Turbulence
The first song off the album has me intrigued to really see what they have in store for the listeners on the rest of the album. Turbulence goes back to the title and it really kicks this album off.

Look What I Got
Featuring Korleone
First off, I love the production on this song along with the chopped and screwed hook. This is a perfect song for them boys that like to stunt. This was on one of Ludacris’ earlier mixtapes (The Preview), I liked it then and I still like it now. DOPE.

Stupid
Featuring OJ Da Juiceman; Produced by Hurt
I’m known for burying OJ, but I think this track would have been better with Gucci, but since his “protégé” is on this song, I’ll go easy. One good thing is that OJ doesn’t overdo it with the “Aye” and his rhymes sound like something I heard before from him, but this isn’t about him, or maybe it is. I like the production and I can see myself getting “stupid” to this when it comes on in the club, or I’m beating it out in the Chevy.

Welcome Aboard
Skit.

Hold Up
This might be my favorite so far off the album. The song could have used an assist from the late, great Pimp C (RIP), but even without his vocals on the track, the song still goes HARD. The production is slow, simple, and it fits well within the Playaz Circle. DOPENESS!

Yeah We Gettin’ Rich
Featuring Ludacris
The production on this track sounds like a 2002 DipSet track, but this one features three rappers from the South. While Titty Boi and Dolla come out the gate swinging, the Ludameister showed why he is one of those emcees that you might not want to get on a track with.

Can’t Remember
Featuring Bobby Valentino
This is your Hip-Hop/R&B track that has become a standard in the industry. Don’t think that PC went soft on this one. The beat is smooth, and the lyrics are okay, but this just doesn’t do it for me. Not a SKIP, just a question mark for me.

Big Dawg
Featuring Lil’ Wayne; Produced by Wonder
The reunion is back on this track. Weezy returns to lend his vocals on the track (similar to what he did on “Duffle Bag Boy”) and I can’t even front…I like this song. I wonder why Weezy didn’t drop a verse on the song. He used auto tune on the hook (are you surprised?) but it worked well on the track. The production on this one is sick. Shout out to the Wonder for this one.

Quit Flossin
Featuring The Casey Boys of Jagged Edge
This Hip-Hop/R&B track works better for me than the Valentino collab did. I like the hook better than I did the earlier track, but I don’t want to hear “trappers” getting all soft. Again, not a SKIP for me, but another question mark.

Refreshments
Another intro keeping up with the album’s title.

Big Wheel Whippin
This song features a T-Pain knockoff, but he’s just doing the hook. The production on this one is pretty good, and the lyrics are decent, just seems like they are getting on the redundant side. This beat on this one makes up for the average content.

Weight Droppin
Featuring Raekwon; Produced by Wonder
The last time Rae teamed up with an Atlanta duo we got “Royal Flush” and “Skew it on the Bar-B”. This time he kept simple and ended up working well with the Playaz Circle. Once again the production by Wonder stands out to me.

DJ Know Me
Featuring Young Dro
Young Dro? These are the songs that I like to hear from Playaz Circle, they are making songs for their audience; the trap, the club, and the hood superstars. Some artists need to stop trying to appeal to everyone and just attack the target audience. Young Dro reminded us why everybody loves Dro. “Buying my whole click cars like we on the Oprah show!” Even when I had almost wrote him off, he goes and does this.

Ghetto
Featuring Cee-Lo & Sunni Patterson; Produced by LT Moe
Okay, this is my favorite song off the album. HANDS DOWN. Cee-Lo does it for me on this track. The song is just too smooth for me to ignore it. This is a song makes you think of all the wrongs of our society, and when I say “our” I’m referring to the hoods all across the world. FIRE!

Prepare for Landing
The flight is over.

Outta Here
Produced by The Royalty
The last song on the album and Playaz Circle gives you some of the same that they gave you on previous songs. Nothing new to report here…TIME TO GO TO BAGGAGE CLAIM.

Bottom Line:
Playaz Circle came back strong with their second album. I have to think this is a victory for the duo considering the lack of buzz surrounding this project. The collabos on this album all work well with the duo and they seemed to fit together fluidly. They stuck to their guns and did what they knew how to do: make music for the A and the South. I know this album didn’t have the national spotlight like the last one, but for the ones that do get this, they will be satisfied. I would be interested in seeing the guys on more projects in the future, because I like the chemistry that Titty Boi and Dolla have together. (PAUSE)

nappyPicks: “Look What I Got”, “Stupid”, “Hold Up”, “Big Dawg”, “DJ Know Me”, “Ghetto”

Download: Playaz Circle feat. Cee-Lo & Sunni Patterson – “Ghetto”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

In Ace Hood’s short career, he has already accumulated a few accomplishments: Being the first artist signed to DJ Khaled’s We The Best Music, being named a Freshmen Of 09’ by XXL magazine, and finally releasing his debut album Gutta last year. But that doesn’t mean his road to fame hasn’t had its bumps. Gutta failed on the charts and as of this writing hasn’t surpassed the 200,000 mark in album sales. Some people would also go on to say that maybe he shouldn’t have been on the XXL Freshman class list (I won’t lie; I was one of those people). Not to say Gutta & Ace Hood didn’t show signs of talent; both did. But can the Florida native dodge the sophomore jinx and break from the pack with his new album Ruthless? Let’s find out…

