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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

It’s been nearly ten years since Brother Ali’s debut album Rites Of Passage (Which I’m still trying to get my hands on) was released. Little has changed since then. He is still putting out superior albums release after release…even his EP’s stay positively consistent. What makes Brother Ali albums different from others is that he puts all of his heart into these records. Some of his songs like “Picket Fence”, “Walking Away”, and “Faheem” are some of the deepest songs I have ever heard. This is just a sample of his personal songs. He also has the lyrical abilities to put out down-to-earth gems like “Forrest Whitiker”, “Daylight”, and “Good Lord”. Furthermore, there are songs where he can just talk shit, “Missing Teeth”, “Bad Mu Fucka”, and “Lookin’ at Me Sideways”. The bottom line is that Brother Ali is a truly gifted emcee who has blessed the hip hop game. Now let’s get into the album.

1. Brothers & Sisters
Featuring Chuck D & Stokley Williams; Produced by Ant)
The album starts off as righteously as it possibly can with a lovely gospel handclap. As the choir kicks in, the legendary Chuck D drops some words of wisdom to introduce Brother Ali. This is a great and beautiful way to start the album.

2. The Preacher
Produced by Ant
Ant takes no time to “turn it up!” as the late great J Dilla liked to say with the loud horns and electric guitars on “The Preacher”. Ali opens up telling you a little something about him and what he’s all about. Ali is best known for his superb lyrical skills, but here he shows that he has delivery as well. Nice solid track.

3. Crown Jewel
Produced by Ant
The horns return on “Crown Jewel”, but the bass has improved compared to the last track. The lyrics on here are dazzling with metaphors. This is a great song that’ll help you get through a stressful day. Probably not a standout for most people, but one for me.

4. House Keys
Produced by Ant
The real storytelling starts on “House Keys”. Ali tells us how he moved to a smaller apartment downstairs (of the same building) to save money on rent. He has new neighbors upstairs who are apparently drug dealers. Through many nights of unruly behavior upstairs, Ali decides to rob the place when they are gone with his old house keys haha. Favorite track so far. Once again, Ant displays why he is one of today’s most underrated producers. The beat reminds me of a dream. On a side note, this beat would really fit a Del Tha Funkee Homosapien song. I would like to hear them together.

5. Fresh Air
Produced by Ant
Ant uses yet another diverse approach on this beat. This time he brings a more soulful jazz sound for Ali to spit. Ali goes on to talk about life and what he has gone through (especially in the last two years – marriage, birth of his daughter, etc). This is a nice song that goes along with the album.

6. Tight Rope
Produced by Ant
Ali is really starting to master the art of storytelling. On “Tight Rope”, he comes with three different stories about unwanted kids. The first story is about a girl that is having a hard time being accepted into the American society after moving from her native country (Somalia) because of a civil war. The second story is about the difficulty of a boy growing up when his parents are going through a divorce. The final story is about a homosexual boy, and the cruel reality of how he is treated because of his sexual orientation. This is just the start of deep songs coming off the album. Standout.

7. Breakin’ Dawn
Produced by Ant
Brother Ali’s storytelling continues on the bluesy “Breakin’ Dawn”. This is a detailed story about a man who discards the likes of success to stay true to his roots. You don’t hear many songs like this, but Ali does an incredible job with it and to get his point across.

8. The Travelers
Produced by Ant
This is another moving song about racism and the harsh actuality of our (slavery) history. Not only does Ali touch on topics that most emcees won’t do, but he constantly does it in an intellectual way. His words paint a picture for us to see and recognize.

9. Baby Girl
Produced by Ant
Baby Girl starts with an emotional -type beat, and Ali gradually begins to narrate about a female who was raped at a young age. What makes Ali’s narratives superior to others is that he does an excellent job of explaining how the person in the story feels. For example, “How can she find peace in her mind when love means returning to the scene of a crime?” Another brilliant thing about this song is how he responds after every verse, “Only one thing I can say in truth – got to deal with the demons before they deal with you”. The realest line(s) in this entire song.

10. Round Here
Produced by Ant
Ali breaks away from the storytelling for a minute to hit us with a nice laid back track. Once again, he shows you that he has delivery by how well his flow fits the beat. Besides that, there is nothing too significant here compared to the rest of the album. Although, it still puts out good musical vibes, and I consider it solid.

