Cuban Linx… Pt. II and Royce saw with Street Hop in delivering an enjoyable album despite years spanning between releases… Let’s just hope it’s not another ten years before the next Rakim album is released.

nappyPicks: “Walk These Streets”, “Holy Are You”, “Message In The Song”, “Put It All To Music”, “Documentary Of A Gangsta”, “Psychic Love”

Download: Rakim – “Holy Are You”

Download: Rakim feat. Maino & Tracey Horton – “Walk These Streets”

Damn, I can’t believe it’s been four months since my last Boomin’ System entry back in July with Blaq Poet’s Tha Blaqprint album. I guess now is a better time than ever then to drop something new with the recent slowness on the music scene (which is due to pick up with new albums from the likes of 50 Cent, Rakim, Wale, etc.). In between my prevalent rotation of The Salvation (Skyzoo), The Blueprint 3 (Jay-Z), and Only Built 4 Cuban Linx… Pt. II (Raekwon) since September, I found a chance to listen to new music that has been circulating. In light of the albums and mixtapes that I found on the surface including No Ceilings (Lil’ Wayne), Street Hop (Royce Da 5’9”), and K.O.D. (Tech N9ne)… No, Gucci Mane and Soulja Boy Tell ‘Em’s trilogy mixtapes didn’t occupy space on my hard drive… I came across Sean Price’s latest mixtape entitled Kimbo Price: The Prelude To Mic Tyson. This was a mixtape whose release I was actually anticipating and was looking forward to listening to after hearing some of the tracks (“Duck Down”, “Boost”, “MegaSean”) that leaked before its official release.

I can admit that I took a late pass on Sean Price in not really starting to listen to him until 2005 with his debut album Monkey Barz and not realizing that he was half of the rap group Heltah Skeltah. With that said, Sean Price is definitely not a newcomer in terms of the rap scene having been around since 1996 with Heltah Skeltah’s debut album Nocturnal, being apart of the Hip-Hop collective Boot Camp Clik, and having released two solo albums since then. His latest offering, Kimbo Price, in mixtape form serves as a prelude and lead up to his 3rd solo album Mic Tyson due next year letting listeners and fans alike know that he’s still been grinding since Heltah Skeltah’s D.I.R.T. album released last year. Sean Price happens to be one of the most creative and comical rappers in the game today as evident by his witty monikers (Deceptacon Sean, MegaSean, Kimbo Price, Donkey Sean, Jr.) and album titles (Mic Tyson, Jesus Price Superstar). This wittiness and comedy is also heard with his lyrics as Price throws comical punchlines in the midst of his confidently strong flow (“You do Coach bags, I do kush bags/You a douche bag, I’m the truth fag”…“Shared greedy, y’all niggas get scared easy/Queer like multiple pairs of Air Yeezy’s”) as heard on tracks like “Duck Down”, which sees Sean teaming up with Duck Down labelmates Skyzoo and Torae over a beat in similar likeness to Raekwon’s “Have Mercy”. Each emcee displays exactly why they’re a force to be reckoned with and the lyrical prowess of the Duck Down label.

The creative of Sean P. as mentioned earlier is seen on songs like “Pork Chops & Apple Sauce” in which he jacks not only Shawty Lo’s “Dey Know” beat but his flow in making a mockery of the artist and his song (while making it better and listenable at the same time) and “Boost” where in theme with Boost Mobile phones Price delivers a stellar verse in chirp mode over the phone. Other spots on the mixtape sees Sean Price in customary mixtape fashion putting his own spin over other artists’ beats as heard on “Abortion”, “Car Thiefs”, “Get Ya Sket Mic”, “This Is Us”, “P’s Up”, and “Bullshit (Radient Jewls Remix)”. There are some original songs to be heard on the mixtape as well like the aforementioned “Duck Down”, “Goodnite!!!”, and “Weed & Hoes”, which has to be one of the most clever sampling and turns of a Gospel song into a Hip-Hop song. Sean Price proceeds to make it one of the highlights of the mixtape with an effortless flow along with a nice guest verse by St Maffew. After 23 tracks of good material with various Kimbo Slice and Mike Tyson clips thrown in between songs, Kimbo Price does exactly what it’s supposed to do as a mixtape. Just as the title reads with it being a prelude to his next album, Sean Price delivers suitable music that will surely hold his listeners over until next year when Mic Tyson is released. A lot of people might not be too familiar with Sean Price as an artist and something like this is definitely a proper introduction to him and his lyrical abilities on the microphone. I look forward to hearing what Sean P. comes with next year on his Mic Tyson album and until then Kimbo Price will find a home next to the other three albums currently in my rotation.

Playlist: “Duck Down”, “Weed & Hoes”, “Boost”, “Car Thiefs”, “This Is Us”, “P’s Up”, “Bullshit (Radient Jewls Remix)”, “Goodnite!!!”, “Abortion”

In looking at the past Classic Material entries I was very surprised to see that this album wasn’t included in the listing. An album that did more for Hip-Hop’s reconstruction on the eve of the deaths of 2Pac and The Notorious B.I.G. in the late 1990’s that most people don’t give it credit for. An album that displayed lyrically there was much more than clichéd themes of violence, guns, and misogyny in providing uplifting messages of empowerment and self-awareness and address critical issues that were being overlooked. The album that I’m speaking of delivered by two of Hip-Hop’s most acclaimed lyricists is entitled Mos Def & Talib Kweli Are Black Star. The collective duo of New York emcees Mos Def and Talib Kweli known as Black Star stood as one of the better Hip-Hop tandems in 1998 that presented a new sound and an alternative for listeners who were growing tired of the common themes being presented by other Hip-Hop artists. In a year filled with larger than life releases from the likes of Jay-Z (Vol. 2… Hard Knock Life), Lauryn Hill (The Miseducation Of Lauryn Hill), Gang Starr (Moment Of Truth), Outkast (Aquemini), DMX (It’s Dark And Hell Is Hot), Big Punisher (Capital Punishment), etc., Mos Def & Talib Kweli Are Black Star held it’s own as a relative unknown against the heavyweights.

As previously stated, I had to come without doubt that this album satisfied every true Hip-Hop head’s anticipation as it is filled with true lyricism and backed by wonderfully composed productions from various producers like Da Beatminerz, 88-Keys, J. Rawls, and Hi-Tek (who handled a majority of the album’s production duties). Those that were wary of Black Star, who were relatively newcomers on the scene courtesy of Rawkus Records, and hesitant in giving the album a listen would be immediately convinced. The first five tracks (“Intro” excluded) display the lyrical skills and abilities of Mos Def and Talib Kweli in a light that was fairly unheard of at the given time. “Astronomy (8th Light)” cleverly sees the duo putting the word “black” to use in describing the true meaning of Black Star and its various elements and inspirations. “Definition” gives an accurate definition of the current times of Hip-Hop in 1998 (“1,2,3, it’s kind of dangerous to an emcee/They shot 2Pac and Biggie/Too much violence in Hip-Hop”) and a scene of where it would be headed with emcees like Mos and Kweli on the horizon.