1. Get Money
Featuring Rick Ross; Produced by The Inkredibles
On the first track, Ace Hood and Ricky Ross go back and forth on the subject of getting money over a high-energy production. It surprised me that this wasn’t Ace solo on the first track, but the song works and Ace holds his own; “You wanna ride you can’t be acting like Tre fool/NWA, I betcha Ace play Cube”. Rick Ross’ charisma does outshine (“Money ain’t a thang/I remain blinged up/100 on the chain/Bitch I think I’m King Tut”) but the song as a whole is a good start.

2. Loco Wit The Cake
Featuring & Produced by Schife
Even though this song is basically about flossing, I can see it being a hit in the clubs; the hook and beat does it; “Spent 30 in the mall (Goin’ loco with cake)/Five cars sittin’ tall (Goin’ loco with the cake)”. Of course this is subject matter that has been done a million times before and to be honest with you, it doesn’t really bring much new to the table. Ace says some stuff here and there, but listen to this one mostly for the production and chorus.

3. Born An O.G.
Featuring Ludacris; Produced by NJ Nasty & LVM
Ace Hood and label mate Ludacris link up here and to be honest the song sounds like something that would be on a Luda’s album. And being that, Ludacris takes control; “Speeding like demons/It’s reasons heathens is breathing hard/But I role with heathens that just just just don’t believe in God.” Both use a faster flow here and both turn in respectable performances.

4. Overtime
Featuring Akon & T-Pain; Produced by The Runners
Turn your Auto-Tunes up! Ace Hood gets both T-Pain & Akon on the Ruthless’ first single. In the song Ace uses metaphors comparing sports to his music hustle. The song isn’t terrible but it does lose points. The first is getting both Akon and T-Pain on the same track. I know both are big hit makers but on the song you can’t differential the two. Secondly, “Overtime” uses the same format we’ve seen many times before (Especially with Akon on the hook). It’s radio ready but not a stand out.

5. Champion
Featuring Jazmine Sullivan & Rick Ross; Produced by Carvin & Ivan & The Runners
I’ve previously written about this song and I’ll say it again, “Champion” is a winner. The beat provided and of course the scene stealing Jazmine Sullivan make this song. Not to say Ace (With a returning Rick Ross) didn’t show up. Both rap inspirational tales about the facing adversities. The music video also does a good job of giving people more of Ace Hood’s story. This is by far the best track off the album.

6. Love Somebody
Featuring Jeremih; Produced by The Runners
R&B newcomer Jeremih does the hook on the track. I guess it does what these types of songs are supposed to. Ace: “Live my life like a dream/Every king needs a queen/Girl my life is a movie/Sippin’ goose in Jacuzzi.” It’s okay. The beat reminds me of Usher’s “Love In The Club”.

7. Don’t Get Caught Slippin’
Produced by The Inkredibles
I just realized that this is the first song off the album with no feature. And that’s a good. This is a well-made song; Ace keeps to the subject matter (Always being ready for whatever), brings in a good hook, and sounds at home on the beat: “And I won’t be slippin’/The boys on a mission/Only vision of winning and my sight is on a million”. This is one to check for off the album.

8. This Nigga Here
Featuring Birdman & Schife; Produced by Schife
Like with his production on “Loco Wit The Cake”, Schife also provides the hook here as well as the beat. The song has Ace Hood describing what kind of “nigga” he is (“My money too extravagant to handle it”). The beat is done well but it’s your standard down south production. The Birdman feature really doesn’t add anything to the song.

9. Mine
Featuring The-Dream; Produced by Tricky Stewart & The-Dream
I’ve never really been a big fan of The-Dream but I cant front, this song grows on you. It actually sounds more like Dream’s song than Ace’s. The song deals with taken someone’s girl (Ex. Buying her stuff) and it would surprise me if this wan’t the next single. The-Dream makes up for the terrible feature he did on Rick Ross’ Depper Than Rap. “I-I-I I gets white boy money!”

10. Wifey Material
Featuring Lloyd; Produced by The Runners
I always feel weird when a rapper has back-to-back R&B features on an album. It always seems like it’s a bit much. This song isn’t really anything special and you probably can figure out what’s the song is about by the title. On second thought, Ace also raps about his rise to stardom (“I’m felling like Biggie Smalls when he wrote Juicy”). The Runners seem to have mailed it in with the production also.

11. Bout Me
Featuring Ball Greezy; Produced by Cardiak
Ace gets fellow Florida rapper Ball Greezy for this track and basically says what he’s already said on track 3 & 8. Once again, the song is not terrible but nothing interesting here is delivered. Plus, the beat does this weird thing that it does what it sounds like a flat line (Then again the producer of the song is named Cardiak).

