Coming out of California’s underground scene, Strong Arm Steady (SAS) returns with their official second album In Search of Stoney Jackson. This time SAS has producer Madlib behind the boards on all the tracks for Stoney Jackson. What this does is make a cohesive sounding album where all the songs fit with each other. With the abundance of features of the album, Stoney Jackson also sometimes feels as if it’s a Madlib compilation instead of a Strong Arm Steady album.

Tracks like the Phonte featured “Best Of Times”, Talib Kweli on “Get Started”, & the Planet Asia & Fashawn assisted “Questions” are all great tracks but the supporting cast outshines the supposed stars. Another standout track with great features is the posse cut “True Champs” featuring Montage One, Evidence, Oh No, & Roc C. Not to say Strong Arm doesn’t have tracks where they are the main attraction (“Cheeba Cheeba” & “Smile” are the only tracks that doesn’t have features), but even then, the star of the show is Madlib. For my money “Two Pistols” is hands down the best song off the album due to the beat (The beat on “Ambassadors” is worth a listen too).

There are some parts in which the album stalls and seem boring (“Pressure”, “New Love” & and the interludes like “Chants” could probably have been left off) but in all, it’s good ride while looking for Stoney Jackson. The main problem is that I didn’t have a feeling that this album would make first time listeners seek out for more SAS material. The talent is there but on the next album, the search sound be for the spotlight on themselves.

Download: Strong Arm Steady feat. Planet Asia & Fashawn – “Questions”
Download: Strong Arm Steady feat. Montage One, Evidence, Oh No, & Roc C – “True Champs”
Download: Strong Arm Steady feat. Mitchy Slick – “Two Pistols”

To be honest, I’m not really into instrumental CD’s. Of course there are some exception like Dilla’s Donuts, but for the most part I much rather have lyrics over beats. So you can see how the task of reviewing RJD2’s new album The Colossus would seem a little daunting to me. Add on the fact that beside the theme from Mad Men and few other occasions, I really haven’t given his previous albums or music serious listens.

But hey no problem, I just did some research (Yea, we do research at nappyafro) and checked out his previous albums such as Deadringer (2002), Since We Last Spoke (2004), The Third Hand (2007) plus some assorted cuts for EP’s and collaborations like The Horror, Magnificent City with Aceyalone, & Things Go Better With RJ And AL with Blueprint. What I did come away with from checking our music from RJD2’s catalog is that he’s a talented instrumentalist and his work if not anything is interesting and thought out.

The Colossus is actually a departure from his last album, The Third Hand, where RJD2 stepped from behind the boards singing and playing live instruments on nearly every track. He does it sometimes here on Colossus to mediocre results; both “The Glow” & “Gypsy Caravan” sound like music I’d here at the Gap. Not bad but not my cup of tea. When RJD2 does go get assistance, the results are better. On the Phonte featured “The Shining Path” the production gives the Little Brother member a soulful but  good change from the superb R&B he’s been recently doing with Foreign Exchange. “Game You Can Win” has singer Kenna backed by keys and synths to arguably the best song off the album. Aaron Livingston also makes a good showing on “Crumbs Off The Table”.

When RJD2 breaks out the instrumental productions, you see he still crafts them with care and detail. The first track off the album, “Let There Be Horns”, starts off the album with a bang and had my iPod on repeat noticing all the intricacies put into it (The music video for this is crazy too). The spacey “A Spaceship For Now” and “Giant Squid” (Which for some reason reminded me of Rick James) also show RJ’s skills; I didn’t love the last two tracks mentioned but I can see the talent.

The lone rap track on the album, “A Son’s Cycle” featuring The Catalyst, Illogic, & NP, shows new listeners that RJD2’s complicated productions can still be complemented with lyrics.

Bottom Line:
Out of the 14 tracks (Not including the iTunes bonus track), I think most open minded listeners will find a lot of things to like about The Colossus. There may be moments that will have some hitting the skip button but for the most part you can appreciate the work. It’s not “colossal” but it does the job.

nappyPicks: “Let There Be Horns”, “Games You Can Win”, “The Shining Path”, “A Son’s Cycle”, “The Stranger”

Download: RDJ2 – “Let There Be Horns”
Download: RDJ2 feat. Kenna – “Games You Can Win”

With the Fro’s crew busy with new projects constantly coming up, I thought it might be fit for a member to step in and provide some support and relieve some of the workload that has built up over the past months and also to PROPERLY review the albums considering I had a feeling they were going to get a FFWD. With this said I bring you 3 reviews. So as the year comes to an end, what can we really gather from this year? Although 2009 has had its flops and bangers, it’s also had its shining moments as lyrical and creative albums begin to get exposure. Slaughterhouse has been greatly involved with this movement (Possibly the year of the Slaughter?). But among this each member has also released their solo projects. So please enjoy as I bring you ¾ of the Slaughter as I review Street Hop, Escape Route & Mr. Pig Face Weapon Waist. First up: Joe Budden’s Escape Route

Escape Route (Intro)
Produced by The Worxxx
DAMN! Joey starts off Escape Route HARD! Joey came correct with the lyrics and the beat produced by Worxxx is ridiculous. The fact that he sampled that little part made the song sound pretty epic. Perfect start to an EP.

Anti
Produced By Young McFly
Damn. These beats keep coming. Joe has always been criticized for not having an ear when it came to picking beats but so far he is 2/2 with some nice beats. The beat is dramatic enough to give Joey the space he needs to go in lyrically. Joe is one of the biggest underrated MC’s in the game.

Bad contract team can’t make a trade
Majors fucking you in the ass you gonna stay a slave
Five-Nine in my ear saying hey behave
But shit is fucked up and I blame it
On the way it was paved
I chill for the sake of your age
You great live but let me know when
That stage get appraised
All in raising the stakes
Swear you and your label should pray

DAMN! Check for this song!

Never Again
Produced by Jared F.
Joey talks some real shit on this track. The beat sounds like its on some reflecting shit and Joey gives you that “Mood Muzik” style that all Joe Budden fans know. Course you’ll have to listen to this one to get a feel for it yourself. Mood Muzik isn’t for everyone.

World Keeps Spinnin’
Produced By (Not Given)
Joey keeps the deep Mood Muzik going with “World Keeps Spinnin’”. Joe picked very complex beats where emotion has to be present within the music itself even without the lyrics. This allows the room Joe needs to deliver his emotion filled verses. Not bad song

Forgive Me
Produced By Jared F.
Just like the previous two songs, Joe continues with picking an emotional filled beat. This time however he starts the song off with a voice snippet that he recorded regarding one of his beefs (can’t remember which one) on a YouTube video. Regardless by now I am getting kind of bored with the beat selection. The lyrics are there, no doubt about that.

State Of You
Produced By Jared F.
The Mood Muzik CONTINUES except this time Joe picks a MUCH better beat that holds your attention (Compared to “Forgive Me”). Joe is obviously in his comfort zone when he is dealing with tracks like this. Course I can’t blame him. He is staying true to who he is. Nice track. Check it!

Good Enough
Produced By Jared F.
Right when the track begins you hear the pianos and an escalading beat. I think it’s me but I just can’t get into this song. The last 4 tracks before this have followed the general tone of the album. Don’t get me wrong, Joey is making great music but a “break” needs to be inserted between the last couple tracks to change the pace up and give the listener some diversity.

No Comment
Produced by J. Cardim
Here is that break I was talking about. We have a much more sped up track produced by J. Cardim. The song suffers from the hook Joe came up with, however he addresses the situations and the way he’ll answer when asked about something that may put him into some controversial issues (For example “Hey Joe Budden what do you think of {insert rapper name}”) due to him putting himself out there via Twitter, BlogTV, etc.