While “Definition” featured some up-tempo production from Hi-Tek, the subsequent “Re: Definition” delivers a slowed, menacing beat that hears them further explaining their definition of Hip-Hop music while putting a slight twist on the subject matter. While Snoop had provided a classic modern spin to Slick Rick’s timeless “La Di Da Di” (The Great Adventures Of Slick Rick) five years earlier on “Lodi Dodi” from his seminal Doggystyle album, Mos went solo on his rendition of Slick’s “Children’s Story”. Doing an excellent job in modernizing the 1988 classic to how the scenario might have played out some 10 years later, Mos portrays himself as a complete emcee in putting his storytelling skills on display. Not many Hip-Hop songs at the time featured the type of laid-back, jazzy production as heard on “Brown Skin Lady”, as well as the lyrics that were presented in being those that showed reverence and respect towards African-American women instead of the degrading and demeaning lyrics that were commonly heard.

The rest of the album follows the same suite in delivering enduring tracks that were ahead of their time for being presented in 1998. From the smooth, uplifting “K.O.S. (Determination)” and “Thieves In The Night” to the spoken word delivered “Yo Yeah” to the lyrical wizardry with Common heard on “Respiration” and Jane Doe (b/k/a Jean Grae), Wordsworth, and Punchline on “Twice Inna Lifetime”. While other albums released in 1998 possessed the star power from recognized names and previous releases, Mos Def & Talib Kweli Are Black Star contain just as much quality if not more than those held listeners’ attention. During a time when the Hip-Hop scene was on the brink of collapsing after the demise of two of its biggest stars in 2Pac and The Notorious B.I.G., artists all over were working hard to keep the genre afloat and moving forward. After the deaths of two premier emcees, many within the Hip-Hop community were searching for answers to the declining state while struggling to move towards a different path for the future, away from the negative and damaging effects and music that surrounded their deaths. Mos Def and Talib Kweli, along with artists like The Fugees, Jurassic 5, Company Flow, Arrested Development, and others provided the soundtrack and foundation to that movement (Alternative Hip-Hop) that would have more impact on Hip-Hop’s future than its immediate present in 1998. This album paved the road for future artists (J-Live, Immortal Technique, Little Brother, Lupe Fiasco, Lyrics Born etc.) and albums to be widely accepted and acknowledged as being an alternative option to the common themes and trends in Hip-Hop music and culture.

Given the current state of Hip-Hop music in 2009, a resurgence of “real” Hip-Hop music and return to the lyricism as heard on classic albums of the 90’s has been seen with recent releases like Raekwon’s Only Built 4 Cuban Linx… PT II, KRS-One & Buckshot’s Survival Skills, and Marco Polo & Torae’s Double Barrel. Since his debut in 2006 with the 9th Wonder assisted Cloud 9: The 3 Day High and follow-up mixtapes including Corner Store Classic and The Power Of Words, Skyzoo has undoubtedly noticed the declining state of Hip-Hop music and has been on a mission to bring things back to the way they once were. This is evident with an album titled The Salvation, as the term “salvation” by definition is the saving of humanity from death or eternal damnation. With this album Skyzoo is set on saving listeners and the genre of Hip-Hop from death via untalented artists with limited skills and abilities on the microphone (I won’t go into names here… everybody has their own list). With producers along the lines of 9th Wonder, Just Blaze, Black Milk, Illmind, Nottz, and Needlz, and the credible history of Skyzoo as an intellectual, lyrical emcee, this album looks good on paper to be a success, but in the end does that translate to a quality product.

1. The Opener
Produced by Cyrus The Great
In relation to the album title, the opening track starts off with a gospel interlude followed by some piano playing the leads into some piano driven production by Cyrus The Great. The production plays its role as Skyzoo immediately lets listeners know what they’re getting with this album in the form of lyricism and a return to real Hip-Hop music. This track is a good introduction to the rest of the album that follows.

2. Return Of The Real
Produced by Just Blaze
Speaking of a real to Hip-Hop music, that’s exactly what this track is about as stated by the song title. Skyzoo enlists music producer extraordinaire Just Blaze for this track as he delivers with one of the most energetic beats on the album. After a trademark Just Blaze introduction, Skyzoo gets right into it over the head-nodding beat in speaking about how he’s one of the last few lyricists remaining in the game and is destined to bring the realness back to the genre. This is a track that definitely knocks on the system, as Skyzoo does a good job on his intentions with his convincing lyrics and flow.

3. The Beautiful Decay
Produced by 9th Wonder
This track stood as the first official single for the album with an accompanying video released a few months back that provided excellent visuals to compliment Skyzoo’s lyrics describing the inner city life in a positive manner by name it “The Beautiful Decay”. 9th Wonder supplies Skyzoo with one of his signature soulful beats that fit his lyrics and flow like a glove and sound like something you might have heard from their sessions back on the Cloud 9: The 3 Day High project. This is an excellent track that shows Skyzoo in his zone in speaking about city life and its surroundings.

4. My Interpretation
Produced by Best Kept Secret
On this track Best Kept Secret provides some airy flowing production as Skyzoo gives his interpretation of “getting lifted” with his head in the clouds on his journey to the top. The soulful production once again fits nicely with Skyzoo’s rhyming, as he doesn’t sound one bit out of place with his vivid descriptions and portrayal.

5. Popularity
Produced by Nottz
Getting back to the energetic sound that was heard a few tracks ago on “Return Of The Real”, Skyzoo recruits Nottz behind the boards of this track as he supplies some bouncy production while Skyzoo proceeds to let listeners know why he’s one of the most popular emcees on the rise in the game and doesn’t show any signs of being stopped. Being the type of rapper that Sykzoo is, this is the closest you’re going to get to hearing a potential commercial song receiving radio play, and honestly a song of this kind is one I wouldn’t be opposed to hearing compared to the likes of “You’re A Jerk” or “Money To Blow”.

6. Like A Marathon
Produced by 9th Wonder
9th Wonder returns to the scene with some more soulful production for Skyzoo to deliver some words of inspiration to those on the road to pursuing their dreams. “Like A Marathon” is clever wording which ultimately translates to never giving up and quitting as life and the roads to our goals can feel similar to running a marathon. It’s quite clear to see how Skyzoo and 9th were able to put together a quality project in three days as their chemistry is unlike many other emcee/producer pairings. This track is another gem to be found on the album that listeners are sure to enjoy and relate to with their own lives.

7. The Shooter’s Soundtrack
Produced by Cyrus The Great
After six tracks this is the first track on the album that I’m not really feeling and probably won’t get many repeat listens from me. Cyrus The Great provides some nice production on the track but it sounds dull and gets repetitive after a while of listening. From Skyzoo’s lyrics (which aren’t his best delivered and sound a bit boring like the production) this track is meant to be the soundtrack for those in the streets living the crime life. Ultimately compared to the previous tracks heard, this track sounds more like it was meant and would fit better on a mixtape than an album. The skit/interlude of Skyzoo and his girl’s phone conversation does well in setting up the scene for the next track but sort of goes on too long.