12. Zone
Produced by G4 Music
Here Ace Hood does his best Jeezy impersonation here and goes heavy into the trap (“Anything you need a nigga got it by the zone!”). The production is generic but if you like hearing about “peter pan” or “birds flying”, I’m sure you’ll like this one. Me on the other hand…

13. Make A Toast
Produced by The Inkredibles
In the beginning of the song Ace says; “This is no longer music, it’s celebration homie”. I gotta give it to Ace, he conveys it in this song. This is him giving you his achievements (Signing to Def Jam, hooking up with DJ Khaled, and dodging prison life) and celebrating it all. It’s a nice way to end the album.

Bottom Line:
I know in some parts in this review, it may seem like I dislike Ace Hood; but it’s not that. I just think he needs to connect more with the fans and not be the generic hustler/flosser/gangster persona that populates most of Hip-Hop. He does do more to fix this that he did on his first album Gutta. Even when The Runners executive producing this album, I don’t know if this album will elevate Ace’s career (Especially with the lack of promotion given by Def Jam). But Ace Hood does show some growth, talent, and there are some bright spots on the album. If you liked Gutta, you’ll like Ruthless.

nappyPicks: “Champion”, “Don’t Get Caught Slippin’”, & “Mine”

Download: Ace Hood – “Don’t Get Caught Slippin’”

Download: Ace Hood feat. The-Dream – “Mine”

When I first heard about this album, it seemed almost too good to be true: Freeway was not only making another album, but it would be the sequel to his debut album, Philadelphia Freeway, a solid album that, to this day, remains a hood classic. Freeway burst on the scene with hard lyrics and popular singles like “What We Do” & “Flipside”. He caught the sophomore jinx though, and his last album, Free at Last, tanked with only 100k sold to this date. Now with an album on Real Talk Records, can Freeway get back in the game in a major way?

Pay Attention
Freeway just comes back, talking about the album. It’s basically the introduction into the next track.

Finally Free
Now this is the shit I love to hear! Freeway came with this one: the first single off the album, and for good reason. The track bangs, and the hook is hot too: “Finally Free, Free back finally!” I’m glad he’s back too. This is a great way to start the album, it makes up realize that we’re happy Freeway is back on his grind. “Be in it for the whole duration/Fuck waitin’, get dough!”

Gotz To Be Tha Bomb
This is song for me was just OK. I mean, he’s got more Osama references than you count (you know, the whole Bomb thing…), but the hook is kind of lazy and drags on. Lyrically, Freeway shows us more of the skill and ability that he’s been known for, talking about days in the past, but I feel like he could be a lot better at times, like here: “I used to keep the lazer on my hip/Same days when I used to keep the pager on my hip/That was back when you could sell a million on the strip/And next…but now shit all fucked up.” Average song at best.

Hands Up
The beat on this BLAZING! I have no idea who produced it, but it’s amazing, sounding like the East and the South merged together into greatness. It’s got an epic feel to it; strong enough to be a banger, but at the same time good enough that Freeway can take out his lyrical skill. And Freeway rides it like a vet, constantly switching flows on it:

“I do it without a pen/
this shit comes right out my limbs/
and then you get my lyrics/I’m the man/
I do it with no hands/
I’m totally focused, I do it with no smoke and mirrors”

Freeway really did his thing here, you gotta check for this one.

Think About It
This a quick skit from a movie clip about how the drug game has changed things in the ‘hood.

Crack Rap
The production here was amazing!! I was going crazy as soon as this song came on, easily my favorite track out of them all. Freeway is rapping some real shit on this album too: “Half you niggas ain’t even been a gun battle/Ya’ll niggas just lyin’ rappin’, high as a scaffold/But if a nigga start to clap at you, you won’t know what to do/Crying to your mother, standin’ frozen like a statue.” Free definitely stepped it up for this one, and all 5 minutes of this song is fire.

Murda Muzik
This song was aiight. The beat goes hard, but it doesn’t stand up to the production that came before it. Freeway sounds almost uninspired right here, and the hook is suspect: it’s too long and awkward to make this song a banger. I’m not skipping this one, but it is a disappointment.

Around the World
This one shoulda been the first single: the production on it sounds really clean, and the beat is hard enough to pass as street and yet at the same time club-ready, which is what makes it so genius. Freeway here raps about traveling: “I’m bi-coastal, the black hopeful/The Obama of rap, with a gat, holla!” That’s a cold line right there, but Freeway again isn’t as lyrical as he was in the early parts of the album. Still, a great song.

Streets Won’t Miss ‘Em
I’m really loving the production on this album a lot. When the pianos on this song come it, it just becomes too hot. Only problem is that even on song #9, these songs are starting to sound very similar, and it’s hard to tell them apart. This one is only 3:10, so it’s short and it doesn’t do a very good job of standing out from the aforementioned tracks on the album. Average song.

The Nation
This is a clip from Menace II Society, the scene with Caine and Sharif’s teacher talking about Sharif’s conversion to Islam and how it made him a better person. You know I gave ya’ll this as a Friday Night Fro’, so if you still haven’t seen the movie, go check it out.