We Outta Here
Featuring Slaughterhouse; Produced By Streetrunner
And here is that group cut you expect on the album. This shit is a straight BANGER and it bangs hard in the whip…trust me. Like in Street Hop Royce is back on that Auto-Tune for the chorus and to no surprise he pulls it off adding to the song. Nickel starts off the song hard

Poppa-Poppa Pistol stuck his dick in Momma Missile
And created Mr. Got-to-Get-You if he opposite just split
You niggaz bitches cranberry like a vodka mixer
Whippin bitches niggaz black, ass like a cotton picker
Bomb through debris – I’m holdin two pistols
In the form of a crosshair, I am armed to the T
I put on for my city, I take off for whoever
Think I’m soft for my job of rappin, go back to clappin
Back to illin, back to dealin, back to coc-a-ina
Up the nose, that’s the feelin, sky the limit, that’s the ceilin
And the women is the whores, puttin numbers up for sales
It’s the score into hell, it’s the feel, it’s the feel

The decision to start off Joey’s verse chopped and screwed was a genius idea, however later on in the verse its obvious that Joe struggles with the flow of the track although delivering a good verse. Crooked I follows suit by delivering a verse that we know he can deliver after listening to “Slaughterhouse” and “Gun Harmonizing”. Joell’s verse however holds the song back as his flow is sped up incredibly to the point where it may be difficult to hear what he is saying .Regardless. This song and the beat go HARD! Check this one!!!

Clothes On A Mannequin
Produced By J. Cardim
J. Cardim has delivered great beats for Joey throughout the album and it doesn’t stop here. Joe gets back to the Mood Muzik and does a great job keeping your attention through most of it.

Freight Train
Produced By Jared F.
We are back to the Jared F. produced tracks. This one on the other hand keeps your attention unlike a few of his previous beats. Course this song couldn’t be reviewed right if I didn’t say for like the 20th time that the Mood Muzik must march on. This song should maintain your attention for most of the time before you click that next.

Connect 4
Featuring Young Chris; Produced By Chad West
Aight I’ll be honest, I have NO idea who Young Chris is. But he delivers a so-so verse, then Joey steps in and just lays the track to rest as he usually would. This surprisingly is the shortest song of the album and the last. The beat is different from the Mood Muzik esc type beats we’ve been drowned with and its nice to hear a change.

Bottom Line:
Its very obvious that Joe Budden makes very great music and he has a very loyal fan base that enjoys the “Mood Muzik” style that he is known for, however the production and the placement of tracks hold the EP back from being a stand out album. The lyrical content was there but same sounding beats doesn’t help to maintain the listeners attention.

Download: Joe Budden feat. Slaughterhouse – “We Outta Here”
Download: Joe Budden – “No Comment”

DJ LP Picks: “Escape Route (Intro)”, “Anti”, “State of You”, “We Outta Here”

As 2009 wraps up, we here at nappyafro are tying up loose ends as far trying to get the music reviewed that we missed this year. Wiz Khalifa’s Deal Or No Deal is one of those loose ends.

When we created the FFWD’s reviews, I honestly didn’t want it to mean just bad reviews and hopefully Deal Or No Deal breaks that notion.

I just recently started given Young Khalifa an honest listen and I’ve went from thinking he was the weak link on How Fly (With Curren$y) to thinking he was one to watch (“When U Find” off Burn After Rolling).

If you have regularly listened to Wiz, you should already expect that Deal Or No Deal is full of women, weed, & success. And even though Wiz is an “underground” artist, it seems crafting club ready tracks is no problem. I previously wrote about “Red Carpet (Like A Movie)” (Which I think has a chance to be a big hit), but other songs like the witty “Studio Lovin’”(“I keep this song on replay/Putting all them scratches on my back I’m like ‘Go DJ’”), and “Chewy” (Which I didn’t know meant getting head. What’s up with that Chew?) shows that he can make appealing tracks.

It’s not strictly all about the ladies though, tracks like the lead single “This Plane” still deals with his usual subject matters, but shows Wiz in his lane. Arguably the best song off the album is “Take Away”. From the laidback epic beat to the breezy chorus, this songs is Khalifa at his best (”I’ll have it where you bitch at phoning home/We done blown a whole o getting our stoner on”).

Not to say there aren’t drawbacks and slip ups on Deal Or No Deal. The Auto-Tune and Techno heavy “Lose Control” has Khalifa crooning to bad results. A bad hook is also present on the busy “Superstar”. And if one was to be picky, they probably could have made a better choice than “Friendly” if they were going to use a song off How Fly.

I think one main problem with Deal Or No Deal is that a lotta songs as well as the subject matter are too similar. While it’s appreciated that Wiz sticks to his guns, around the halfway point, some listeners may start to look for something else.

Bottom Line:
I don’t think Deal Or No Deal is Wiz Khalifa’s best work but it may be a starter to get people interested in other music from this Pittsburg native. Seeing that Wiz is independent and still charted this album on the Billboards, this may be the small beginning to a growing movement. The next album may be the full assault to one day having the whole world say “Taylor Gang bitch!”.

Download: Wiz Khalifa feat. Josh Everette – “Bout Ya’ll”
Download: Wiz Khalifa – “Take Away”

Gucci Mane has definitely carved his own lane in Hip-Hop. He took his street heavy image and somehow made songs with The Black Eye Peas, Mariah Carey, and Mario but STAYED HOOD the whole time while doing it. Not too many rappers can tip toe the line between streets and mainstream like that, but Gucci has done it. Now that he is signed to a major label (Warner Bros.) this could be a breakout moment for Gucci and his crew. Let’s see if he can perform under all of the pressure.

Classical (Intro)
Produced by Drumma Boy
Gucci comes out the gate with some of his best lyrics to date. You just can’t understand what he’s saying sometime. I know he said something about they don’t listen to Blueprint 3 and you not gone fuck him like Raz B. FUNNY. The beat isn’t one that I would expect Gooch to rap on, but he did it. GOOD START.

Interlude #1: Toilet Bowl Shawty/Mike Epps
Okay, I laughed at this.

Heavy
Produced by Shawty Redd
This is your typical Gucci song that all of his fans have grown to love. I don’t know what more you can ask for from Gucci…this is what he does. HOT.

Stupid Wild
Featuring Lil’ Wayne & Cam’ron; Produced by Bangladesh
I have to say the beat on this one is FIRE! Once again Gucci is “doing him” on the track, the highlight on the track is Weezy; he might be at the top of his game right now. Cam makes an appearance and I have to say that Gucci and Cam is the same person, just from two different places.

All About The Money
Featuring Rick Ross; Produced by Drumma Boy
Rick Ross and Gucci on the same track? I’m in HEAVEN! I have to applaud Gucci for holding his own against the Boss, but Ross out shined him on the track. So far so good for Gucci.

Lemonade
Produced by Bangladesh
I was wondering what this song could be about, but Gucci lets you know quickly. I can’t front…I like this song. The beat is DOPE, Gucci’s flow fits right in with it, and the hook is catchy. This will is be a HOOD HIT.

Bingo
Featuring Soulja Boy Tell Em’ & Waka Flocka Flame; Produced by Scott Storch
Gucci isn’t being frugal with the production on this album is he? My boy Soulja Boy makes an appearance along with Waka Flocka on this one. First thing I notice is that Beezy is dropping lines on this one. I got to give it to him on this one, “the tools on deck, I ain’t talking Home Depot” and the “haters want to hate they’ll get shot like a free throw” showed me something. BANGER!

Spotlight
Featuring Usher; Produced by Polow Da Don
I know this is an ATL thing, but I really don’t want to hear Gucci make songs like this. I know he has to, but this is taking it too far. NO HOMO, I just don’t see Gucci as a sex symbol. SKIP!

I Think I’m In Love
Featuring Jason Caesar; Produced by Zaytoven
Okay, I guess the album has taken a turn towards the females. This is not how I wanted to hear Zaytoven’s first beat. I can’t really rock with this one.

Bad Bad Bad
Featuring Keyshia Cole; Produced by FATBOI
Okay, I didn’t like the previous two songs, but this song is a HOOD COLLAB. I have to say that FATBOI is on his way, he is quickly becoming one of my favorite producers. My girl Keyshia did her usual, but the production won me over on this one.