8. Under Pressure
Produced by 9th Wonder
9th Wonder comes through again, this time utilizing the same sample (“Walk On By” – The Undisputed Truth) used by J Dilla on his Donuts album cut “Walkinonit” to a good degree for the production on this track. Skyzoo takes note from the sample’s song title in dropping lyrics about being under pressure in a relationship while doing what’s necessary and providing for both, but realizing that it can no longer work in the end. This is another good song of relatable virtues and values that are realistic in the lives of many going through relationships and difficult times.

9. Penmanship
Produced by Black Milk
In a recent Q&A session (“Ask Skyzoo”) with Skyzoo on 2dopeboyz, he replied to a question that there were two producers that he had to have on his debut album being Just Blaze and J Dilla. As heard on the previous track “Return Of The Real”, he was able to accomplish ½ of his goal with a Just Blaze produced track, but unfortunately due to the untimely passing of J Dilla he wouldn’t be able to have a track produced by the late great Detroit legend. Insert music producer Black Milk who in his own right is one of the best up-coming producers in the game and becoming a Detroit legend in his own right. Having some similar qualities of J Dilla to his name in terms of production and sound, Black Milk provides Skyzoo with the closest rendition to having a Dilla produced joint on his debut album. Black’s production consists of a pulsing organ riff backed by off-beat drum programming that might throw some listeners at first, but is head nodding none the less. On the track Skyzoo gets down in delivering lyrics pertaining to his lyricism and tight pen game. This song reassures listeners that Skyzoo is no here today gone tomorrow type emcee, and his lyrics are some of the nicest out of the rest of the next generation rappers.

10. Dear Whoever
Produced by Illmind
From the previous up-tempo track, Skyzoo decides to slow things down a bit with “Dear Whoever” in which he rhymes lyrics in the form of a letter addressed to past girlfriends (no one in specific) that he went through the same circumstances with. Speaking about being in a relationship where he lowered his guard and put all of his feelings out in the open for his significant other, only to realize that them being apart was better for them than being together. Illmind’s soulful production on this track fit comfortably well in complementing Skyzoo’s lyrics and the track’s subject matter. This song seeming so personal from Skyzoo’s lyrics is a gem to be found on the album.

11. For What It’s Worth
Produced by Eric G.
After a brief interlude of wise words from the late great Tupac Shakur, we’re hit with one of the most heartfelt tracks on the album. Eric G. beautifully samples Dee Dee Bridgewater’s “My Lonely Room” as the perfect backdrop for Skyzoo to deliver lyrics about living life for what it’s worth in the time given while battling between making a living on the block within the drug game or facing the struggles of the legal life to reach dreams. When Skyzoo is in his element of tracks describing life’s trials and tribulations he is one of the realest emcees behind the microphone. In the case of where that’s seen with “For What It’s Worth”, it stands as one of the best tracks on the album.

12. The Necessary Evils
Produced by Needlz
Those who have been following Skyzoo’s career since his start in 2006 through the various mixtapes he has released will recognize this track from his 2007 mixtape Corner Store Classic. Needlz produces a dark, sinister sounding beat for Skyzoo to deliver lyrics about the necessary evils of the street life that seen as everyday living for those involved. Much like the previously heard “The Shooter’s Soundtrack”, this track doesn’t standout in comparison to some of the other strong production found on this album and feels out of place on this album since it was previously featured on a mixtape from two years ago. This is another track that won’t receive much play from me and is one that could have been left of the final track listing.

13. Easy To Fly
Featuring Carlitta Durand; Produced by 9th Wonder
This song features the only guest appearance to be found on the album with Carlitta Durand supplying the hook in gracious vocal styling. 9th Wonder supplies soulful, floating production that fits well with the song’s topic as Skyzoo drops lyrics about a girl that he’s trying to take away from her current bad situation into a better relationship with him. Topic wise this track hold’s the same weight as most of the female tracks we’re used to hearing on rappers’ albums, but the track’s production and guest feature give it an edge from falling totally into the cliché standing.

14. Bottom Line
Produced by Eric G.
Off his fantastic production heard on “For What It’s Worth”, Eric G. returns with some more soulful sounding production on “Bottom Line”. On this track Skyzoo spits lyrics about being on your grind in whatever you do and how it comes so easy if the grind is something you’re consistent with. This is a good track to be heard and stays in tune with most of the soulful tracks heard throughout the album.

15. Metal Hearts
Produced by 9th Wonder
Mr. Douthit returns for the last and final time on the album with some lively, soul production in sampling Barry White’s “Never, Never Gonna Give Ya Up” to good results. Skyzoo uses the nice composed beat to speak about his dedication and devotion to the grind in doing whatever is necessary to see success at the end of the day.

16. Maintain
Produced by Nottz
Skyzoo brings things full circle and ends off on a similar note and mood that was heard on “The Opener”. With the sound writing on the paper in the background, he speaks maintaining in life and in the music industry. Talking about making it to a point that not many people taught they would be him at in delivering an album and having a record deal after three years of diligence and never quitting in the process. This track does a good job in closing our the album on a peaceful vibe that gives listeners the idea that Skyzoo has finally made it to the point in his career that he has been striving for.

Bottom Line:
Many people outside of the underground Hip-Hop scene might not be well familiar with Skyzoo as an artist and his works, but one thing is sure after listening to this album and that is that Skyzoo will be a name that people all over will be familiar with in due time. With an album dubbed The Salvation, Skyzoo’s intentions of bringing the rap game back to its respectable nature of quality music and strong lyricists are evident, and he succeeds in doing that with this album. Skyzoo is an emcee that isn’t afraid to go against the grain of popular dances and trendy gimmicks in providing listeners with the quality, “real” Hip-Hop that has been a missing element for so long now. While he isn’t the only one on this quest and making the necessary steps with an album of this kind (see: Only Built 4 Cuban Linx… PT II, Double Barrel, Slaughterhouse, The Ecstatic, etc.), Skyzoo definitely makes the movement strong with the addition of his debut album. During a time where artists’ albums sound more like compilations with guest features just for the popularity of a name (ex: Lil Wayne, Drake, Jay-Z, etc.), Skyzoo realizes that his is his show and uses the platform to showcase himself to listeners with only one guest appearance on the whole album. Aside from a couple of choice songs that threw off the flow and cohesiveness, The Salvation is a prime example of good Hip-Hop that so necessary nowadays. Much like Hip-Hop albums in the 90’s featuring one of two main producers, this album has that feel cohesiveness, as most of the tracks are able to flow easily into each other. With some further work, Skyzoo is on the verge of releasing a classic album in given time. Those searching for quality Hip-Hop outside of the blitz of commercial radio albums and singles should look no further than Skyzoo and The Salvation. When it seems like too many rappers “forgot how to be real and remembered how to be wack”, it’s good that Skyzoo is vice versa.