It’s A Good Day
This song is alright, but it’s nothing you haven’t heard before. I mean, this is a commonly tread topic in rap. Freeway even calls this his version of “It Was A Good Day”. He talks about a good breakfast, fly clothes, and hooking up with a girl, so basically exactly the same as the original version, only not as good. The lyrics sound like Freeway was sleeping on this track, just going through the motions. Average track.

Keep Yo Hands Up
Featuring Sheek Louch
This is essentially a remix of the original track, but Sheek Louch comes on as a guest feature. Truth be told, his verse is aiight, I think this version should have been put on in place of the other one, instead of putting both versions on the same album. It makes the first version seem mainly like filler.

Philly Freezer
Freeway just comes on, telling us that more new music is on the way soon, and he also gives a shout out to Roc-A-Fella Records and State Property. Didn’t he get dropped?

Bottom Line:
This album is too short. I don’t know why, but Freeway’s albums are always really short and leave you wanting more. This album did leave me wanting more, but it doesn’t even feel like a real album, more like a mixtape that was pieced together and rushed to the shelves. It’s 10 tracks and 3 skit like tracks. Hell, you could even say it’s actually only 9 tracks because “Hands Up” is essentially on here twice. Another thing that disappointed me was that while the tracks on here were good, I think the tracks I heard before from Freeway’s “Month of Madness” were easily much better than this, and it seems disappointing that he would even call this the sequel to his excellent debut. If it seems like I’m bashing the album right now, I’m not, I just think the album could have been a lot better if he spent more time perfecting it. Still, this is a solid effort from Philadelphia Freeway.

nappyPicks: “Hands Up”, “Around the World”, & “Crack Rap”

Download: Freeway – “Crack Rap”

While both Red & Meth have 10 solo albums between them, it’s hard to not acknowledge that as a team, they’re almost unstoppable. It’s also crazy to think that it has been 10 years since Method Man & Redman linked up and released the original Blackout!. With lyrical chemistry and rhymes for days, the Blunt Brothers connect once again to produce Blackout! 2.

1. BO2 (Intro)
Produced by Mathematics
It seems fitting that this album starts of at a Red & Meth concert and immediately jumps into song. The hard hitting beat starts off things on the right foot (That sample is sick) and both Method Man & Redman sound inspired (Red: “You see smoke in the air?/Two hot boys that put coke in your ear”). So far, so good.

2. I’m Dope Nigga
Produced by Havoc
The second track keeps things going right where the first one left off. Havoc gives them a heavy synth track and meshes with the styles. Even though Meth does his thing here, it must be noted that Redman sounds reinvigorated. “I’m dope nigga!”

3. A Yo
Featuring Saukrates; Produced by Pete Rock
This was the first single off the album and I understand why. It’s one of those tracks where it’s could be played on the radio but doesn’t have Red & Meth watering down who they are. Saukrates kills the hook and Pete Rock puts in some work.

4. Dangerous MCees
Produced by Erik Sermon
This song isn’t bad, but it sounds a lot like a sped up version of “I’m Dope Nigga”. Not to say the lyrics are wack (Meth: “Back when Chef momma used to sell plates/We used to sell base/I learn to wipe my nose and wipe the prints of the shell case”). Maybe I’d like it better with some tweaking or different sequencing.

5. Errbody Scream
Featuring Keith Murray; Produced by Swiff D
Meth & Red pickup Keith Murray for this one. Murray actually doesn’t sound bad (More like “Special Delivery (remix)” than Rap-Murr-Phobia). The others do okay, but the production sounds dated and the different speeds kinda throw you off. Ehh…

6. Hey Zulu
Produced by Rockwilder
Cue the auto-tune! There goes my hopes that Rockwilder, Method, & Redman would make another “Da Rockwilder”. The whole “Hey Zulu” sample playing all throughout the song is annoying.

7. City Lights
Featuring Bun B; Produced by Nasty Kutt
When I first heard this track, I really wasn’t feeling the pairing of UGK & Meth/Red. But after more listens, it started to grow on me. The beat is not something I’d expect to hear on Blackout! 2 but the Pimp C sample works. And of course the ever consistent Bun B does his thing.

8. Father’s Day
Produced by Ty Fyffe
Now this is gonna mess with me for a minute. The sample on this song has been used before but for some reason I can’t think of it (Freddie Foxxx used the sample for “Stock In The Game”). Anyways, the track is solid; more of the same of what you heard earlier but still solid.

9. Mrs. International (skit)
Featuring Tanisha Green, Michelle Pinckney, & Saukrates; Produced by Reggie Noble
An intro for the next song. Redman is always good at the skits.

10. Mrs. International
Featuring Erick Sermon; Produced Buckwild
This is as close as you gonna get to a “for the ladies” song from Meth & Red. That’s a good thing. They still get to be themselves while asking chicks “wasn’t you on Maury”. It won’t get played when I’m trying to get it in with the wifey, but it’s still smooth.