Interlude #2: Toilet Bowl Shawty/Mike Epps
Once again I laughed.

Sex In Crazy Places
Featuring Bobby Valentino, Nicki Minaj, & Trina; Produced by FATBOI
Nicki Minaj is clearly staking her claim as the top female emcee in the game. She comes through and sets this one off right. I have to say again that FATBOI puts together a nice beat, and everyone worked together well on the track. GOOD SONG.

The Movie
Produced by Jazze Pha
I usually don’t like Jazze Pha, but he gave Gucci a pretty good beat to rock with. Gucci gets on the track and do what he usually does, DO HIM. Gucci sticks to the script and goes with what he knows.

Volume
Featuring Wooh da Kid: Produced by J.U.S.T.I.C.E. League
Like I said earlier, he spared no expense on the production for his “sophomore” album. This sounds like something that would be on one of his mixtapes, and this is the Gucci that I like hearing. On the Gucci Scale…this song is FIRE!

Gingerbread Man
Featuring OJ Da Juiceman; Produced by Mannie Fresh
This doesn’t sound like your typical Mannie Fresh beat, but that’s a good thing. Gucci rips this one before the most annoying rapper in the game comes in. Gingerbread Man? Really? Take out OJ’s verse and this song is DOPE.

Wasted
Featuring Plies; Produced by FATBOI
This might be the song that catapulted Gucci into “White America”. This song is played at ALL clubs. FATBOI delivers another banger, and the boys have a CLUB ANTHEM on their hands. BANGER!

Kush In My Cologne
Featuring E-40, Devin the Dude & Bun-B; Produced by Drumma Boy
This might be my favorite song off the album. This is for all the people out there that like to indulge into the “greener” things in life. This song isn’t that deep, but if you appreciate the “greener” things in life, you will enjoy this song.

Worst Enemy
Produced by Drumma Boy
This is Gucci’s third single and Gucci gets kind of personal on the track. Gucci is never going to WOW you with lyrics; he just takes the beats and raps along to them.

Interlude #3: Toilet Bowl Shawty/Mike Epps
Again, I laughed.

Wasted (Remix)
Featuring Lil’ Wayne, Birdman, & Jadakiss; Produced by FATBOI
How could they make the original better? Add Jada, Weezy, & Birdman.

Bottom Line:
Gucci delivered under the pressure. This album isn’t going to win Album of the Year awards, but this one is a SOLID release for Gucci Mane. He had top notch production from some of the best in the game. He had A List features. Like I said earlier, no expense was spared on this album. After beating up the mixtape market up over the last year or so, people wondered if he could do it on an album. HE DID. Whether or not you like Gucci’s music; you have to give this album its due. Gucci stayed HOOD, but also made songs that could be considered mainstream. If he didn’t show growth from first album to second album, I don’t know what you can call it.

nappyPicks: “Stupid Wild”, “All About the Money”, “Lemonade”, “Bingo”, “Sex In Crazy Places”, “Volume”, “Bad Bad Bad”

Download: Gucci Mane – “Lemonade”
Download: Gucci Mane feat. Bun B, E-40, & Devin The Dude – “Kush In My Cologne”

What can you say about Clipse? I can say that they are a very underrated Hip-Hop group. You know, the type that everyone knows makes good music, but were never exceptionally successful commercially. Hell Hath No Fury was definitely one of the albums of the year back in 2006. But at the same time, it launched without a Top 40 single and hasn’t even gone gold yet three years later. Now, Clipse is back with Til The Casket Drops. Despite the absolutely horrible cover, Clipse looks like they’re in position to drop another very good album. Let’s see what they bring this time around.

Freedom
Produced by Sean C & LV
The beat on this one is HARD!! The sample might catch some off guard a little bit in the beginning, but then the beat hits you hard in the eardrum with it’s pounding drums and guitar riff. Both Malice and Pusha T showed up for this one, but I feel like they coulda did a little bit better lyrically. Still, for an intro, it’s hot as hell. Good song.

Popular Demand (Popeyes)
Featuring Cam’rom & Pharrell; Produced by The Neptunes
On the first listen, I’m not gonna lie, I wasn’t exactly feeling the beat. I wanted to like it, but it sounded like another recycled Neptunes production. The beat got hotter each time I went back to listen to it, and now I’m liking it. I’m DEFINITELY not feeling the hook, Pharrell messed it up by making it too long. Cam’rom’s verse was good, but he messed up big time by half-singing/rapping his verse like Pharrell did the hook. Both members of Clipse came solid with their verses, but overall it’s just an OK song.

Kind Of Like A Big Deal
Featuring Kanye West; Produced by DJ Khalil
This was the street single for the album that got everyone excited. The beat is hot! The hook is simple but enjoyable, with Pusha T doing his best Kanye-impression. Kanye himself went IN!!! I could hardly believe his flow on this track when I heard it:

“Spittin’ fire on the PJ in my PJ’s
Fire Marshall said I took it to the Max like TJ
Yea people I said Marshall’s we play
I guess I’m like the Black Marshall meets Jay
Meet Ye’ alligator souffle, got it made
Special Ed got head from a girl in special ed
Ya know the pretty ones in that dumb class
But she got that dumb ass
Hit high school and got pregnant dumb fast
What happen Tisha, your boyfriend come fast?”

Damn. Kanye needs to make an album NOW!! Clearly, ‘Ye out shined the others; with lame lines like: “Got me looking to the heavens like a javelin throw”, how can you expect to shine? Still, great song.

Showin’ Out
Featuring Yo Gotti; Produced by The Neptunes
This song overall is just OK. The beat is hot, again, and lyrically there are some wow moments (“Seein’ through your poker face, that nigga bluffin’/Ladies goin’ gaga for a nigga tryin’ fuck him”), it just doesn’t stand out on the album as a whole. Yo Gotti doesn’t spit anything too memorable, but I can see why they put him on here; this is the kind of music he makes and he feels right at home. Still, nothing really make this track better than the others on the album.

I’m Good
Featuring Pharrell; Produced by The Neptunes
The official first single off the album. I don’t care what anyone says about The Neptunes, when they want to, they can deliver beat-wise. THIS SONG IS MY SHIT!!! Plain and simple. When I first saw the music video for this, I was singing along to the song and everything. Damn. Anyway, both Malice and Pusha went in on this one:

“Man I’m killing it, riding in that brand new
Swimming through the streets, looking like I’m Shamoo
In that big body, with the wet paint
I got some pocket change, from selling wet weight
Today is a good day, ice cubes on my chest
Looking at my Blackberry, freak hit me on the text
Come and beat it up, I just need a minute
You can K ya ass, you ain’t gotta lay in it (Yes!)”

“Finally I’m free, all my dues paid
Them yellow diamonds got the charm like it’s Minute Maid
And I’m lookin’ good, and I’m feeling good
Try an’ stop my shine–I wish a nigga would”

Damn! Pharrell delivers a hook that’s not just good, it’s beautiful! Well, I mighta exaggerated there, but it’s nice. Great song, one of my top picks off the album.

There Was A Murder
Produced by DJ Khalil
I like Clipse’s flow on this one, but the whole song has me up in the air about it. It’s a semi-reggae style beat but it’s questionable (The jury’s out on the hook too). This is one of those hard songs to judge because some people will love it, and others will hate it. So I’ve got mixed feelings on this one.

Door Man
Produced by The Neptunes
Damn! This song is what we call a BANGER!! It’s a little too long, clocking in at a little bit over 5 minutes, but the hook is hot and Pharrell adds to the song through an uncredited background vocal that adds to the song. I’m feeling this one; Clipse rides the beat well (While neither spits anything too memorable). This one would definitely scorch the clubs.

Never Will It Stop
Featuring Ab-Liva; Produced by Sean C & LV
Nah, I’m really not feeling this one. This song doesn’t exactly sound out of place but at the same time just isn’t as good as the previous tracks. The beat is hard (again), but at the same time Ab-Liva isn’t really adding anything to the track and Clipse barely shows up here. SKIP!!