nappyPicks: “The Beautiful Decay”, “Like A Marathon”, “Under Pressure”, “Dear Whoever”, “For What It’s Worth”

Download: Skyzoo – “The Beautiful Decay”

Download: Skyzoo – “Return Of The Real”

More Than A Game tells the story of now NBA superstar LeBron James and his fellow teammates during their high school years at St. Vincent-St. Mary High School in Akron, Ohio. It follows the team’s journey of trials and tribulations to the eventual success of a high school basketball national title in 2003. With every documentary that depicts the story on film, there’s an equal telling of that story through music. 8 Mile had it with Music From And Inspired By The Motion Picture 8 Mile, Get Rich Or Die Tryin’ had it with Music From And Inspired By The Motion Picture Get Rich Or Die Tryin’, so it would only make since for a film as strong as More Than A Game to have one. The purpose of a film’s soundtrack should be to present the essential elements of the film and essential tell the story of the film without watching the actual movie. The soundtrack should make the listener feel as though they have seen and experienced the movie through listening. Both soundtracks to 8 Mile and Get Rich Or Die Tryin’ do a great job of this (the former more than the latter) and if listeners are hesitant to seeing More Than A Game with the fear of it being more Crossover and Like Mike and less The Basketball Diaries and Hoop Dreams, hopefully listening to this soundtrack will sway their decision.

1. Drop It Low
Ester Dean featuring Chris Brown; Produced by Polow Da Don
As the first track you hear on the album, you immediately get a bad feeling about listening to the rest. From the title of the song you could already get a feeling as to what this song is about and how it would sound. Featuring typical production from Polow Da Don, Ester Dean sings about dropping her booty low (original huh??) and a return of Chris Brown to the music scene after his incident with Rihanna. Given the story of the movie and how it looks to be, I don’t really see at all how this song relates or got included other than a commercial single for the young crowd to dance to.

2. Forever
Drake featuring Kanye West, Lil Wayne & Eminem; Produced by Boi-1da
A song that everybody should be well familiar with by now as it’s an official single for the album with an accompanying music video released last week. Boi-1da continues with his current streak in providing some bouncy production for all four emcees to deliver everything from average to stellar verses on. While Drake, Wayne, Ye drop good verses, the show is obviously stolen by Mr. Mathers who obliterates his verse with fantastic wordplay, precise delivery, and even flow switching to top it off. This was a quality selection to be included on this album.

3. King On Set
T.I. featuring Young Dro; Produced by The Smash Factory
A song from the self-proclaimed King of the South before his current jail stint that features fellow Grand Hustle member Young Dro dropping rhymes atop production from The Smash Factory that fit well the aforementioned rappers. A song that sounds like it could have fit on T.I.’s King album, features T.I. donning his fast flow while Dro take his time in defining the word “king” and how it applies to him. This track obviously fits LeBron more in present times with his “King James” moniker more than it did during his high school days.

4. Stronger
Mary J. Blige; Produced by Polow Da Don & Hit Boy
This time around Polow Da Don delivers much more meaningful production along with Hit Boy as they supply a beat for Mary J. Blige to deliver in classic MJB style. As one of the album’s official singles, this song perfectly fits with the theme of the movie of individuals standing together as one to over come struggles and hardships. This song truly gives you the feeling of the movie without having seen the preview beforehand.

5. History
Jay-Z; Produced by Kanye West & Kenoe
This song was previously released back in November ’08 around the time of Barack Obama’s election as President of the United States in which Jay-Z performed at the President’s Inaugural Ball. In regards to that event this song fittingly serves as Jay cleverly refers to “history” as his child after searching and finding his wife “victory”. Kanye and Kenoe provide a historic sounding backdrop for Jay to deliver inspirational verses on a song that fits well with the historic legacy left by LeBron and his teammates at SMSV.

6. Top Of The World
Rich Boy featuring Chili Chil; Produced by Rich Boy
After a few inspirational tracks, Rich Boy brings the energy back to the album with this self-produced track. Rich Boy’s beat is the trademark hard thumping southern production that suits him so well, as he delivers lyrics letting listeners know why he’s one of the young rappers in the game moving towards the top and why his gold selling debut album Rich Boy was no fluke. Chili Chil provides the hook on this track that makes the song complete and gives you a feeling of the fight and push within Lebron and his teammates during their quest of a national title.

7. I’m Ballin’
Soulja Boy Tell ‘Em; Produced by Hamsquad
Upon reading the song title and featured artist you should already know what to expect from this track. With production from Hamsquad that fits Soulja Boy Tell ‘Em’s typical style, he proceeds to drop lyrics concerning his economic status as the song title implies. Nothing really special with this track other than the fact that Soulja Boy and Gucci Mane are starting to sound like the same person on tracks with the identical flow/style, subpar lyrics, and limited content matter. Once again other than commercial purposes, I don’t really see why this track was included on this soundtrack, and it’s status serves more towards LeBron in his current status more than how he was during his high school days before endorsements and contracts.

8. We Ready
Ya Boy; Produced by Harvey Mason, Jr.
After the previous lacking track, this track brings things back up for the soundtrack featuring Ya Boy dropping lyrics in regards to being ready for the challenge and task at hand, which for LeBron and his teammates was obviously winning the national title. The production from Harvey Mason, Jr., who executive produces the soundtrack and produced the film, is done in fitting battlefield style that connects well with the song’s topic and the lyrics delivered.

9. Go Hard
Hayes; Produced by Jerome Harmon
Continuing with the theme of persistence and determination, Hayes delivers a track in motivational style about pushing on and not stopping when met with opposition. The track’s production from Jerome Harmon, who also contributed to “Venus vs. Mars” on Jay-Z’s The Blueprint 3, is a synth filled, organ driven beat that pushes and supplements Hayes’ lyrics and subject matter to a higher level.

10. Frozen
Jared Evans; Produced by Jared Evans
This track features artist Jared Evans both behind the mic and behind the boards as he delivers lyrics over subtle production about being stuck or “frozen” in a place of misfortune and adversity while trying to make it through. The track connects on a level with the movie and how the team must have felt when things just weren’t going as they expected or wanted them to.

11. If You Dream
Tank featuring Tyrese, Toni Braxton, Jordin Sparks, Omarion, Faith Evans, JoJo, Charlie Wilson, Tamar Braxton & Steve Russell; Produced by Harvey Mason, Jr., Durrell ‘Tank’ Babbs & J. Valentine
A truly inspirational song in terms of song topic/title, lyrics, and production, featuring an all-star casts of R&B/Soul artists to bring the album to a close. The piano driven production on this song perfectly match the topic of never quitting and giving up on your dreams to accomplish your goals in the end. This song is probably the best match on the album in terms of capturing the movie’s story and plot in a single song, and it does a great job in delivering that aspect. This song alone should make any listener eager to go see More Than A Game in theaters.