11. How Bout Dat
Featuring Ready Roc & Streetlife; Production Vinny Idol
Meth/Red trade bars with Ready Roc & Streetlife over a synth heavy beat. This is one of those songs that could have been left off the album and probably wouldn’t be missed. It actually can be categorized as filler. Not bad; just forgettable.

12. Dis Iz 4 All My Smokers
Produced DJ Scratch
Of course you know we had to have a song dedicated to weed on a Method Man & Redman album. The beat, provided by DJ Scratch, is a violin laced beat that really brings out the track. The hook, which is a crowd from an actual concert, is a nice touch too. My favorite of the album.

13. Lock Down (skit)
Featuring DJ Kay Slay, C.O. Ellis, & Ready Roc; Produced Reggie Noble
An intro for the next song. As I said before, Redman is always good at the skits.

14. Four Minutes To Lock Down
Featuring Raekwon & Ghostface Killah; Produced by Bink!
Do you see who is on this song? Yeah, cut the fuckin’ lights off homie. This is the shit I’m talking about; straight spitting over a dope beat. It reminds me of “Run 4 Cover” off the original Blackout!. As for the production, Bink! always does his thing (I wish I’d hear his stuff more often though).

15. Neva Herd Dis B 4
Produced Erick Sermon
This song falls under the same category as I said earlier about “How Bout Dat”. Being this late album, at track #15, they really could have left this track off. Once again, not a bad track. Just not ferociousness I am use to hearing from these two (especially when teaming with Erick Sermon).

16. I Know Sumptn
Featuring Poo Bear; Produced by King David
More auto-tune? I’m scratching my head because now I’m sure that if this album was shorter it would have been better. This track really has no reason to be here. The production here sounds like it’s from the late 90’s (Except for the auto-tune; well then again…). Meth & Red actually spit some decent stuff but still can’t save the song.

17. A Lil Bit
Featuring Melanie Rutherford; Produced by Rockwilder
This is another song that grew on me. At first I questioned why the ended the album with this track, but in fact it’s not bad. Rockwilder’s spacey backdrop almost makes up “Hey Zulu” (Almost). I would have ended the album differently, but I can’t knock this way either.

Bottom Line:
Blackout! 2 starts off strong but wavers off towards the end (The first 3 tracks had me thinking 4 Stars). One problem that I have with this is the lack of standout tracks. I don’t mean that the songs are bad (I said it a few times in the review), it’s just none are really remarkable. I probably will only keep 15% of the tracks (And I liked Blackout! 1 a lot). Trim the tracklisting down and rating would have went up. Still, I’m sure we’ll get e-mails and comments from the die hard “stans” about how this album is way better than I rated it and maybe that’s the point. This album will in fact please those real Method Man & Redman fans. Anyone who wasn’t down with the first album may need to bring a light bulb.

nappyPicks: “BO2”, “A Yo”, “Dis Iz 4 All My Smokers”, & “4 Minutes To Lock Down”

Download: Method Man & Redman – “Dis Iz 4 All My Smokers”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Bottom Line:
Wow.

Just wow.

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

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

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

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

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

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

Cam’ron returns to the game after taking some time away to tend to family business with his sixth solo album titled Crime Pays. The man that was the leader of one of Hip-Hop’s most followed crews, the Diplomats, set A LOT of trends rapping with their slang and their style. Now that they are not together (NO HOMO) anymore, can Killa go from being LeBron to one man show role like D-Wade? If you ask me right now, I would have to say YES, but all that could change by the end of the album. Let’s find out!

Crime Pays Intro
Produced by Skitzo
Cam comes out the gate over some nice production just doing him. By that I mean just simply rapping and give you some comedic lines. So far so good.

Cookin’ Up
Produced by I.N.F.O & NOVA
Once again Cam looks like he hasn’t missed a step and still can spit like he did in the DipSet days. If you really think about it, Cam was Jeezy before Jeezy. That is exactly what Cam was bringing on this track.

Where I Know You From
Produced by Skitzo
Just when I made a Jeezy reference, this next song sounds just like “Get Ya Mind Right”. Don’t get it twisted, Cam put his own twist on it. I really like the hook on this one where Cam is injecting a new word into the vernacular: “Scrams”. CHECK FOR THIS ONE.

Fuck Cam #1 (Skit)
You know Cam always have the intros where he goes for the comedy.

Never Ever
Produced by Skitzo
This is one of those fun songs that Cam makes that we give him a pass for. I mean when you make songs like this, can I really take you serious? Is Cam’ron always this funny?

Curve
Produced by ARAAB Muzik & Skitzo
I notice the production on this one is DOPE. Cam is “doing him” but the way he rides the beat, got me nodding my head over here. By the way, Cam added “curve” to the hood vernacular. The song is pretty tight.

Silky (No Homo)
Produced by Skitzo
See this is another one of those fun songs that works for Cam, but we would bury someone else for trying to do. This song would have been dope had it been a DipSet group song, but Cam kept your interest through the whole song alone.

Get It In Ohio
Produced by ARAAB Muzik
This was the second “single” off the album that had the Midwest on smash. I’m not even from the area, but this song gets me hype. I do have a question: what does a gyro look like? Cam…really? DOPE SONG!