All Eyes On Me
Featuring Pharrell & Keri Hilson; Produced by The Neptunes
Neptunes did it again on this one. This beat is absolutely club ready and I could see this tearing up the radio. Keri Hilson’s hook is infectious and the beat backs her up sounding like that “red carpet runway” kind of shit. Clipse pretty much knew they didn’t have to show up for this one and you can tell because they sound nearly asleep on this. Still, it doesn’t really hurt the song because Keri Hilson does most of the work. Good song.

Counseling
Featuring Pharrell and Nicole Hurst; Produced by The Neptunes
Neptunes did it AGAIN!! Man, why do ya’ll hate on The Neptunes when they bring beats like this?!?!? Pharrell showed up for the hook once again; he kept it simple and infectious this time and is a good formula he should follow more often. Nicole Hurst’s role is that of the “ooohhs” over Pharrell’s hook, but she still adds to the song with her verse towards the end. Clipse once again didn’t really go all out here but again its acceptable because the whole song works so well. Great song.

Champion
Produced by The Neptunes
OK, now I know why people hate on The Neptunes; they blatantly recycle their beats. I swear, this sounds EXACTLY like “Loose Wires” from Kenna’s album Make Sure They See My Face back in 2007. The beat sounds way too distant and Clipse is barely trying at this point to me gliding through their lines till they get to the hook. It worked well up until now because the hook was so good on the previous songs but here there is no excuse. The girls singing back up help the song a lot though. It’s not a skip but very forgettable.

Footsteps
Produced by DJ Khalil
Nope, not feeling this one. SKIP!!

Life Change
Featuring Pharrell & Kenna; Produced by The Neptunes
Seeing both Kenna (One of my favorite singers out right now) and Skateboard P on the track together got me interested. P is using one of his talking-style hooks right here, but Kenna definitely showed up. While he only sings one line he makes it infectious. The beat on this is very electronic; something I’d expect seeing Kenna on the track because that’s usually the beats that he usually sings over. Clipse is rapping really well on this one and actually show up with good flows. It’s a good rebound from the past couple of missteps. Great way to end the album.

Bottom Line:
I’m not just saying this because I’m one of the few Neptunes fans left, but I feel like Clipse shoulda just taken all Neptunes beats on this album (With the exception of “Freedom” and “Kind Of Like A Big Deal”). All the best beats on this album come from The Neptunes. Not that the production was bad; it was nearly impeccable! But this album is a good example of the fact that a good beat can only help you go so far. On some of these songs, Clipse sounds asleep or even bored with their own lyrics. This definitely is a step down from Hell Hath No Fury, but it’s still a pretty good album that wouldn’t disappoint if you picked it up in stores. Clipse did a good job here and hopefully new music from them will come sooner than later with the quality stays at this level.

nappyPicks: Cop the whole album. Clipse hasn’t exactly had stellar sales.

Download: Clipse – “Door Man”
Download: Clipse feat. Nicole Hurst – “Counseling”

Murs (from Living Legends) and Slug (from Atmosphere) return with their third Felt project entitled Felt3: A Tribute To Rosie Perez. For those of you who don’t know, Felt reaches out to a new producer for each album. On the first felt (A Tribute To Christina Ricci), the album featured production by Living Legend member The Grouch. The second album (A Tribute To Lisa Bonet) was produced by Atmosphere’s Ant. This time around they went outside of their groups and selected indie artist/producer Aesop Rock. Murs and Slug picked the right guy if they want a real indie sounding album. Let’s just hope that the three have good chemistry in doing so.

In my opinion, Murs and Slug are two of the most underrated emcees. They have both spent over ten years in the game, and are still looking for some respect. Both of these guys would definitely be in my top five underground artists. Slug had arguably the best album last year with When Life Gives You Lemons…. Murs’ first album with 9th Wonder (Murs 3:16 – The 9th Edition) is acclaimed to be an underground classic. Plus, what is there not to like about these two. If you listen close enough, their lyrics relate more to you than most other Hip-Hop today.

1. Protagonists
Produced by Aesop Rock
This is the first (internet) single to promote the album. Aesop shapes a nice beat that Murs and Slug can spit over. Aesop is not afraid to display his producing style as he throws some nice guitars on the beat. This song explains what Felt is about, and I believe is a message to the fans that claimed they sold out. Here is a line Murs uses to prove his point, “We still spittin’ on that indie bullshit, Legends, Rhymsayers, Def Jux, the full clip”. This is a great start to the album.

2. Felt Chewed Up
Produced by Aesop Rock
If you think the first song didn’t sound “underground” enough, then this will definitely twist your perspective. Aesop hits us with a beat that is reminiscent of Daddy X’s (Kottonmouth Kings) style. This song explains how Felt has been chewed up (in the rap game), but are still doing their thing. Once again, Murs shines on a few verses which show why he is a leader of the underground, “Our rhymes have a little bit more to give, so I give it, and I stay on tour to live”. Then, later, “I do it big on the independent tip, new car, no rims on the whip”. If that isn’t a hot underground line, then I don’t know what is.

3. Get Cake
Produced by Aesop Rock
Aesop definitely makes his presence with the funky beat on the interlude “Get Cake”. This song sounds like it should be on a Cage album. I liked the video of this song to help promote the album, but I don’t think this should have made the final copy… well maybe if it wasn’t an interlude.

4. Bass For Your Truck
Produced by Aesop Rock
Both Murs and Slug trade verses about a girl with serious issues. This is no surprise for Slug because he always has a couple of these songs on his albums. Murs keeps the same type of formula for this song and does it well. However, I’d still give the edge to Slug. He has one of the best styles of illustrating narratives. Another good thing about this track is the beat provided by Aesop Rock. You wouldn’t think the beat would fit the type of lyrics, but Murs and Slug have no problem with it. This is a definite standout for me.

5. Like You
Produced by Aesop Rock
This track helps explain my introduction on how Felt is just like you and I. Their lyrics let you know that they are no better than you, and no different than you. This is why underground groups like Felt can do tours constantly. They are a Hip-Hop group that actually performs in front of their peers. The song has some nice lyrics now and then, but nothing that really stands out.

6. Permanent Standby
Produced by Aesop Rock
Murs and Slug tell you two stories that involve some girls that went down the wrong path. Murs starts off telling you a tale about a girl who got lost in the big city. The story goes from a cocaine addiction to being taken advantage of to becoming a whore. In the end, she realizes she is too real for a city of plastic (hmm sounds like Vegas) and moves away from the city. Slug steps up next and speaks on girl that moved from the Desert to the Midwest. This girl not only goes through the cocaine and whore stage, but turns into an alcoholic as well. This narrative ends when the girl finds out that the Midwest is not for her too. The two emcees are real even when you compare them on this track. They both speak on similar stories and both display the art of storytelling.

7. Kevin Spacey
Produced by Aesop Rock
Aesop drops his second interlude. It’s just as crazy as the first with wild voice samples. However, I prefer the first one over this.

8. Ghost Dance Deluxe
Produced by Aesop Rock
After one listen, this song quickly reminds me of “My Alien Girlfriend” off Molemen’s Killing Fields album. They both are about those certain type of females that seem too real to be true (such as a ghost or alien). The haunting beat really fits the theme of the song. The only difference between Murs and Slug’s verses is how they respond to the topic. Basically, Murs is the unbeliever and Slug is the believer. I’m feelin’ this one.

9. Revisiting The Styleetron
Produced by Aesop Rock
Next up is an energetic track that will make about anybody in the mood to party. Slug drops an interesting verse, “I’m like X-Y-& Z, I stick by the back door, let it go free, that’s what the track’s for, my jobby job is rock a party, taught your mommy to karaoke La Di Da Di”. This line may not sound too clever, but you have to realize that this song (“La Di Da Di”) is one of the most sung songs in hip hop. This is how I like to see people use swagger.