11. Bad Mufucker Pt. II
Produced by Ant
This is the sequel to the same titled track on his extended play, “Champion”. This one has a different method compared to the last. On this song, he is flat out telling you he is a bad mufucker, whereas the first song explains why he is. I’m going to relate my opinion like the ending words on the previous song “Round Here”, “Brother Ali, you a bad mufucker man”.

12. Best @ It
Featuring Freeway & Joell Ortiz; Produced by Ant
This is a lyrical ambush. They all came with it, but I have to say Joell Ortiz slaughtered (no pun intended) the track. He has an ill metaphoric line bar after bar on this and clearly shows why he’s the best @ it. Another thing I like about the track is how Ant slightly changes the beat for when Brother Ali comes on…worked well.

13. Games
Produced by Ant
This is an additional song about life and the numerous struggles people go through. He makes a good point that there are people out there willing to make their lives better compared to others who stay shackled up. Here is a short example from the chorus, “It’s like chains on your neck with a tight grip/Use your brain and shit, you might live”.

14. Slippin’ Away
Produced by Ant
“Slippin’ Away” is a song about one of Ali’s friend who got caught up in the street life. Ali starts off explaining how he moved to Minnesota and his early childhood. He goes on tell us about the friend – how they met, how they became friends, and their last conversation together. I’m not going to tell you the last part of the song. I’d rather have you listen to it yourself to find out what happens. A really deep and personal song by Brother Ali. Another one of my favorites from the album.

15. You Say (Puppy Love)
Produced by Ant
Ant drops a lovely loop (drums, sample, everything) for Ali to express his emotions of puppy love. Ali changes the direction one last time expressing how he feels for a certain somebody through his lyrics.

16.Us
Featuring Stokley Williams; Produced by Ant
The album returns to the same handclap vibes on “Brothers & Sisters”. The only difference here is Brother Ali chooses to rhyme over this one. The lyrics on this help explain why he named this album Us. Perfect way to end the album.

Bottom Line:
Sixteen tracks later, and I can say there is absolutely NO filler on this. Brother Ali has once again released a significant album for the year. What more can you ask for? – Great beats, superb lyrics, and outstanding concepts. What I like about Brother Ali is that he doesn’t straight out tell you what his stories are about. You actually have to listen & get hints, and the story comes together in the end. It’s an impressive way of writing. So do Hip-Hop a favor and pick this up. It’ll be worth the fifteen dollars. On a side note, Ali is a great performer too. I saw him at Paid Dues this year and was pleased. He is currently on the Fresh Air Tour with Evidence. Check it out if he’s coming to your city. Peace.

nappyPicks: Every song is good in its own way, but if I had to pick 5, it would go a little somethin’ like this…“House Keys”, “Tight Rope”, “Baby Girl”, “Bad Mufucker Pt. II”, “Slippin’ Away”

Download: Brother Ali – “Tight Rope”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

ODB would be proud.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Bottom Line:
Raekwon should be proud.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

4 albums, 24 or so times platinum on those albums, winner of Vibe’s “Best Rapper Alive” tournament, and a life as THE benchmark for all white rappers and most wordsmiths entering the game….no pressure. Oh, not to mention that this album is one of the most anticipated albums in the past 5 years, second only to Detox. Let’s get Wright into this one, the wait is over.

1. Dr. West (skit)
Featuring Dominic West; Produced by Dr. Dre & Eminem
I’m not going to try and break things down to the nth degree, but this lead in is dope. I look at it as a great metaphor to what folks deal with on a regular basis. The more you try and do better and evolve, the more folks want you to fall into your old ways. The same folks you look at to help you motivate and change tend to try and hold you back in one way or another. Sometimes, that person is even your own voice. No, I’m not on drugs…just what I get from it.

2. 3am
Produced by Dr. Dre
What better way to open an album than with a 5 minute story complete with dead bodies, chases, blackouts, abuse and self mutilation, and a quote from Silence of The Lambs as the chorus. Eminem is at his grizzly best on this one. One of my favorite songs he’s ever done. Dr. Dre somehow keeps getting better…I don’t understand. He’s not overly complex, he doesn’t sample the world but what he does is just make shit to keep ya heads ringin’. This song is a flawless victory.

3. My Mom
Produced by Dr. Dre
I really like this track, it feels so Hip-Hop. The horns and drum variations on this one keep it funky for me. You can tell by the title, it’s another song about his mom and the drug use and abuse (shout out to lawsuits). If Em is nothing else, he’s consistent. This song is a fun song to me and would really fit in well on the Slim Shady debut* album.