Bottom Line:
In terms of doing what a soundtrack is supposed to do in complimenting the film, Music Inspired By More Than A Game does that efficiently. While there were a couple tracks (“Drop It Low”, “I’m Ballin’”) that felt out of place and didn’t really relate to the film’s story, a good number (“If You Dream”, “Stronger”, “History”) of them conveyed that story with great results. Listening to this album gives you a feel and understanding of the trials and tribulations that LeBron and his teammates had to deal with on their way to the top in being the best high school basketball team in the nation in 2003. Those that continually hate on LeBron James as an accomplished NBA basketball player can truly see the passion, hard work, and dedication to the thing he loved most in the game of basketball and hopefully get a better understanding of everything that he overcame in the process to becoming one of the best rising stars in NBA history from his high school journey. The often sports related quote “there’s no I in team” is best exemplified with the More Than A Game documentary as it shows as a team they could take on the world and accomplish that which couldn’t be achieved individually. How basketball movies like Hoop Dreams, Sunset Park, Coach Carter, and The Heart Of The Game served as inspiration for those with dreams of one day making it to a career the NBA, More Than A Game continues that tradition for kids all over with posters of LeBron, Kobe, and Wade over their walls. Get to theaters and see More Than A Game as well as picking up this soundtrack even if your aspirations lay elsewhere other than basketball. This is a documentary and soundtrack that provides inspiration and motivation to dreams of all kinds.

nappyPicks: “Forever”, “Stronger”, “History”, “Top Of The World”, “If You Dream”, “Go Hard”, “King On Set”, “Frozen”

Download: Tank feat. Tyrese, Toni Braxton, Jordin Sparks, Omarion, Faith Evans, JoJo, Charlie Wilson, Tamar Braxton, & Steve Russell – “If You Dream”

While going through my computer the other day and waiting for Skyzoo’s debut album The Salvation to be released next Tuesday, I came across a Rewind Review that I had started writing three months ago but never finished. The selected album was one of my personal top 5 albums of all-time and from one of my favorite emcee of all-time. Said album and artist was Lifestylez Ov Da Poor & Dangerous by legendary Harlem emcee Lamont Coleman b/k/a Big L. Released in 1995, this album stood as Big L’s debut album on Columbia Records. Released in the same year that other seminal Hip-Hop classics dropped like Only Built 4 Cuban Linx… (Raekwon), Liquid Swords (GZA), Return To The 36 Chambers: The Dirty Version (Ol’ Dirty Bastard), The Infamous (Mobb Deep), Me Against The World (2Pac), and E 1999 Eternal (Bone Thugs-N-Harmony), it’s no surprise as to how this album was widely overlooked and suffered sales wise. But numbers aside (L’s album actually did quite well in ’95 without much promotion, radio play and music videos for support) this album turned out to be a classic in its own right and throughout the Hip-Hop collective.

Other than his promotional Horrorcore record “Devil’s Son”, guest verses on fellow D.I.T.C. members Lord Finesse and Showbiz & A.G. albums (“Yes You May (Remix)”, “Represent”), and various radio freestyles (Stretch Armstrong & Bobbito Show), not many knew about the Harlem rapper named Big L outside of the underground Hip-Hop circuit, but that would soon change with the release of his debut album Lifestylez Ov Da Poor & Dangerous. Judging from the lyrics heard on his promo single “Devil’s Son” (“The Big L is strictly gun play/I run in church and pistol whip a priest every Sunday…I’m living up to my extortion image/I be stalkin’ Lenox, catching more bodies than abortion clinics“) it could be seen that L wasn’t your typical emcee and didn’t care that he didn’t fit the record labels’ definition of a “rapper”. Known for his aggressive style battle rhymes and mind-blowing metaphors, Big L put it all on display on his debut album for the world to hear. Two of the albums lead singles (“Put It On” and “M.V.P.” are dropped as the first two tracks you hear at the beginning of the album. On “Put It On” Buckwild provides L with rough yet smooth beat that allows him to rip the track with lines like (“Aiyo, you better flee hops or get your head flown three blocks/L keep rappers’ hearts pumpin’ like Reeboks…And when it comes to getting nookie, I’m not a rookie/I got girls that make that chick Toni Braxton look like Whoopi”), serving as a fitting introduction to listeners. The latter “M.V.P.” is a laid-back track featuring production from Lord Finesse sampling DeBarge’s “Stay With Me” in similar style to The Notorious B.I.G.’s “One More Chance (Remix)” (I’ve heard stories of Puffy jackin’ the sample and beat idea from Finesse after hearing the track’s production, thus is why we hear the “M.V.P. (Smooth Summer Mix)” on the video and not the original production). Nonetheless, this track once again displays L’s lyrical prowess coinciding with the track’s chorus (“If rap was a game I’ll be M.V.P./The most valuable poet on the mic”).

Throughout much of the album L displays his abilities and skills on the microphone over various topics from gold digging (“No Endz, No Skinz”) to the ills of the street life (“Street Struck”) to his hometown/hood (“Danger Zone”), but one of the best tracks to be found in terms of message is “I Don’t Understand It”. This fitting track sees L talking about how he doesn’t understand how poorly skilled, untalented emcees sell millions of records while the superior emcees barely reach 500,000 (“Going platinum and don’t have no soul/Some rappers are mad nice and don’t even go gold”). This song displayed among other things how Big L was a true definition of an emcee that was ahead of his time in 1995 as much of what he said 14 years ago still applies in great deal to the music industry/rap game in 2009. On a ’95 Stretch & Bobbito freestyle session with then young emcee Jay-Z when L rhymed, “I’m so far ahead of my time my parents haven’t met yet” he wasn’t lying and it showed on this album why he was one of those rare emcees that don’t come across twice. As an emcee your only priority on a track is to represent yourself in displaying your lyrical skills and abilities and L does that in more ways than one on this album. The only real flaw to be found with this album in looking at it is the production, which at times can sound dull and get repetitive after a while. But other than that this pretty much is a flawless album that stands up to the other classic Hip-Hop albums released in the same year.