10. Whaleface
Produced by Aesop Rock
This is the first (non-instrumental) track that I would find average. Murs and Slug compare those haters (you know the ones who think their shit don’t stink) to whales. It’s a decent song, but nothing too significant about the lyrics or creativity.

11. Glory Burning
Produced by Aesop Rock
Slug starts by describing a guy who is running from the police. He really paints the picture as he goes into deep detail about the setting and mood. Next, Murs jumps on the track and continues to describe what is going on in the guy’s head. Then, he switches up his lyrics and lets you know that he is talking about himself. Murs storytelling turns into a style where he is talking to himself, and sounds like he is losing his mind. The closer you listen to the lyrics, the more you will appreciate this song and Murs’ ingenuity. Plus, this is another Aesop Rock beat that perfectly fits the frame of mind.

12. Henrietta Longbottom
Produced by Aesop Rock
The beats shine brighter each time I listen to the album. The delivery on this beat is flawless. Murs and Slug start rhyming about the rumors of Henrietta Longbottom. The rumors get crazier as the two continue to rhyme. In the end, Slug ends the rumors with a nice verse, “I don’t know if you care or if you invest, but Henrietta is dead, no more no less, never really met her, so I’m not losing sleep, but Longbottom is long gone, rest in peace”.

13. She Sonnet
Produced by Aesop Rock
This is a tribute to all the people who doubted Felt: critics, fans, etc. I’m starting to think that Felt is growing a chip on their shoulder. There has been a lot of talk about them selling out after their last solo albums. What some people need to understand is that people can’t keep doing the same shit. I’m sorry haters, but Slug is better with a band than by himself. Why hate on a little change? And now Murs can’t get major producers on his albums because it means he sold out? Get the fuck outta here; I’m trying to listen to the best music possible… no matter who made the beat. Anyways, here is a line Murs used to describe what he’s trying to achieve, “Fuck a bitch, love a women, that’s my new motto/ Yeah, I’m ignorant but trying to be a role model”.

14. Felt Good
Produced by Aesop Rock
This is a flat-out Hip-Hop song. There is no unexpected metaphors, no storytelling; just a nice display of lyricism. However, some of the lyrics are similar to the previous track “She Sonnet” – “breath, please, give me freedom and some peace, a fugee to the beast with the demons and police”.

15. Deathmurdermayhem
Produced by Aesop Rock
Murs starts to rhyme (or mock) about those fake rappers who people love because of their image. On the other hand, Slug takes a more aggressive style, and speaks on what he wants to do to these hypocrites. The main point is to do Hip-Hop right. What I like most about this song is how they flipped the script. It may not be the artists selling out, but rather their fans. Maybe you’re the fake when you don’t really understand what you are listening to.

16. The Prize
Produced by Aesop Rock
Where did Aesop go? Never mind, he’s definitely back on this track. This song is about “The Prize” or goal, and how some people aren’t achieving it because they are too busy worrying about somebody else’s. This is yet another track that might have some people looking in the mirror before they criticize again. Slug sums it up on the chorus, “I don’t even think you’re looking at the prize, I think you’re killing time looking at what’s mine”.

17. G.I. Josephine
Produced by Aesop Rock
Felt is back with another symbolic song on “G.I. Josephine”. “G.I. Josephine” represents that female that all guys have respect for. This is that type of women that all men are searching for. Murs and Slug do a brilliant job showcasing their lyrics and originality on this one.

18. The Clap
Produced by Aesop Rock
This is a short interlude by Slug. He says to picture someone and presume they have the clap (no herpes). It’s a little funny, but shouldn’t have been on the album. For the last interlude, I was hoping for something that involved Rosie Perez.

19. We Have You Surrounded
Produced by Aesop Rock
You ever feel like you’ve been ripped off by an artist when you buy their album. Not because it wasn’t good, but because it seems like they don’t give a fuck about you? They never go on tour, and when they do, they are nowhere to be found after the show. Well then, this track is dedicated to you. Felt lets their fans know how much love they got for them. However, they do let you know how some fans get out of control too.

20. Give It Up
Produced by Aesop Rock
I first want to touch on the beat by Aesop Rock. It starts almost like it should be on a film soundtrack, then it really takes off when Aesop mixes in some guitars and other sounds. The beat is nicely done and should be appreciated. The soundtrack lyrics shape the beat – like a movie after it reached its climax.

21. Paul Reubens
Produced by Aesop Rock
Here, Murs and Slug have some fun on the microphone. I think they take a few jabs at the mainstream. Nevertheless, it sounds like they are taking a victory lap. They both do their thing, but I think Slug takes it on his last verse.

Bottom Line:
At the end of the day, everyone’s first question is how does this compare to the others albums? Personally, I find this better than Felt 1, but not Felt 2. The first Felt album was good, but only had ten tracks (including two skits). The second Felt album is one of my most played albums. It’s filled with great lyrics and production; making more than half of the songs standouts. I also believe some on Ant’s best work is on that album. Felt 3 is nothing compared to the first two; mainly because of Aesop Rock (which is not a bad thing). I imagine a lot of fans are not going to like this strictly because of the beats. However, you’ll see how gifted Murs and Slug truly are if you took the time to listen to how they adjust on certain beats. Their lyricism and creativity is nothing you should pass on either. Don’t be afraid to let it grow on you.

Everyone’s second question is who did better? Was it Slug or Murs? In my opinion, I’d give it to Murs. It’s not that Slug did poorly, but Murs is more of a hyped rapper and the energetic beats fit his flow better. Plus, he dropped some quotable lines that I’ll be explaining for weeks to come.

One thing I didn’t like about the album was the unnecessary interludes. I know it’s a big thing to have Aesop Rock as the producer, but don’t ruin the album by having the listener use the skip button when he or she didn’t have to.

Lyricism: (4.25/5); Production: (3.50/5); Originality: (3.75/5); Overall: (3.75/5)

nappyPicks: “Protagonists”, “Felt Chewed Up”, “Bass For Your Truck”, “Permanent Standby”, “Ghost Dance Deluxe”, “Glory Burning”, “Henrietta Longbottom”, “G.I. Josephine”, “Give It Up”

Download: Felt (Slug And Murs) – “Bass For Your Truck”

I hope it doesn’t count as hating if I say that ever since 2003’s Get Rich Or Die Tryin’, 50 has gotten worse with time. I hope it doesn’t, because the truth in that statement is fact; Get Rich Or Die Tryin’ has sold over 10 million copies worldwide to date. 50 Cent recently struggled to move units after an album leak and competition from Kanye. He’s also been charged with getting soft, making a lot more commercial songs than he used to. In response, 50 replied that he’d really been waiting for Curtis to come out so he could release his “real” album, Before I Self Destruct. Claiming it to be his hardest album since his debut, we finally get to hear the album that everyone has been waiting for. Does 50 exceed expectations with BISD?

The Invitation
Produced by Ty Fyffe
Now THIS is how you start an album. 50 sounds REAL hungry on this one, jumping on with little hesitation: “You want some? Come get some!/Nigga it’s Murder One when you see my gun/I just squeeze and squeeze ’till the whole clip done!/You just bleed and bleed ’till the Police come!/Huh? You want some??” If this first song is any indication of the entire album, then 50 may have been right about his promise (thank you!!). Ty Fyffe definitely brought the fire with the beat, and 50 flowed on it like a proven vet: “I’m far from a centric, I’m so psychotic/I don’t need you to shoot for me, nigga I got it!” Great song.

Then Days Went By
Produced by Lab Ox
The sampling here is flawless. This beat is hot as hell courtesy of Lab Ox. 50 sounds good flowing on this track, rapping about his younger days in the hood. While his flow over the track sounds really good, he doesn’t really spit anything notable lyrically. He makes up for it with the hook, which is crack: “I seen niggas gettin’ rich, then days went by/Then days went by, then days went by…” The hook make the track much more appealing. Good song.