*We know: Eminem’s first official album was Infinite.

4. Insane
Produced by Dr. Dre
I think the name for this song is based on the beat. I love this track! Eminem kills this shit too. Now, it is Eminem, I’m sure that typing the lyrics out will make you cringe. But rest assured my man is on top of his game on this one. I’d put this right up there with one of his best songs too.

5 Bagpipes From Baghdad
Produced by Dr. Dre & Trevor Lawrence
Hey, sometimes Hip-Hop comes with bagpipes I guess. This track comes off a lot better than some other stuff that is currently out in the same vein as this. “Mariah whatever happened to us/why did we have to break up/all I asked for was a glass of punch/see I never really asked for much/I can’t imagine what’s/going through your mind after such/a nasty break up with that Latin hunk.” Eminem has his sights on Mariah for this song and even with a topic that I don’t care for much (not a big Mariah fan) his lyrics don’t falter on this one. I dig his delivery and flow on this one completely. Oh, shouts out to Nick Cannon who’s taken offense from Eminem of all people. If a man can get sued by his own mom, I doubt he gives a shit about you being upset.

6. Hello
Produced by Dr. Dre & Mark Batson
Flat out, if Dr. Dre has beats better than the ones he’s putting on this album, Detox may very well be one of the best albums ever. This is another beat that goes hard as hell. “I don’t mean any harm all I wanted to do was just say hello/and are you menstruating baby my lil’ friend is waiting to say hello/the way your titties are wigglin and your booty’s shaking like jello/girl I don’t mean any harm all I wanted to do was just say hello”. The hook on this one is catchy as hell, can’t front on it at all.

7. Tonya (skit)
Nice set up for the next song, sick as usual, but it works well.

8. Same Song & Dance
Produced by Dr. Dre & Dewaun Parker
Serial killer song anyone? The track goes with this horror movie made Hip-Hop song quite well. Methodical and haunting back drop as Eminem paints the picture as a serial killers confession comes to life. Hey, you listen to drug deals and shoot outs on albums, why should this be any different? I’m diggin’ this one…no Manson-O.

9. We Made You
Produced by Dr. Dre, Doc Ish, & Eminem
We featured this one on the site, most of you didn’t like it…I was with you. It has since grown on me, mostly influenced by the beat. When you listen to Em, it’s not a bad song at all. I think his videos are sometimes to off the wall, that we don’t pay attention to what he’s saying. “Damn girl, I’m beginning to sprout an alfalfa/why should I wash my filthy mouth out/you think that’s bad you should hear the rest of my album.” Well said homie.

10. Medicine Ball
Produced by Dr. Dre & Mark Batson
At this point, I can’t do anything but shake my head at the tracks I’ve heard thus far. The production on this album is scary good. Dr. Dre is giving Eminem some dope ass tracks and Eminem somehow manages to step it up as well. Right from the offset, “Welcome to the Slim Shady Mecca, Rebecca/it’s the village in New York right next to the Tribeca/it’s my secta’(sector)/homosexual disecta’/come again, rewind selecta’/I said nice rectum/I had a vasectomy Hecta’/so you can’t get pregnant if I buy sex and errectya.” The hook on this one is just as ill. “I guess it’s time for you to hate me again/Let’s begin now hand me the pen/how should I begin it and where does it all end/my medicine ball, you’re in my medicine ball friends.” Damn…he didn’t have to bring up Christopher Reeves though.

11. Paul (skit)
This skit will never get old to me

12. Stay Wide Awake
Produced by Dr. Dre
I don’t know what else to say. From here on out, I’ll only try and mention Dre in the review if there is something else to say other than “another dope beat by Dre” cause he’s really got his foot in this shit. Eminem vocally rides the beat and when it builds and the guitar comes in, Eminem gets even more frantic with it.

13. Old Times Sake
Featuring & Produced by Dr. Dre
This beat sounds like a leftover from Chronic 2001. I think the real tragedy is that Dre may have written his own lyrics on this one. Eminem even sounds more pedestrian on this one. I’m sure this one is aimed at the radio as it was released as a single. I’m not feeling this song in relation to the rest of the album. It’ doesn’t really fit well on here at all.

14. Must Be The Ganja
Produced by Dr. Dre & Mark Batson
This song comes off really boring. The beat is just okay and lyrically, I think Eminem is just trying to recycle some rhymes. There goes the possibility of a 5 star album.