While he might not have been widely known at the time of this album’s release, Big L’s buzz and anticipation as an emcee back in 1995 can be compared to that of Drake’s in 2009. Just from his few promo releases and guest features, people were checking for Big L and waiting the release of this album in a major way. L can even be accredited for giving starts and providing opportunities to a lot of the genre’s major stars of today like Jay-Z, Cam’ron, and Mase who are heard on this album in their younger days and early stages of their careers. He provided an open door and platform for these artists to display their respective skill and talent, which might have gone unheard without his support. Big L’s influence on a lot of the top rappers in the business today hasn’t gone unnoticed, from those using his lines (Jay-Z, Ludacris) to direct inspiration (Eminem). The two-syllable rhyming style used by rappers today like Fabolous, Mase, and Loon was crafted and mastered by Big L during his career. Being the only album that he got to release while alive (The Big Picture was a posthumous release), this album serves as a classic and true definition of a lyricist that stayed true to himself and didn’t deter in light of a changing industry. When listeners today claim Lil Wayne to be a punch line king from his clever lines, I don’t think he has come close to the level of lines dropped by L (“Fuckin’ punk, you ain’t a leader, what nobody followed you/You was never shit, your mother should’ve swallowed you…Turn your tux red, I’m far from broke got enough bread/And mad hoes ask Beavis I get nothing but head”). Rappers today like Wayne claiming the “Best Rapper Alive” title better be grateful that Big L isn’t around cause he wouldn’t be having that as I’m sure cats like Jay-Z, DMX, and others who had the opportunity to rhyme with him can attest to. If not taken from life unfortunately at such a young age, I as well as many others believe that Big L would have been one of the most successful emcees in the rap game today especially given that he was about to sign a deal with Roc-A-Fella Records in 1999 a week before he was gunned down. With a Big L documentary set to be released soon and a final posthumous album release executive produced by Lord Finesse and DJ Premier entitled Real Legends Never Die in the works, the legacy of Harlem rapper Big L is something that will never die as well as never be forgotten.

This was probably the most difficult album review that I’ve had to write during my tenure at nappyafro. Having previously written this album review in full with what I thought was an unbiased view led me to revisit it and start anew. Even though the initial review I composed offered a detailed view of the album, I needed to further distance myself as a Jay-Z fan before I would really be able to fairly judge its value and significance. Distancing myself as a Jay-Z fan in being able to properly review this album, which meant forgetting my adoration for classic albums (Reasonable Doubt, The Blueprint, The Black Album) and overlooking my distaste for disappointing albums (The Blueprint2: The Gift & The Curse, Kingdom Come, Vol. 2… Hard Knock Life). I had to go into this album review with a fresh mindset clean of all of Jay-Z’s successes and shortcomings, and view this album on its own terms without comparison to any previous albums. Enter The Blueprint 3, an album that has recently been the most anticipated by listeners since Lil’ Wayne’s Tha Carter III and Eminem’s Relapse. It’s easy to understand the reasons for such anticipation, as it has been almost two years since Jay-Z’s previous release (American Gangster) and this album follows undoubtedly one of the best albums in his catalog (The Blueprint). Being the final album in the Blueprint trilogy, Jay-Z has gone on record in saying this album is the definition or blueprint of the “new classic” and should be viewed as such in being the new model for rap’s younger generation of rookies and stars, and being focused on the music and instrumentation side of things. It shouldn’t be compared or viewed in the same light as the original Blueprint album, which is labeled the “old classic” but viewed in the perspective of the digital, Auto-Tune heavy music industry we reside in during today’s times. The world “blueprint” as defined by Webster’s dictionary is something serving as a model or providing guidance. In terms of Jay-Z as an artist, few could argue that his career doesn’t meet the criteria of said definition. Over the years his superior and classic status albums have served as models and sources of inspiration for countless artists (both up-and-coming and established). The Blueprint displayed his life foundation and development from soul music being present in his childhood, The Blueprint² showed his exploration of various genres and musical taste… So where does The Blueprint 3 stand?

1. What We Talkin’ About
Featuring Luke Steele (of Empire of the Sun); Produced by Kanye West & No ID
Jay-Z has always been known for having strong opening tracks (“The Prelude”, “Can’t Knock The Hustle”, “A Million and One Questions/Rhyme No More”, “The Ruler’s Back”) that set the tone for the rest of the album and the rest of the tracks that follow. He seemingly understands the importance of making a good first impression in knowing that it’s important to catch the listener’s attention at the start, which will hopefully encourage them to listen until the end. Immediately you notice the change with the lush, advanced sounding production provided by duo of Kanye West and No ID who handle a majority of the album’s production and set the tone. The song initially grabs the listener’s attention but soon wears thin in terms of production value becoming dull and boring after a while. Most people are familiar with some of the lyrics on this track from the acapella “freestyles” Jay had been performing at shows in the past two months, which garnered some hate and ruffled the feathers of The Game and Jaz-O (“Talking ‘bout gossip, I ain’t talking ‘bout Game…Even Jaz made some scraps, he could’ve made more but he ain’t sign his contract”). It’s kind of contradictory though as by even mentioning you’re not talking about insert name here, you’re ultimately still talking about them by referencing their names. Sure diss tracks and harsh words towards Hov have come from Jaz, Game (The Game), Dame (Damon Dash), and Jimmy (Jim Jones), but at this point in Jay’s career and the success he’s seeing it’s rather pointless to even acknowledge the fact. None of these individuals could really greatly affect his career and he’s just playing into their hand to bring attention to their dismal careers from being mentioned by a bigger star. Other than this Jay stays true to the song title in explaining why he’s still one of the most talked about figures not only in the genre of Hip-Hop but around the world (just ask Oprah, lol). This is a passable opening track to the album, but it’s far from the level of some of previously mentioned opening songs that truly did the job of capturing the listener’s attention.

2. Thank You
Produced by Kanye West & No ID
Listening to this track you get the feeling that it should have been placed towards the end of the album possibly as the final track in closing out the album. This song could be thought of in the same light as the Mary J. Blige collaborative effort “You’re Welcome” in possibly being a concert show closing song, which sees Jay thanking fans and listeners for their continued support over the years as well as boasting and flaunting his financial stability and lavish lifestyle. Jay delivers some well-crafted verses, but the most intriguing has to be the third verse in which he compares the dismantling of his rivals and competition to the destructive events of 9/11. While some have called foul and claimed he was out of line for making the comparison to such a tragic event, I don’t think what he did was done in a disrespectful manner but said rather creatively. Not too many other artists could have presented and broken it down in the same manner that Jay did in this verse. The sampled production provided by the Chicago duo has finale type of feel to it but at the same time I sounds similar to Dr. Dre’s production heard on the Kingdom Come album. The drums and horns presented in the song are comparable to those in the song “30 Something” while the audible sampled voice/talking in the beat’s background give it a similar feel and sound to “Gold Watch” off Lupe Fiasco’s The Cool. While it’s a good track that can start to get boring after a while from the lackluster beat and Jay’s casual flow, but I still find this to be one of my favorite tracks on the album as I did when I first listened to it.

3. D.O.A. (Death Of Auto-Tune)
Produced by No ID
This is the well-known first official single of the album that has garnered both praise and criticism from critics and listeners alike. No ID hooks up Jay with a creatively sampled beat that allows him to lyrically attack Auto-Tune users and enthusiasts alike while keeping the listener’s heading nodding along the way. This was one of my favorite tracks when it was first released as it built great anticipation for album and showed Jay getting back to the aggressive style that many thought he veered from. People have been saying this song shows Jay “bullying” or “hating” on younger artists and those using the software plug-in for all the wrong reasons (Ron Browz, Webstar, etc.) but as he stated in defense, once something becomes a gimmick (i.e. Wendy’s Commercials) it’s time to move on and I think this song and his way of thinking are justified. While Jay isn’t the first one to speak out against the ills of Auto-Tune, it’s good to see a song like this being pushed and played on a mainstream level. Commend him and Kanye (of all people) for thinking up a song idea like this and following through with it against the popular trend.