Death To My Enemies
Produced by Dr. Dre & Mark Batson
Dre’s first appearance on the album, and it’s BLAZING!!!!!! “Dre, niggas think we bullshitin’!” The the beat drops and it’s fire!! “I bring money to my niggas that bring death to my enemies”. 50 keeps up the pace as with the first few tracks and keeps it truly gutta over a Dre (& Batson) production. Did anyone else catch the Wayne diss? (“This ain’t Tha Carter/Nigga this is Sparta/It’s harder I die I be a matar/Respect me like your father”)

So Disrespectful
Produced by Tha Bizzness
I think this song is more popular for it’s disses to Jay, Game, and others than it’s actual quality. Not saying that the quality is bad, the beat is pretty good, and the repeated “So disrespectful” was a good choice to use for the hook: simple, yet effective. Anyway, the disses in question are: “Jay’s a big man, he’s too big to respond/I’m a big dick, you know the one everybody on” and “Come on Game, you’ll never be my equal/Your homies shoot doors, my niggas shoot people!” The disses aren’t bad, but c’mon we all know Fif can do better than this. He almost sounds asleep on this track. Not bad, could have been better.

Psycho
Featuring Eminem; Produced by Dr. Dre
The Three-Headed Monster reunites on one track for the best effort I’ve heard from Fif in a very long time. Fuck best song on the album, this is one of the best songs of the YEAR!! The beat is perfect, sounding just like those old fashioned 1950’s horror movies plus 50 and Em both showed up for the track. Well, you know Em murked the track and it’d be hard for 50 to even match him on this considering its Em’s style of subject matter. But 50 did a very good job:

“Look look, I come from a different crew, you fuck with me, I’ll get to you/A clip or two’ll cripple you, just ’cause I ain’t got shit to do”.

Wow. Don’t think Em slouched either:

“You pop off the top it’s like opening vats of acid/Beat the Octamom to death with a Cabbage Patch Kid/Attack a snatch, yeah there’s something to jack a batch in/Impregnate her then shoot up the embryo sack with Mac 10s/Triplets, quadruplets and a couple of back to back twins/Dead fetuses fallin out all over, Jack is back again”

Damn. What more can I say? Excellent song.

Hold Me Down
Produced by Team Ready & J. Kevs
What a transition. We went from killing everything in sight to a song for the girls guns. This is the usual 50 throwaway female song; ABC style beat, with 50 using a couple clever metaphors to get by. I will give him props for doing the whole my gun is my girl (See 2Pac’s “Me And My Girlfriend”). The hook ain’t bad, but this song gets kind of boring and is pretty short anyway. I’m not skipping this one, but it’s pretty blah. Not really feeling it.

Crime Wave
Produced by Team Demo
This is what I’m talking about. I heard this on the local radio and this was crazy. The hook is perfect, the beat is hot, and 50 is spittin’ crazy shit on this one too:

“I’m not tellin you to shoot somebody, but if somebody try to shoot you shoot ‘em/Don’t waste time, lil’ nigga just do it/Any nigga out of order, must be serviced/See now now you hesitatin boy you makin me nervous/The Feds know I clap heat felonies on my rap sheet/Front on me try to run from me hollows be up your back B!

After the last song, this was the perfect recovery! BANG THIS ONE!!!

Stretch
Produced by Rick Rock
The pianos on this one are ridiculous, and make the beat sound really hard. The hook fits, but the “stretch…” is a lil suspect. 50’s flow on this one is pretty good: “Your favorite bad guys gone!/The Joker’s dead!/So for now till forever your stuck with the kid./I ain’t supposed to be a boss, I’m supposed to be a enforcer!/I’m supposed to hold a gun, not be stuck in the office!” The lyrics probably won’t wow you, but at the same time, it’s a serviceable song.

Strong Enough
Produced Nascent & OB Da Problem
DAMN!! This song is hard as hell!! The sample is: “Your life is over…” again and again. Damn. 50 didn’t play around on this one either: “These niggas ain’t strong enough/They money ain’t long enough/When they bump heads with me, they find out the guns do bust/We gettin’ money in god we trust/Suck on this nigga!” You gotta hear this one to believe it. Great song.

Get It Hot
Produced by Black Key
Can’t believe this wasn’t one of the first singles. It sounds like “Get Up” and “I Get It In” combined with a much hotter beat. This would have blazed the charts! Fif came correct with lines like: “I’m a made man, a Don Corleone/No matter where I’m at, I’m doin what the fuck I want!” This one was obviously made for the club, but that’s not exactly a bad thing since it works well on this song. Good song.

Gangsta’s Delight
Produced by Havoc
This is a gangsta play on the classic song “Rapper’s Delight”. While I appreciate 50’s creativity, I wasn’t really feeling it myself. It could have been executed much better. The way it is now, it’s actually pretty skippable. However, I’m sure some people will like it. The beat isn’t too bad, it’s just something that you can tell was meant to be filler.

I Got Swag
Produced by Dual Output
The beat on this is really hot; Fif chose great production on this album. This is basically what the title looks like: 50 flossing to the max. The hook is kind of hot though and this definitely could have been a single. Lyrically, 50 is aiight, nothing too shocking: “Me, I’m into me/I destroy my enemies, even if they kin to me.” Good song, but again, you can tell this was meant to be filler.

Baby By Me
Featuring Ne-Yo; Produced by Polow Da Don
This was the first official single off this album, steadily getting more and more airplay. Compared to the other first singles from 50 Cent, this definitely underwhelming, even compared to “Straight To The Bank”. It’s grown on me though; the sample was perfect for this song. 50 was definitely asleep on this one: “I need you to be what I need/More than liquor or weed/I need you to maybe give me a seed/I need you to give me reason to breathe, I need you/I’m tellin’ you so now you know what I need.” Damn. Even 50 fans have to admit that sucks. Ne-Yo definitely controlled the song here. Overall, it’s a fun little song but 50’s parts bring it down. Sadly.

Do You Think About Me
Featuring Governor; Produced by Rockwilder
What was 50 THINKING!?!? This is the exact same song as the previous one without the awesome sample and Ne-Yo. Instead, you get 50’s same lackluster rhymes and some no-name singer on the hook. The beat is aiight, but it could have been used a lot better if 50 woke up and chose a really singer to do the hook. Sadly, this is the second single…
SKIP!!!

OK, You’re Right
Produced by Dr. Dre
The street single off the album. Dre was on point here, this beat bangs and has that classic eerie sound to it. Sadly, 50 barely showed up for this one. It’s like he realized even being on a Dre beat would make him sound good so he didn’t need to come correct with the lyrics. I mean, he comes with two verses, each 12 bars long, and with the same sounding monotone delivery. Disappointing. The song still sounds good without 50’s help and proof that Dre can make any rapper sound good flowing on his beats.

Could’ve Been You
Produced by DJ Khalil
Why would anyone end their album like this? SKIP!!

*Bonus Tracks*
I fucks with “Flight 187″ and “Man’s World”, but the new original version of “Baby By Me” could definitely have been left off. And by the way, why are “Man’s World” and “Flight 187″ not on the official album?? Damn!

Bottom Line:
Did 50 live up to his promise? Well, yes, I think he did. He’s got some ridiculous songs on here that definitely live up to the Get Rich Or Die Tryin’ pedigree. But at the same time, he’s got some shit songs on here that are some of the worse he’s ever done (read: “Do You Think About Me” and “Could’ve Been You”). I was actually a little surprised there weren’t any shots thrown at Rick Ross seeing as that was pretty much the biggest Hip-Hop beef of the year. Speaking of Rick Ross, I think that this was the better album between the two of them because some of the good songs on this album are better than the best songs on Deeper Than Rap. 50 did a prettty good job here all things considered, but at the same time, I think we all know he can do much better than this. After all the hype surrounding this album, some people might feel he under-delivered.