15. Mr. Mathers (skit)
…has overdosed.

16. Déjà Vu
Produced by Dr. Dre
Dre produces a really good song that has a lot of layers of strings and chords. This is one of the better cruise type songs on the album. The hook is catchy and I’m kind of shocked this one wasn’t released as a radio song. Eminem goes into some personal issues, for real this time, and mentions Proof’s death and how that’s not an excuse. Once again, Eminem showcases his storytelling and really puts the video for this song in your head. No, there’s no video, but he laid it all out with this one. This is a great recovery from the previous song.

17. Beautiful
Produced by Eminem
I have no idea why this song is not the last song on the album…and I have even less of an idea why this wasn’t released as a single. I think this is Eminem’s dopest song PERIOD. Now, I am a sucker for songs that give us insight into who you are outside of the antics that compile your career and songs that we can relate to. This is his most vulnerable song and seems to be the most sincere. Triumph over tribulations, the desire to fit in, personal loss, growth, perception, and understanding are all discussed here. I may be on an island on this one, but this really is my favorite Eminem song ever.

18. Crack a Bottle
Featuring Dr. Dre & 50 Cent; Produced by Dr. Dre
Unless I’m crazy, this song came out a while ago. If it hasn’t then this is a leftover song from someone’s album. I think that the arrangement may have a lot to do with this as the previous song should have been the last song.

19. Steve Berman (skit)
Picking up from the last Steve Berman skit where he was shot

20. Underground/Ken Kaniff (skit)
Produced by Dr. Dre
This beat always confuses me at first. On the hook, they sing on the upbeat and on the rest of the song, Em flows to the downbeat. When they switch between the hook and the song, I always stutter step. It’s not a bad song at all though. The Ken Kaniff skit at the end is cool too.

21. My Darling
Produced by Dr. Dre
One of the songs we’ve all heard by now. I have to say that I’m glad this one was left off the album. I don’t like the beat and lyrically, Em sounds like he was sleep.

22. Careful What You Wish For
Produced by Dr. Dre
Ok, this song is dope as hell. I think that sample is the Chili Peppers, but I may be off on that one. No matter, this song is dope and should have just made the initial cut.

Bottom Line:
I don’t sell drugs, fuck various bitches (their words not mine), drive a fleet of cars, live in the biggest house, spend insane amounts of money, make it rain, sip champagne at 1k a bottle, shoot people or wear expensive jewelry either, but we hear that far more often than we should. So why do folks give Eminem flack for his content and subject matter. He’s one of the few rappers that openly treat the industry like entertainment. Sure, he talks about his home life and the drug issues that are a part of his upbringing and development, but he also talks about things that he hasn’t lived and isn’t claiming to live. Now, where to rate it? We don’t do fractions on The Fro so it’s either a 4.5 or a 4. Even while you read this review, the rating may change. I think that it’s easily on par with Rick Ross and Jada for rap album of the year. The scary thing is that even with the missteps, I think it’s slightly a better album than those two right now. It’s a tough call. I’ve read the reviews online and folks are all over the spectrum on this one. Some love it, some hate it, and yes, some folks are right on the damn fence. I’ve heard a lot of people say that it’s not classic Eminem status…but they said the same thing about the Marshall Mathers LP when it first dropped, and that is largely regarded as his best album. The one thing I think we all can agree on, it sounds good to have him back in the game. This Relapse is a good thing indeed.

nappyPicks: Too many to choose, see you at the register!

Download: Eminem – “Beautiful”

Rick Ross hit the studio and returned with his third offering titled Deeper than Rap. This is coming off the heels of a “feud” with 50 Cent that turned your typical rap battle into a scene from MadTV. Putting all of that to the side, Ross is focusing on making the best music to date and getting his credibility back. He didn’t leave the “battle” with 50 unscathed, but the lumps he took he brushed them off and came even harder. Will this be enough to sway the listeners in the middle? Let’s go Deeper than Rap.

Mafia Music
Produced by The Inkredibles
The album starts off over some dark production and Ross spitting some “real life” lyrics that gives you the backdrop to his life. This is the song that started all the “beef” with 50. Even after listening to this song numerous times, I still think that Ross is spitting some FIRE on this track. BLAZING!