Who
Produced by Skitzo
This might be one of my favorite tracks off the album. The beat is SICK on this one. Then Cam is out there “doing him” with lines like this: “Got Louie kicks like a checkerboard/Will smack you/Then check your broad”. I can’t help but laugh and nod my head at the same time.

Grease (Skit)
Cam on the phone with some girl talking about taking dumps on each other’s property. The Set stay with the comedy!

You Know What’s Up
Featuring C.O. & Sky-Lyn; Produced by Skitzo
This song isn’t that bad, I have heard worse, it just takes too long to get to the rapping. They lose you in the first minute with all that singing. Cam puts up a respectable verse, but it’s too late because the feeling is gone.

Spend The Night
Produced by ARAAB Muzik
We have another one of those “fun” songs from Cam, but this one has Cam singing on some High School Musical steelo. He has some funny one liners, but I can’t fully vouch for this song.

Fuck Cam #2 (Skit)
Another skit where Cam hates on his own self.

Woo Hoo
Featuring 40 Cal & Byrd Lady; Produced by Skitzo
I can’t keep giving passes for Cam “doing him”, but this one is on the comedic side. I know that wasn’t the aim, but that is the way the album has turned.

Chalupa
Produced by ARAAB Muzik
Cam knows how to take a down south beat and put an up north twist on it to make it bump in both places. I really like this beat on this one, it simple but dope. Another new word has been added: “Chalupa”. Listen to the song and figure out how to use it.

Cookies-N-Apple Juice
Featuring Byrd Lady & Skitzo; Produced by Skitzo
Cam goes at the south with this one, but I’m not mad at him. For the record, I don’t not know what “Cookies N Apple Juice” means, but hopefully someone can clear this up for me. The beat bangs and I’m sure a dance will accompany this one. Check here for the video.

My Job
Produced by Skitzo
This was the first “single” off the album that got everyone checking for Cam. The song is one that everyone can relate to and it goes along with the current economic hardships that are affecting the world. DOPE SONG!

Homicide
Produced by Skitzo
Cam takes the simple beat and does his thing over it. This song isn’t anything special, just Cam “doing him”. Real Cam’ron fans will like this, but the average listener probably will not.

Fuck Cam #3 (Skit)
Same thing as the other ones.

Got It For Cheap
Featuring Skitzo; Produced by YH
This sounds like some old DipSet music, but it just seems like Cam said this on eight other songs. The song isn’t terrible, it just seems like we have been here before, and the hook is annoying!

Get It Get It
Produced by Skitzo
Cam finally raps about someone other than Cam’ron. He actually gets personal (kind of) but after all the comedy it is kind of hard to take Cam serious. The song is on the boring side.

Bottom Of The Pussy
Produced by Skitzo
Cam apologizes for hitting the bottom in this song. The song says it all, nothing to say here.

Fuck Cam #4 (Skit)
The last installment of the self hate fest. Call me crazy, but I think this was a shot at Dame.

Bottom Line:
This album was pretty good for Cam’ron. This is not a diss at Cam at all, because I like Cam’s music. I think Cam has little to no subject matter. He spit lyrics, some of them that don’t make sense, but his “swag” gets him by. Cam’s delivery gets him further than any lyrics that he says. Cam is a “Swag Rapper”; he might have even invented the art form. Rappers like this don’t give you much to work on except for good beats and nice punch lines. Cam is a vet in Hip-Hop and he did both of those on this album. The only knock is that at times it showed that he was out there just saying anything that came to mind. The album will satisfy the die hards, but it won’t stay in heavy rotation like some of his older works.

nappyPicks: “Where I Know You From”, “Curve”, “Get It In Ohio”, “Who”, & “My Job”

Download: Cam’ron – “Who”

With any Hip-Hop group, folks tend to try to discount someone in the group. I don’t know if anyone in a duo has been more slept on than Rapper Big Pooh. When his appropriately titled Sleepers hit the streets, folks took notice. On the heels of the “new improved Little Brother” GetBack album, what kind of album would we get this time? Let’s find out.

1. Intro

2. The Comeback
Produced by Khrysis
“The Comeback” sounds like the continuation of GetBack with 808, head-nod heavy track. Khrysis provides the instrumental acrobatics and Big Pooh sticks the landing. He addresses change, haters, and all points in between. The flow and the track give this a real throwback Hip-Hop feel and give a promising intro into what the album can be.

3. It’s A Go
Featuring Torae; Produced by Dae One
The chords and keys give this one a slight Middle Eastern feel. The bass is relentless and for those that like the thump, it’s here on this track. The lyrically, this is just old Hip-Hop cipher type song. It’s all fun and it’s Saule Wright in my opinion.

4. Nothing Less
Featuring Ab Soul, Jay Rock, & K. Dot; Produced by Young RJ
This track seems to falls flat after a big intro of keys. The bass is really subdued and overall, it sounds like we are waiting for the melody or something to kick in. It just feels incomplete to me. Ab Soul (mixtape download in the forums) and his label mates Jay Rock (who sounds insanely like Rick Ross) and K.Dot join Pooh on this one and add some West Coast flava. Get familiar; we will hear a lot from these three in the future. After the thump of the last two tracks though, this one is almost set to fail. Same flows, different beat, we have a winner.