However, just because King Jerm gave Deeper Than Rap a 4.5 and I think 50’s album is better doesn’t mean I’m gonna give 50 a 4.5. Ross’ album deserves a 3.5 in my humble opinion, shit, maybe even a 3 flat in my book. So I’m rating 50 based on that.

nappyPicks: “Stretch”, “Crime Wave”, “Psycho”, “The Invasion”, “Death to Enemies”, “Strong Enough”

Download: 50 Cent – “Flight 187″

Download: 50 Cent feat. Jovan Dais – “Baby By Me” (Original Version)

Download: 50 Cent – “Man’s World”

Download: 50 Cent feat. Gucci Mane – “Crime Wave (remix)”

When the Hip-Hop world thinks of Olubowale Victor Folarin, aka Wale, the first thing that may come to mind is DC. And then maybe Maryland and Virginia. And then Go-Go music. Yep, Wale has been waving the DMV flag hard ever since he broke though in 2006 with the local hit “Dig Dug (Shake It)”. Now after releasing buzz singles (“Back On The Go-Go” & “Nike Boots”) critically acclaimed mixtapes (The Mixtape About Nothing, 100 Miles & Running, & Back to the Feature), getting numerous magazine co-signs (Named one of the XXL’s “The 10 Freshmen”; cover of URB), and multiple push backs, Wale’s debut album, Attention Deficit, is finally here. But the question still remains: Is this album worth your attention?

1. Triumph
Produced by Dave Sitek
Backed my announcing horns, the first track off this album proves to be a fitting opening for Wale. He spits boastful rhymes as well as his realizations of a new kid on the block; “I ask Mr. West for a little bit of help/Realize us new niggas got to get it ourselves/…And the only thing I fear is Iovine’s shelf”. Good start.

2. Mama Told Me
Produced by Best Kept Secret
The beat on this track is what I honestly expected on this album; it’s still go-go flavored but updated (Plus it’s well produced). I’m feeling the hook and the beat but for some reason around the 2nd verse I starting to loose interest. Wale rhymes okay, just nothing to hold the attention here like it’s needed on this beat. Hey, it could be that I already heard this beat before. It was used for Birdman & Rick Ross’ “Shittin’ On Them” featuring Busta Rhymes. And honestly they did a better job on it too (Yeah, I said it). Wale’s version is still one to check for though.

3. Mirrors
Featuring Bun B; Produced by Mark Ronson
Wale grabs the surviving member of UGK to ride shotgun here. Wale shows versatility and adopts a stutter flow to explain his point; “M-m-m-mirror, tell me I’m the realest/Since all these other nigga g-g-got gimmicks and l-l-lyrics/It’s all gun busting and such a lack of the subject…” Over a mellow and guitar heavy beat, Bun B makes a good showing and Wale holds his own against with certified vet. The back and forth hook was a nice touch too.

4. Pretty Girls
Featuring Gucci Mane & Weensey; Produced by Best Kept Secret
Like I mentioned previously on “Mama Told Me”, I think Wale maybe at his best when he goes back to his Go-Go roots. From the Weensey chorus to the crown interaction towards the end (“Ugly girls be quiet. Pretty girls clap like this.”), this song is a surefire hit. Then again, I basically speaking on the first version released on internet without the Gucci Mane verse. I understand why he was added to bring buzz but did Gucci really add anything to the track? Besides that, “Pretty Girls” was a good pick for the album’s third single.

5. Award Tour
Featuring Jazmine Sullivan; Produced by Cool & Dre
This is the song that further sparked my interest in this album. If you on a plane going to another city/state/country; how is this not your theme music? The piano laced beat by Cool & Dre does the trick as Wale gives “definition of a jet setter” and Jazmine (Proving once again that she is a force on the rap hooks) kills it with the hook and adlibs. If you haven’t checked for this one, get from under that rock and do so right now. Side note: It seems like this song was slightly rearranged for the album.

6. Let It Loose
Featuring Pharrell; Produced by The Neptunes
When I saw this song on the tracklist, I was eager to see what The Neptunes and Wale could come up with. Then I listened to it and I remembered that The Neptunes hasn’t been the Neptunes in a while. Maybe it’s just me but it’s just what I expected. Maybe I need more time with but as of now I’ll pass.

7. 90210
Produced by Mark Ronson
I’ll give it to Wale, he definitely shows he can mix up the subject matter; here he tells a story of girls lost in the city of Beverly Hills (90210). I’m surely not the demographic he’s going for but that not to say it’s a bad thing as the lyrics are well done; “And she throws up, whatever she eats/She leave the bathroom, with a nose bleed…” The beat is somber and makes you think of a bedtime story, which fits the whole “all that glitters…” theme.

8. Shades
Featuring Chrisette Michele; Produced by Best Kept Secret & JuJu
Speaking of subject matter, Wale jumps on a taboo one and brings Chrisette Michele to go in about the subject of skin prejudice in the Black community; “I never fit in with them light skins/I felt the lighter they was, they better that they life is/So I resented them/And they resented me.” Introspective stuff. Adding to the mood is great production as well as Chrisette on the hook (“From a light skinned sister to a drark skinned brother”) this track shows that Wale isn’t afraid to be vulnerable.

9. Chillin’
Featuring Lady Gaga; Produced by Cool & Dre
For some reason, I never got into this song. I understand it’s purpose, a radio friendly crossover single, but it’s still not my cup of tea. Funny thing is if this song had came out much later (Seeing as how Lady GaGa is way more popular now) this track would have much bigger and received much more attention. You should have heard this one by now. Side note: It seems like this song was slightly rearranged for the album also.

10. TV In The Radio
Featuring K’naan; Produced by Dave Sitek
This is another one that I was eager to listen to seeing that the previous collaboration between K’naan and Wale was bananas (“Un Ricka” off Back To The Feature). I wasn’t initially feeling this track but a few more listens it grew on me a bit. It’s not mind blowing but it is unique. That may be due to the awkward beat provided by TV On The Radio’s David Sitek (*Thinks about the song title*) Oh…

11. Contemplate
Produced by Syience
When I first heard this track, like a lot of people I thought it was a Rihanna feature which would have been a great look for Wale. Well, turns out it’s a sample of Rihanna’s “Question Existing” which is not to say that takes anything away from the song. The sample fits the theme of “contemplating” your reasons and actions. In the first verse Wale deals with his girl who wants the fast life and in the second he questions his own quest for glamor; “One day everybody applauding/The next day you is everybody’s target/Why bother?”

12. Diary
Featuring Marsha Ambrosius; Produced by The Sleepwalkers
On this track Wale tries to get a woman to let go of her past troubles with bad relationship and possible open her heart to him; “Every problem that you have with another man I gotta face/Started off on thin ice/I’m still here but I can’t skate”. He switches up the cadence here also to go with the dreamy production. It’s definitely better than what we usually get with rappers theses days dealing with the opposite sex (Even though towards the end he does sound a little pimpish). It’s a good song but I can also see how the beat could get repetitive. Side note: Does Wale have one of the illest lineups of R&B hook women on this album? Yes.

13. Beautiful Bliss
Featuring Melanie Fiona & J.Cole; Produced by DJ Green Lantern & Mark Ronson
Motion picture shit. The beat courtesy of Green Lantern and Mark Ronson truly sets the stage for the feeling of being on top of the world. Wale verses serve the purpose but J. Cole steals the show; “My punchlines like gut checks/I’m raw dog, I’m rough sex/I’m on deck, I’m up next/I’m god bless, I’m success/So fuck stress/You can get the fuck from round me/And if you listening know you wondering where they fuck they found me.” Whoa.