Maybach Music II
Featuring T-Pain, Kanye West, & Lil’ Wayne; Produced by J.U.S.T.I.C.E League & Kanye West
This is the sequel to the original, this time no Jigga, but he did add Weezy, Kanye, and T-Pain on the hook. This song didn’t grab me like the original, but that is not a knock at the song. I just HATE sequels, because it will always get compared to the original. All three of the artists on the track brought it, and if you love collabos…this is one for you.

Magnificent
Featuring John Legend; Produced by J.U.S.T.I.C.E League
Ross smoothes it out on this one with John Legend crooning the hook over some Cognac smooth production provided by J.U.S.T.I.C.E League. What I really love is the way he made Special Ed relevant again by using his “I’m the magnificent with a sensational style”. Check for the remix featuring Special Ed on it coming soon! HOT!

Yacht Club
Featuring Magazeen; Produced by J.U.S.T.I.C.E League
Four songs in and I think this might be my song for the summer. I said earlier that the production on this one puts you in the mind of the original “Maybach Music”. The production is so CLEAN and Magazeen on the hook goes well with the vibe and Ross’ lyrics. BANGING. When I get my first yacht…this song will be the first one I play.

Usual Suspects
Featuring Nas & Kevin Cossom; Produced by The Inkredibles
Ross and Nas on a track? That is what I was thinking before I heard it. Nas has surprised me lately, jumping on a lot of high profile southern tracks. On this track both artists seemed comfortable and the collab didn’t feel forced. For Ross to hold his own with a living legend showed his artistic growth since Port of Miami. This is that HEAT.

All I Really Want
Featuring The-Dream; Produced by C “Tricky” Stewart
After five songs that were BANANAS, Ross goes club on this one featuring “The Radio Killa”. Once you get into the song, it really isn’t bad at all. Once the song grows on you, you will find yourself bobbing your head to the beat.

Rich off Cocaine
Featuring Avery Storm; Produced by J.U.S.T.I.C.E League
What? You thought because of his admission to being a C.O that he would stop making songs like this? NOPE! Ross goes so hard over the stellar production provided by J.U.S.T.I.C.E League. But what really stands out to me is the hook sung by Avery Storm. CHECK FOR THIS ONE!

Lay Back
Featuring Robin Thicke; Produced by The Runners & Eric Hudson
At first I thought this was Usher, but then I read the credits and found out that it was Robin Thicke. This sounds like Ross’ version of “Whatever You Like”. I’m not mad at the dude for making this kind of song, because he didn’t go all girly with the beat. I can see this one playing in the club and I could see this one playing while you are with your shorty. The two made for a good collabo.

Murda Mami
Featuring Foxy Brown & Magazeen; Produced by Bigg D
Ross and Foxy got together and made a BANGER! Foxy held it down, but the track kind of swallowed her a bit. Ross continued to spit some of the illest bars of his career. The production on this one was gangsta and the reggae at the end sealed the deal.

Gunplay
Featuring Gunplay; Produced by The Inkredibles
This sounds like a beat that Jay used on “All I Need”, but Ross took it and put his touches on it. The street dudes will love this track, just off the title alone. The hook is what I like about the song so much. CHECK FOR THIS ONE.

Bossy Lady
Featuring Ne-Yo; Produced by The Runners & Ne-Yo
Ross went and got Ne-Yo to croon on this track aimed at the ladies. This one might be aimed at the ladies but Ross kept it “G” on the track. Fellas, you don’t have to feel bad about bumping this one loud.

Face
Featuring Trina; Produced by Drumma Boy
Ross and Trina link back up for old time’s sake on this track produced by Drumma Boy. Trina’s rhymes aren’t as raunchy as usual, but she is still “the Baddest Bitch” on this track. The beat is nasty on the track, and the 305 duo doesn’t let the city down on the song.

Valley of Death
Produced by DJ Toomp & Gorilla Tek
Toomp lends a hand to the Boss on this one and the results are CRAZY. Ross throws some shots at 50 in the first verse, but he doesn’t waste too much time beating a dead horse. He also goes in on the controversy of the C.O debacle that he was involved in. Ross got personal on this song, which is a side we never have seen from him. BANGER.

In Cold Blood
Produced by The Runners
In the beginning the song sounds like “Money Make Me Cum”, but they switch it up a little bit. Ross knows what to do with a hot beat when he gets it. Ross is clearly feeling himself, and it shows by the way that he is spitting on this song. HOT.