4. Run This Town
Featuring Rihanna & Kanye West; Produced by Kanye West & No ID
The second official single of the album has brought along both praise and controversy (Freemasonry, the Devil, etc.) similar to “D.O.A.”. When this song was initially released I was a bit disappointed in comparing it to the previous single, and once the video leaked the accompanying visuals decreased my disappointment level. The song embodies the topic matter and complement the rebel marching production from Ye and No ID. Jay delivers braggadocio lyrics about how he, his record label, and label mates are running the industry, which is nothing new and has been recognized by now. Kanye does the same with a punch line heavy verse filled with comedic and intense lines that sounds like the Kanye of old from The College Dropout days. Rihanna provides a simple yet effective chorus much to the degree of T.I.’s “Live Your Life” that does it’s just job and nothing more. The more recent focus of this track has been listeners claim of Kanye outdoing Jay on his own track, but honestly I don’t think that happens here. Sure Jay’s verses aren’t spectacular and mind-blowing, but Kanye’s verse doesn’t really shine that much greater. I think the punch lines present in Ye’s verse (“She got an ass that’ll swallow up a G-String/And up top, uh, two bee stings”) are reason that people think he murders Jay on this track, but ultimately he just comes off in having a more clever and cunning verse, not one that’s better. When it comes to murdering Jay on his own track that position is still one solely owned by Mr. Mathers on “Renegade” and this track doesn’t see any of that type of lyrical homicide taking place.

5. Empire State Of Mind
Featuring Alicia Keys; Produced by Shux, Co-Produced by Jane’t “Jnay” Sewell-Ulepic & Angela Hunte
“Hey ref SUB… come on out Nas, you’re in Alicia” (boos and jeers from the crowd among the angry and puzzled faces). If this song was a Monday Night Football game or the NBA Finals that would be the scenario that played out upon the release of this album. The original plans for this album called for the third collaboration effort between Jay and Nas (“Black Republican, “Success”) and it was one that many people were looking forward to but unfortunately for unknown reasons Nas was replaced by Alicia Keys on the final track listing. Does the song suffer from the replacement? Not at all! As the song title indicates (a nice play on “NY State Of Mind”) Jay tells you about the city he loves and call home. If you couldn’t recognize by the New York Yankees fitted over the years (“I made the Yankee hat more famous than a Yankee can”) Jay reps his city to the fullest and knows it quite like no other in speaking about his time in the drug game running through various boroughs, how he has become one of NY’s most historic figures and the influence the Apple (city) can have on a young Eve (woman). This song basically serves as an ‘ode to his city much like Kanye’s “Homecoming” and Alicia provides the soulfulness on the track’s chorus and bridge that take this track to the next level in their first collaboration together (hopefully not the last). Nas would have fit perfectly on this track along with Alicia Keys and it would have served as a nice homage to the classic Illmatic track, but you certainly can’t be mad at the final results from the applied change. The song essential becomes one of the best on the album and posses the stadium status necessary to make it a New York anthem.

6. Real As It Gets
Featuring Young Jeezy; Produced by The Inkredibles
In listening to this track it feels like one that was intended for a Young Jeezy album and comes off as Young Jeezy featuring Jay-Z instead of the other way around as if Jay is reaching to appeal to a Southern audience that is currently infatuated with the likes of Jeezy, Gucci Mane, OJ Da Juiceman, and others who have the draw. The Inkredibles provide some epic but undistinguished sounding production that caters more towards Jeezy than Jay, which sees them speaking about how they’re some of the realest rappers in the game and how listeners shouldn’t look further than them to find it. I don’t know if that’s an accurate declaration when looking at others rappers that span the entire genre and the jaded rhymes at times from the two don’t do much to convince the listeners otherwise. While this song sounds like it’s on the wrong album, it’s still a good one that delivers and serves its purpose.

7. On To The Next One
Featuring Swizz Beatz; Produced by Swizz Beatz
The first time I listened to this song it gave me a “Really Jay??” expression on my face. Being the first time in since Kingdom Come (“Dig A Hole”) that Jay and Swizz have linked up for a track and about 10 years since the last time it was successful (“Jigga My Nigga”, Vol. 3: Life And Times Of S. Carter), it comes off as disappointing. The production provided by Swizz Beatz is in typical fashion as it has that signature bounce that he’s known for but given his history in knowing what he’s capable of he could have came a lot better. In terms of lyrics Jay holds up his end of the bargain in speaking about how he’s always forward moving and never caught being in the same light as everybody else. With a better beat the results could have been better and matched the track’s potential from these two collaborating.

8. Off That
Featuring Drake; Produced by Timbaland & Jerome “Jroc” Harmon
This was the track that started it all in regards to the leaked BP3 tracks produced by Timbaland and saw people’s interest and promise for the final album decrease. I’ll admit that when I heard this song after it leaked I was with the majority of listeners who felt that this track was real disappointing for Jay’s standards and limiting Drake to just hook duty was a big letdown. Timbaland provides Jay with some of the Techno-infused production that he has recently become known for and while it’s catchy it can becomes dull over time. Timbaland can be hated for his production on this track but credit is due as he’s one of the few music producers that isn’t afraid to try new things that eventually see others following months and years later. This is Jay’s track to address current trends (Audemars Piguet, Cristal, Rims, Timberlands, “Making It Rain”, Oversized Clothes/Chains, etc.) that he feels a “R.I.P.” is necessary. Topic wise it’s very similar to the previous track where Jay states the facts about how stays ahead of the game and boasts that he’s still proficient in his “trend killing” abilities. We’ll see how many of these get added to the list with Throwback Jerseys and such (Probably a good majority…but I don’t know about Timbs Hov, that’s so NY). This track had the potential to possibly better with a verse from Drake instead of just featuring him on the hook, but we’ll have to see if that collaboration happens on Drake’s Thank Me Later debut album. I wouldn’t be surprised if this ends up being the third single from the album (Since it was rumored to be the 2nd before “Run This Town”) as it would work well in the club.