14. Prescription
Produced by Best Kept Secret
The chemistry between Best Kept Secret and Wale proves true again and this song is a fitting exit to Attention Deficit. Wale gives the listener reasons why he is the “Prescription” to listeners sick of the current state of Hip-Hop (“I breathe life in the game/They are Kevorkian”). He also cleverly sprinkles medical terms to illustrate the point. The beat, like the two previous produced by Best Kept Secret, uses go-go elements that blends well with Wale’s style. Good ending

Bottom Line:
Wale delivers a solid album with Attention Deficit and seeing that it’s his official debut, it’s impressive. He shows ranges of subject matter as well as rhyme talent that other rappers don’t show on their 10th album. You may not love every single track but you can respect the distinct voice used. One of my few disappointments with the album as a whole is that I’m not sure if it surpasses his mixtapes like The Mixtape About Nothing or Back To The Feature. Besides the minor drawbacks, Attention Deficit should hold the interest of listeners looking for good Hip-Hop. DMV stand up! Wale’s gotcha. Update: Changed rating. The 4 Stars never felt right.

nappyPicks: “Triumph”, “Mirrors”, “Pretty Girls”, “World Tour”, “Shades”, “Beautiful Bliss”, “Presciption”

Download: Wale feat. John Mayer – “Letters” [Not On The Album]
Download: Wale feat. Travis Barker – “OGz” [Radio Rip/Bonus Track]
Download: Wale feat. Weensey – “Pretty Girls” [No Gucci Mane Verse]

It’s been awhile since Cormega has dropped a solo record. You can say this is his third official studio record. Who Am I? is a soundtrack album; The Testament was a shelved by Def Jam which was suppose to release around 1996; And Legal Hustle was a compilation album for his record company. Now the Queensbridge native has finally returned with Born And Raised. Unlike his previous albums, Mega comes through with an excellent production lineup which includes: DJ Premier, Pete Rock, Large Professor, Easy Mo Bee, and many other superb Hip-Hop producers. Matter of fact, EVERY SINGLE TRACK is produced by a Hip-Hop prodigy. It doesn’t stop there. The album also features many legendary guest appearances, such as KRS-One, Big Daddy Kane, Tragedy Khadafi and more.

Believe it or not, this is one of my most anticipated releases for 2009. Cormega has always been a highly underrated emcee. The Realness and The True Meaning are two of my favorite albums. These two records are superior because they showcase Mega’s lyrical abilities and his great flow. I hope this album does the same.

1. Prelude/Intro (The 3rd Coming)
Featuring Marley Marl; Produced by Khrysis, Cormega, & Bear One
The legendary Marley Marl starts off the album with a few words about Cormega’s street credibility. Is it just me or are there a lot of ’09 albums that start similar to this? After the prelude, the record officially starts with the “Intro (The 3rd Coming)”. Mega takes no time to point out the struggles he’s gone through growing up in Queens. This is a nice way to start the album.

2. Girl
Produced by L.E.S. & Cormega
I wasn’t really feeling this song after a couple listens. I felt that Cormega could’ve come harder with the flow (no homo). However, now I see why his delivery was calm. This helps shape the mood of the song. Take some time to listen to the lyrics, and I promise it will grow on you too. It’s a great metaphoric song about the dangers of cocaine. One of my favorite lines from the track, “She burned Richard Pryor when he piped her raw”.

3. Love Your Family
Featuring & Produced by Havoc
This is a song that explains why blood is thicker than water. Cormega starts off speaking on his daughter, and clarifies all the love he has for her. Havoc grabs the mic and touches on his love for his mother, sister, and grandmother. Then, Mega goes into the deepest part of the song when he tells us how good of a mother he had. For those of you who don’t know, Cormega witnessed his mother’s murder at four years old. Although, I’m not sure if that verse was intended for his mother or stepmother. The chorus sums up the theme of the song. It’s not as heartwarming as you may think.

4. Get It In
Featuring Lil’ Fame; Poduced by Easy Mo Bee
Easy Mo Bee drops a nice up-tempo beat that fits the energy of Lil’ Fame and Cormega on “Get It In”. Lil’
Fame makes the track sound like it should be on a M.O.P. album. He also takes a shot at Kanye West, “I’m so far beyond these hoes, with flows tighter than Kanye’s clothes”. However, Cormega outshines Fame as he comes with that nice flow and lyrics that bring you back to ’01.

5. The Other Side
Produced by Fizzy Womack & Cormega
Fizzy Womack (Lil’ Fame) returns this time with a jazzy beat. It’s a surprise to hear Fame come with a beat this laid back, but it don’t matter as long as it works. This track displays the ups and downs in life. However, this song seems out of place after the hard hittin’ “Get It In”.

6. Live And Learn
Produced by Pete Rock
Pete Rock and Cormega team up for “Live And Learn”. I thought this would be a definite standout on the album, but I felt they could have both done better. The beat isn’t bad, but sounds a little plain. Mega drops some words of wisdom on how to live for the future, not the past. Once again, still a good song, but should’ve been better.

7. Make It Clear
Produced by DJ Premier
This track is ridiculous. DJ Premier created the perfect beat for Mega’s style. Perfect samples and scratches (as always). Plus, the hard felt lyrics do not disappoint. I wish more songs were similar to this. This flow is untouchable. Too many quotables to insert here.

8. Journey
Produced by Large Professor
First, DJ Premier, now, Large Professor. This is another faultless beat by one of Hip-Hop’s finest. Cormega speaks on how life has been a journey for him. In this song he also shows great appreciation to New York (he shouts out AZ’s Doe Or Die and Big Pun in the video), and how it made him who he is today. “Hip hop never died, it’s just sick of the drama”. Here is a link for the video.

9. Define Yourself
Featuring Tragedy Khadafi & Havoc; Produced by DR Period
Tragedy Khadafi and Havoc join Cormega for “Define Youself”. This is yet another track about life and how it identifies you. I would rank Cormega as the best emcee on this; followed by Tragedy and Havoc last. This track is not bad, but I felt it was too short for two guest appearances.

10. What Did I Do
Produced by Nottz
I’m feelin’ the sample Nottz used for this beat, but he could’ve done better with the drum loop. Another mishap about the track is how short it is (2:54). Cormega speaks on certain people and how they are abusing themselves. I wouldn’t consider this filler, but I felt Mega could have done better with his lyrics and flow.

11. Dirty Game
Produced by DJ Premier
The album finally picks up again on Premier’s “Dirty Game”. This is one of the best songs that explain the struggles of being born and raised in Queensbridge. His lyrics about the hip hop game and prison let us know why he is considered a street poet. This along with “Make It Clear” and “Journey” are my top three standouts on the album. They bring you that 90’s New York hip hop mentality.

12. One Purpose
Mega drops a short, but nice accapella. This is nice, but I feel that it belongs on a mixtape, not an album.

13. Rapture
Produced by Ayatollah
Where have I heard this beat before? (edit: Willie Hutch – “Mama’s Theme”, Cam’ron – “D Rugs”, Lupe Fiasco – “Coulda Been”, emc – “U Let Me Grow”) It’s all good if he took this sample from somebody, because we all know that his sample for Cormega’s “Rap’s A Hustle” has been jacked plenty of times. I also like how Ayatollah throws a sample of Big L at the end of the verses. This track also shows how good of a lyricist Cormega actually is.

14. Mega Fresh X
Featuring DJ Red Alert, PMD, Grand Puba, KRS-One, & Big Daddy Kane; Produced by Buckwild
This song was leaked over a year ago titled “Fresh”. The only difference here is the producers. Emile produced the first song, and Buckwild remixed it for the album. My favorite thing about this song is that there is no chorus. Just a lyrical ambush by some of hip hop’s legends. On a side note, Big Daddy Kane murders this track.

Bottom Line:
This is definitely an album that takes a little time. Many people won’t have the patience, but the more you play it, the more it will grow on you. However, I do feel that Cormega could have done better with his delivery. Yes, his lyrics are nicely done, but delivery is the next important thing for an emcee. The other issue I have with the album is how short it is. It only has fourteen tracks (one being a short accapella), and only two of those are over four minutes long. On a production note, this was a pretty good album. Although, I felt this album should have been better by the list of producers. Nevertheless, it’s still a good album, and should be copped if you’re a fan of New York hip hop.

nappyPicks: “Girl”, “Love Your Family”, “Make It Clear”, “Journey”, “Dirty Game”, “Rapture”, “Mega Fresh X”

Download: Cormega – “Make It Clear”