Bottom Line:
Rick Ross clearly shows that Curtis “Curly” Jackson doesn’t have the same pull that he used to have when he was the career killer. To steal a quote I read about the album: “Rick Ross did not make one single redeeming positive word, line, couplet or theme in the whole damn thing. It’s negative, nihilistic, self absorbed, hyper violent utterly amoral rap (not Hip-Hop) about selling drugs, killing people, hating people and taking other men women, fucking them and discarding them like trash” ©Binlahab. And that is exactly why I love this album. Ross stuck to the script, upgraded his rhymes, and upgraded his production and came away with what may be considered album of the year. Ross keeps getting better with every album, and if this is a sign of things to come, the Boss could become “the Down South Biggie”.

nappyPicks: GO COP THE WHOLE ALBUM.

Download: Rick Ross – “Valley Of Death”

At the end of summer, when I was reviewing absolute shit albums like Yung Berg’s and V.I.C.’s, I was just looking forward the album that I had been waiting for since the beginning of the year: Paper Trail, which had been announced in February on StreetCred.com. I was still hungry for more after T.I. vs. T.I.P.; it wasn’t that it was a bad album, but I mean, when you go to a near-classic (arguably classic) and extremely popular album like King, and have undeniable classic albums like Trap Muzik, nothing can really satisfy. Now T.I. is back with his last album before he goes to jail for his gun charges for about a year. Can T.I.’s Paper Trail surpass his past work, win back all of the fans who turned their back on him, and prove that nothing has changed about him? Let’s check it out.

56 Barz
Produced by DJ Toomp
As soon as this track began, this album immediately became better than T.I. Vs. T.I.P. That was the biggest complaint last time around: where was Toomp? Well now he’s back. But as for the song, it’s straight up 56 bars in a row, no hook. The beat is raw, glad to see that Tip and Toomp are back making songs again. T.I. is noticeably MUCH more lyrical than ever, and sounds just like he did in the I’m Serious/Trap Muzik years: “I ride through the city so/Clean seat really lowAuto Mo-bile is so pretty but I’m Illie though.”, and “King like Evelyn/Champayne mayne so deranged and belligerent/Right up there with Benjamin/Who? Andre 3K, B.I.G., Jay-Z, UGK, Scarface, Makavelli, The great Wayne comma and Kanye and/Lupe so fuck what you say, you welcome to ask who you may/Bet they say as of today I’m back on top like a toupee”. Nice! Great Track.

I’m Illy
Produced by Chuck Diesel
This really should have been the first single. We had a little dispute on my last album review: I had said on Kardinal’s album that three songs were my favorite songs. Well, here we are on Paper Trail, and can say that this, and probably will be for awhile, my absolute favorite T.I. song. He jumps right on the track with: “Rebel for the hell of it/Hella rich/Never have to sell a brick again, must I tell a bitch again/The bullshit I’m addressing: check I’m on some next level shit/Never been fucked in the game: I’m celibate.” There are so many more different lyrics on this song where T.I. is crazy lyrical: It reminds of when I heard I’m Serious (T.I.’s first album), and was amazed by the lyrical strings he was putting together. Add to that, the beat is banging!! Chuck Diesel gave Tip a raw beat, and he used it for sure. My personal favorite song on the album; I just can’t stop listening to it. I’m ILLY!!!

Ready For Whatever
Produced by Drumma Boy
Drumma Boy and T.I. first hooked up on this album, and I think you’ll see the results are fantastic. I really like this song: it’s about T.I. basically saying he’s ready for whatever happens to him at this point. He also explains the situation with the weapons, and how he was thinking at the time he made his decision. T.I. has been known for his infectious hooks, and this is no exception. Drumma Boy’s beat is the thing that helps this song a lot: I feel like T.I. works well with him, and I hope they get together on some other songs later. Great song, check for this!

On Top Of The World
Featuring Ludacris and B.O.B.; Produced by Nard & B
Damn: Luda and Tip made up pretty quick, didn’t they? This beat is amazing. This song is basically the banger of the album: another one of my top songs off the album. T.I. and Luda kill the beat while B.O.B. sings the hook. B.O.B.’s singing is kind of disappointing: I had heard from interviews and everything that he could rap pretty good, and instead they got him singing the hook. Not to say he isn’t good, but I was just disappointed. T.I., actually, probably made the right choice writing his stuff down, because he actually beats Ludacris in terms of lyrics this time around: “Man I remember: fore I say that/Wait let me issue this statement/No way should reflection be mistaken for glorification.” I remember when Tip would just kick almost ABC rhymes on some songs. Luda did good too, and the line of the album goes to him: “The places I’m bout to go, and the money I’m bout to see/Gave Bill Gates binoculars and told him to watch out for me.” DAMN! Bang this one!