9. A Star Is Born
Featuring J. Cole; Produced by Kanye West & No ID
Even more anticipated than Jay working with Drake was his collaboration with his label signee J. Cole. So many people were ready to be disappointed when it was initially seen that Cole was nowhere to be found on the album but feelings changed when the official track listing was released. Kanye and No ID provide some subtle production that doesn’t overpower the emcees and allows the lyrics to shine for the listeners. Jay’s uses his verses to commend and celebrate those in Hip-Hop music who have become stars over the years in their careers (Eminem, DMX, Wu-Tang Clan, Kanye, T.I., Outkast, Mobb Deep, Snoop Dogg, etc.) and who are due to become stars in their own rights (Drake, Jeezy, J. Cole, etc.). He also talks about his rise to fame from the corner to the crown of the rap game while figuratively passing the torch to the rookie who delivers an effective verse and holds his own on the track with Jay. This song and J. Cole’s verse remind me of Kanye’s track “Touch The Sky”, which introduced the world to Lupe Fiasco and stands as the defining moment in his career from which it took off from. J. Cole is destined to become a major force in the music industry in some years and stand as one of the top figures of the new generation of rap music, this track further solidifies that point and shows that Jay knew what he was doing when he made him the first member of Roc Nation.

10. Venus Vs. Mars
Produced by Timbaland & Jerome “Jroc” Harmon
The final leaked Timbaland track that featured more laid-back production from Timbo this time around compared to his other two offerings. As the track title implies, Jay goes men vs. women (read: Jay vs. Bey) on his verses in using some clever play on words for the comparisons (Biggie/Pac, Blackberry Bold/Sidekick; “Me I’m from the apple which means I’m a Mac/She’s a PC she lives in my lap”). This is Jay’s “grown folk” track seeing as how there hasn’t been one on the album until this point and it’s one that could see some play in the clubs for its relaxing, laid-back feel.

11. Already Home
Featuring Kid Cudi; Produced by Kanye West
This is another collaboration that people were anticipating in seeing Jay hook up with another one of rap’s next generation stars on the rise. Kanye goes for dolo on this track in handling the production by himself, providing a lush beat that sounds like it could have had a home on his College Dropout or Late Registration album. Kid Cudi is left to the same fate as Drake in being brought on to just handle hook duty on this track and he does so in fitting fashion with it being not too much but just enough. Even though this track seems more fitting for Kanye or Cudi, Jay is able to make it work for him to a successful degree.

12. Hate
Featuring Kanye West; Produced by Kanye West
On this track Kanye goes solo again on the production side of things but provides some rhymes along with it this time around. The beat on the track sound like something that was done in the style of 808s & Heartbreak and for that fact fit Kanye more than it does Jay. This song isn’t too much stronger than “On To The Next One” in that it was one that could have been left off the album for better results. An average track and at best it just doesn’t work as a Jay track as much as it does for a Kanye track in looking like Jay was just following suit to Yeezy’s style and technique. The lyrics on this track basically follow suit to the song title with Jay and Ye talking about the topic of hate and haters with them copping a similar flow to LL Cool J’s “Going Back To Cali” in the first few bars of their verses respectively. This is the shortest track on the album so it’s one that listeners don’t have to sit too long through.

13. Reminder
Produced by Timbaland & Jerome “Jroc” Harmon
When Timbaland’s tracks leaked people were asking where the “bounce” was from him that he provided for Jay on tracks like “Dirt Off Your Shoulder” and “Big Pimpin’”, well this track is the track that they were searching for. Compared to the other two Timbaland produced tracks on this album this stands as one of the better ones as the bouncy beat allows Jay to spit lyrics that basically remind listeners of who he is and what he has accomplished in the industry (10 #1 albums in a row… make that 11 with BP3). At this point in his career a reminder of these facts isn’t really necessary and if so you need to go back 13 years and catch up. This is a good track that brings the level and tempo of the album back to a steady pace.

14. So Ambitious
Featuring Pharrell; Produced by The Neptunes
Thought we weren’t going to hear from The Neptunes on this album, but you know that’s mandatory since The Blueprint². The subtle production provided by The Neptunes on this track has a similar sound and feel to Common’s “Punch Drunk Love” heard on Universal Mind Control and ultimately it’s sort of lacking for The Neptunes’ production value. However Jay utilizes it to deliver a motivational track about how he never gave up his dreams and ambitions when others said he couldn’t and the opposition was stacked against him… and a little sneak jab to Mr. Dash (“Old buddy, oh buddy!”). Pharrell supplies the chorus on this track in his usual falsetto style and if you know him this track’s topic is one that he is familiar with.

15. Young Forever
Featuring Mr. Hudson; Produced by Kanye West
As the title implies you should have guessed that you would hear Alphaville’s “Forever Young” in some shape and form and it appears courtesy of a sample in Kanye’s production work. Serving as the album’s closing track, this album has a similar feel to “Beach Chair” on Kingdom Come with its spacious production and Jay’s lyrics of reflection. Jay’s lyrics talks about staying young and never growing old, and how he will forever be Jay-Z (A play on his nickname “Young”) and won’t change from who he is regardless of the years that past. The chorus sung by Mr. Hudson basically takes from the original Alphaville track as he gives off a similar feel to hearing Chris Martin of Coldplay (You know Jay wasn’t going back to that after Ye accused him of biting on “Big Brother”… but we know the real story). While this track has a similar to feel to “Beach Chair” it is unfortunately not as strong production wise or lyrically. However it does a nice job of closing out the album on a calm and peaceful note.

Bottom Line:
15 tracks later and 8 years since the original, The Blueprint 3… is a really good album. Leading up to the 9.11.09 9.8.09 release there was much anticipation for this album in seeing how it ultimately would fare against the now classic The Blueprint album and in that regard it falls short of what that album achieved with classic status. But as Jay stated with this album he wanted to create the “new classic” and refrain from it being compared to the “old classic” (The Blueprint) in allowing it to stand on its own apart from the rest of the Blueprint trilogy. With that being the focus of creating something “different” and diverse from the rest of the albums in his catalog he achieved that as The Blueprint 3 is unlike any other album he has released lyrically and production wise. That doesn’t mean the results are a total successful from it being different. With this album he showed more diversity sonically in terms of production value and provided a platform for the rap’s next generation to be ushered in. By now it is understood that Jay-Z has matured/grown older, moved away from the street life that he used to be involved in, and isn’t the same Hov that was once heard on Reasonable Doubt. In working to present an album that’s diverse I think it succeeds in doing that while it might be a little too different for hardcore Jay-Z fans’ standards. Some songs on this album sound as if they were intended or would be better placed on other artists’ albums, which kind of shows Jay as reaching to appeal to other audiences and what’s deemed popular by Hip-Hop’s younger audience. But this album offers a good mixture of tracks with something to be found enjoyable by listeners of all types. In regards to its ranking with the other two albums in the Blueprint trilogy, it tops The Blueprint² but fails to surpass The Blueprint. Some mediocre tracks prevent this album from being labeled a classic but it still warrants a purchase from casual listeners and hardcore fans alike. Whether physical or digital, make sure you pick up a copy of BP3 when it’s released cause when it comes to bootleg copies… we Off That!

nappyPicks: “D.O.A. (Death Of Auto-Tune)”, “Run This Town”, “Empire State Of Mind”, “A Star Is Born”, “Reminder”, “Already Home”, “Venus Vs. Mars”, “Thank You”, “Real As It Gets”, “Off That”