5. C.O.D.
Produced by Mickey Free
“You gon’ remember the name / so let me tell y’all why the fuck I came / just tryna’ get paid, you can keep the fame / embarrass a couple niggas that’s stakin the claim / they the best thing livin’ / respect ain’t given / put yo bifocals on inspect my vision”. Out the gate, we get heat from Pooh who seems to have a chip on his shoulder on this album. I don’t mind a bit. Mickey Free brings back the bump for us with a pretty cool track.

6. Move Featuring Darien Brockington; Produced by Phonix
Did someone call Dr. Dre? This track is so West Coast/Aftermath I expect to hear Nate Dogg sing the hook, not D-Brock. I’m really feeling this track by Phonix. This is that requisite radio/dance song, and I don’t mind this one at all. You know how D-Brock gets down by now and Pooh does a cool job of storytelling on this one.

7. Something Like Stars
Featuring Big Treal; Produced by Jake One
Would you like some White Van Music with your Delightful Bar? Jake One serves up a beat that has a little too much synth for me, but it’s still not bad. I like the variations throughout the song and the overall structure of the song.

8. Step Up
Produced by D.R.
This song is about stepping up to the responsibility that was created when you decided to Jay Holiday it with Mr./Ms. Nightattheclub. Yes, I know, we always hear about how men aren’t shit, and he addresses that too. Ladies, the first verse is for you, second verse is for the fellas. I commend him for making a song that we all need to be hearing on a regular basis. The last verse is an overall message for whoever is listening.

9. Reality Check
Featuring Big Dho, D. Black, & Mykestro; Produced by Khrysis
It’s undeniable when Khrysis is working the boards. You get that hard hitting, east coast, throwback sound. Lyrically, Mykestro steals the show on this one. The entire song is fly, but you need to hear how Mykestro does his thing.

10. Problems
Featuring Jozeemo; Produced by Khrysis
So I spoke too soon, this is certainly not an east coast track, but it IS hard hitting. This one is a lot funkier with a heavy baseline. Our man (pause) Jozeemo hits the lab again and gives us a dope flow and Pooh addresses the skeptics again.

11. Amo A Su Papi De La Barra Skit
Hey, someone translate this shit and hit us up on the forums and tell me what she’s saying. I have no idea but it sounds good as hell.

12. Roll Call
Featuring Jozeemo, Chaundon, & Joe Scudda; Produced by The Co-Op
There isn’t too much to go into with this one. You see the name, you see the features, this is a Hall Of Justice Production. It sounds like a lot of the mixtapes and they handle this one just like they old days.

13. The Life
Featuring Muhsinah; Produced by Khrysis
Okay, I REALLY spoke too soon, I don’t like this beat by Khrysis. I don’t think it’s a bad beat, but it’s not my thing. The “whistle” sound and the random tweets get annoying. This one starts to sound like a test of the emergency broadcast system. When you add to that Muhsinah’s celestial sounding voice, this track is all too “heavenly” and not in a good way. Overall, the song comes off as annoying and clocking in a 4 minutes just makes this one too much for me.

14. Rearview Mirror
Produced by 9th Wonder
You know what you get when 9th and LB connect. This one has that old soul sound to it and Pooh still sounds at home flowin’ over it. “We made a bit of magic when we did it as 3 / then we grew up, then we grew apart / that’s when I realized it was bigger than art / But grown men gon’ do what grown men do.” There is more to this but Pooh gives us a little more insight into the group and the growing pains in the business.

15. Empanda Norte Americana Outro

Bottom Line:
On Facebook, I had to list my top 5 Hip Hop groups and I listed Little Brother in that top 5. I don’t know if we’ll ever get another group album, but even as solo artists, they continue to put out solid work. This album continues in that vein. I really enjoyed the album and with the beats and the feel, it plays a lot quicker than it is. I thought this album was going to be a lot more conceptual than it was, with 4 different releases of the album, 4 different covers, I expected a different album. This one is cool, but it was simply like the titles stated, some Delightful Bars, nothing more, nothing less. I wasn’t blown out of the water like I was with Rick Ross’ and Jada’s album, but this album is very solid and enjoyable. Make sure you check it out.

nappyPicks: “The Comeback”, “It’s A Go”, “C.O.D”, & “Reality Check”

Download: Rapper Big Pooh feat. Big Dho, D. Black, & Mykestro – “Reality Check”

Bonus: Rapper Big Pooh feat. Jozeemo, Chaundon, & Joe Scudda – “Roll Call”

Harlem’s own Jim Jones returns with his fourth studio album titled Pray IV Reign. This is coming off the heels of Jim’s musical experience The Hip-Hop Monologues a stage play that was co-written by Jim using some of his music as the platform. But before Jimmy was an off Broadway star, he was and still is the DipSet Capo. Jim is still keeping the flame for NY alive, but after this release, his first with Columbia Records, will that flame sizzle or become an inferno? Let’s go in and see.