Live Your Life
Featuring Rihanna; Produced by Just Blaze
Why wasn’t this a single?!? T.I. and Rihanna go in on this beat and blend on it so well together, I’m surprised that they hadn’t worked together before this song: no wonder a bunch of T.I./Rihanna rumors went around after the song came out. I definitely could see them together, I’m not too big of a Tiny fan; she only looks good when she wears massive amounts of makeup. But back to the song, it’s a banger and should have come out earlier to create a buzz for the album. Great.

Whatever You Like
Produced by Jim Jonsin
I remember when this song came out and I was cringing, and wasn’t too excited about Paper Trail anymore: everyone thought Tip was doing this because the Feds were watching him and it was the only thing he COULD do. Then I saw the music video and my opinion of the song changed. It’s catchy as hell, but it’s not obnoxiously so. I honestly think that it’s better than “Lollipop”, which Jim Jonsin also produced. Plus, jumping 70 spots on the Hot 100 to #1 means that someone likes it. If it’s your first time listening to it, you might hate it, but it grows on you.

No Matter What
Produced by Danja
Now when this song came out, I was too excited for the album. T.I. displays a ton of lyricism on this one: “Every obstacle, makin’ possible possible/Even when Winnin’s Illogical, Losin’s still far from optional.” Danja produced the track, and while not really anything special, he contributes well to the track. I wish he and T.I. would have done some more songs together: Danja was without a doubt the best producer on T.I. vs T.I.P., which isn’t saying much to be honest, but for a second I thought that he and T.I. would be working together more, but I’m glad Toomp is back. Overall, great song.

My Life, Your Entertainment
Featuring Usher;Produced by Drumma Boy
I was on YouTube and I heard Wendy Williams (Don’t worry: I hate her too.) asking about an Usher/T.I. collaboration, after which she insulted Usher’s wife. While that was completely uncalled for, the fact that the collabo actually happened made me laugh. As for the song, eh…? It’s alright, I don’t really listen to it that much. It’s really epic, and like over 5 minutes long. Not a skip, not filler, just personally not my thing.

Porn Star
Produced by Lil’ C
When I heard this song was on the album, I was like: “What?!?!”. Then I actually listened to it and skipped it immediately. Then I went back and listened to it again, and it’s actually not bad of a song. Like “Whatever You Like”, you have to let this one grow on you. That said, this is probably the worst song on the album, which means it’s just average.

Swing Ya Rag
Featuring & Produced by Swizz Beatz
T.I. called this “Bring ‘Em Out 2008″, and he was wrong, but it’s still a pretty big record; I’m surprised it didn’t make more of a splash on the radio. It’s a nice little song, nowhere near “Bring ‘Em Out”, but it’s like a notch below that. The thing that hurts it the most is that as a song it’s too short; only 3:18, so it’s over before you know it. I guess that leaves you wanting more? Good song.

What Up, What’s Haapnin’
Produced by Drumma Boy
This song is unbelievably hot! This is a direct diss on Shawty Lo, and T.I. kills him in it: “You so damn lame/You clique the same, just a bunch of walking shit stains.” We all knew he would, but this was ridiculous! Drumma Boy and T.I. prove that they are a powerful duo, despite this being their first album together. CERTIFIED BANGER!! But don’t watch the music video: it was REALLY low budget.

Every Chance I Get
Produced by DJ Toomp
I think Toomp really shows his worth as a producer right here: it almost feels like “What You Know Pt. 2″, but with a faster beat. T.I. kills them again with his lyrics: “I’m exceedin’ expectations, you barely meetin’ quota/I give it to ‘em straight and cut it with bakin’ soda/ You say I ain’t Zone 1, nigga ha! That’s a funny one/I’m King like my three-year-old, Major like my youngest son/Got one named Demani so you know what I’m gettin…” Too hot! At the end, T.I. makes a good point: “Why nigga got to wait till a nigga got the police watchin him to start kickin’ that fuck shit??” He murders LO on this one too. Two songs back to back? Say goodbye to Shawy Lo’s career. Awesome song.