Intro
Featuring Starr; Produced by No I.D & Chink Santana
Jim starts the album out with a beat that would have been featured in a 70’s flick. Jim gives you his slick flow over the smooth production. If this is a taste of what’s to come, Jimmy got some heat in store.

Pulling Me Back
Featuring Chink Santana; Produced by TrackSlayerz & Chink Santana
Jim goes into storytelling mode on this one over some theatrical production. Jim is not going to wow you with lyrics, but he gets his point across when he raps.

Let It Out
Produced by Supa Dave West
This production is not your typical Jim Jones beat, but that doesn’t stop him from delivering a good song. Jim speeds it up a notch and shows SOME versatility on the track.

How To Be A Boss
Featuring Ludacris & NOE; Produced by Ron Browz
Jim got Jay-Z to do the hook on this song? No, he didn’t but NOE sounds a little like Jay. Jim and Luda make a good collabo on this song. Luda of course did his thing, but don’t sleep on Jim he did his thing on the song too!

Medicine
Featuring NOE & Chink Santana; Produced by Chink Santana
For some reason the song sounds like “Originator 99” but maybe that is just me. Jim speeds up the flow on the track. I respect the flow, but I’m not really digging the subject matter.

Frenemies
Produced by Chink Santana
This song gives us some background information on the relationship between him, Cam, and Max B. Call me crazy, but this song sounds like “A Week Ago”. But maybe this is just me. The song is tight though.

Precious
Featuring Ryan Leslie; Produced by Ryan Leslie
R. Les lends a hand on this one that is aimed at the ladies. I wouldn’t be surprised to see some of the “goons” singing this to their boo’s. The track is real smooth and is on the infectious side. BANGER!

Blow The Bank
Featuring Starr & Oshy; Produced by Magnedo7
This is another song for the ladies…damn what’s that three? I don’t like the beat on this one, but the hook is nice. Nothing major here, this is what is called filler.

This Is For My Bitches
Featuring Oshy; Produced by Young Yonny & Lemael Ervin
Jim is pushing the envelope with this one. The song is something you would expect from Soulja Boy, not from Jim Jones. I’m sure this song is going to ruffle some feathers, but this is Jim Jones we are talking about.

Girlfriend
Featuring Juelz Santana & Oshy; Produced by Chink Santana
This album took a turn to the ladies; maybe Jim is taking his “sex symbol” swag to another level. The song would have been better had they had R. Kelly doing the hook. The song is OKAY but it’s barely tolerable.

This Is The Life
Featuring Starr; Produced by Triple-A
This one sounds like a mixture of “I Know” and “Hero”. Jim is back on his grind again on this one, going back to what works for him best. When Jim is given production like this, he usually does well.

My My My
Featuring Rowana; Produced by Teraike “Chris Styles” Crawford & Ayinde “Cylia” Thomas
The production on this one doesn’t really mesh well with Jim’s style. It actually bores the listener. Jim isn’t that strong of a lyricist to have a beat like this.

Pop Off
Featuring NOE & Mel Matrix; Produced by Young Seph
This sounds like a song that you would hear G-Unit on, but Jim and the crew give you that same vibe on this track. Maybe hanging with 50 rubbed off on Jim just a little bit. Jim didn’t deliver one of his best rhymes on this one, but Jay, I mean NOE did alright on the song.

Pop Champagne
Featuring Juelz Santana & Ron Browz; Produced by Ron Browz
This was the first single off the album that shot to #1 on the urban charts. Who knew in a recession that people would love a song like this? You can’t front on this song; if the beat doesn’t make you nod your head…you are dead already!

Rain
Featuring Rell, NOE, & Starr; Produced by Ron Browz
I have to say that I am impressed with the production by Ron Browz on this album. This is the kind of production that accents Jim’s rhyming ability. Jim is talking to his son on this one, and you have to respect that. Jay…I mean NOE shows up again along with former Roc-A-fella crooner Rell.

Na Na Nana Na Na
Featuring Bree-Beauty; Produced by ILLFONICS
I can see this becoming a hood saying, but the hook is on the dumb side. I wouldn’t end my album like this, but the Capo does what he wants to do. I think that this song would have been better had Cam been on the song.

Bottom Line:
This album started off good but then it had some dull moments on it in the middle and tapered a little towards the end. But still, Jim should be pleased with his effort on this album. This is not the album that will elevate Jim Jones to the King of NY status, but it still can be considered a win for the DipSet Capo, because he’s still releasing HIS type of music.  I’m sure Jim is glad that this album didn’t get released with Jay-Z’s Blueprint 3 and 50 Cent’s Before I Self Destruct because this would have gotten lost between those projects. Maybe if the Dips would have been at full force on this project, the album would have been better.

nappyPicks: “Intro”, “How to Be a Boss”, “Frenemies”, “Precious”, “Rain” , & “Pop Champagne”

Download: Jim Jones feat. Ludacris & NOE – “How To Be A Boss”