Swagga Like Us
Featuring Jay-Z, Kanye West, & Lil’ Wayne; Produced by Kanye West
The all-star cast here and the beat (we all knew “Paper Planes” was going to get sampled) makes this one a hot song for sure. I know B-Easy didn’t really like this one, but like most of the other songs on here, it grows on you, and now this is my joint! I thought I loved “Paper Planes” until I heard this. If your a fan of M.I.A., check this out. By the way, I hope Kanye raps on his new album, even if he uses the vocoder; dude was killin’ ‘em!!!

Slideshow
Featuring John Legend; Produced by Kanye West
The last three tracks here portray a lot of emotion, and this is the first one. John Legend: well, what can I say? He’s probably one of the best singers out right now and definitely did his thing. T.I. keeps going strong with his lyrical game, and the two make a very solid track. It’s one of those reflecting solid tracks that you can just ride and chill to. Excellent beat, everything is just superb.

You Ain’t Missing Nothin’
Produced by Drumma Boy
This one is basically T.I.’s shoutout to all the people incarcerated. The beat is amazing: it starts off bare bones, but then becomes a jazz ensemble. T.I. rides it well, and is talkin’ some real shit too. He at the end speaks against all the people out there who forget about their friends and family in the jail. This a really well done track, I also think it shows how much T.I. has grown as an artist: he went from just talking about being “King of the South” to actually making a song about reaching out to those in jail. Excellent song.

Dead And Gone
Featuring Justin Timberlake; Produced by Justin Timberlake and Rob Knox
I almost forgot JT and T.I. worked together before on “My Love”. Well, this track is without a doubt the most emotional one that T.I. has ever done: think of “Live In The Sky” and “My Type” combined: the brooding beat from “My Type” and the lyrics and insight of “Live In The Sky”. T.I. is hitting us with that rapid-fire flow that he perfected over the years, and JT actually sounds…good. I don’t like saying it, but he sounds really good on this track. Basically, T.I. is saying that the old him is dead and gone. It’s also an ode to Philant Johnson, his best friend and others he’s lost. I can’t think of a better way to end an album than this; amazing job.

Bottom Line:
Was this T.I.’s best album? I might get called a dick rider for this, but yes, in my opinion this is T.I.’s best album. It reminds me of American Gangster in a way: on that album, Jay took the lyrical skill of Reasonable Doubt and 70’s Blueprint style beats and created an amazing album. Here, T.I. took his Trap Muzik style rapping and his newer sounds from King to make what I think is his best album. All of you out there worried this entire album is pop, go cop it: this album is still street, and T.I.P. definitely played a major part on this album. Whether you agree with me or not, you can’t help but admit it’s his most personal album he’s ever made: he lays it all out on the table, not hiding anything and giving us our last taste of what he can do before he goes to jail. Was this album classic? No, a few songs were average at best and could’ve used a little tweaking, but the point is that T.I. released his personal best album, and he walk away proud because of that fact. This is definitely a contender for album of the year. The King ain’t dead; he’s back.

nappyPicks: The whole album…is worth the money. You might want to listen to “Swagga Like Us”, “Whatever You Like”, and “Porn Star” a couple times before you check those out.

Download: T.I. – “I’m Illy”

Ever since his debut, Nas has always been known as one of the premier lyricists in Hip-Hop. The public may have sometimes overlooked with “Who’s the Hottest” lists and what not, but for most, Nasir Jones has always kept a spot on a large amount of “Greatest of All Time” lists (Come on, we all have our Top 5). His last album, Hip Hop Is Dead, Nas had the whole Hip-Hop community debating on the whether the art form has met its demise or not (2 years later, we still are).  Well, not to be outdone by him self, Nas releases the originally titled Nigger (Now known as Untitled). Once again, the title (or even the thought of the title) caused a firestorm of controversy not just with the Hip-Hop community but with the national/international media and caused even more debate. Even with all of the attention, at the end of the day it’s all about the music. After changing the title supposedly so it could be sold in places like Wal-Mart, the bad thing for Nas is that the album has been leaked for almost 2 weeks now. The good thing for us is… the album has been leaked for almost 2 weeks now. What’s the verdict? Let’s find out…

1. Queens Get The Money
Produced by Jay Electronica
Even though it was once believed that Jay Electronica would contribute a verse to this album, his sole involvement was production of the intro track. Over a chopped piano sample, Nas sounds poignant while effortless as he rhymes about his hood, fatherless children, government back dealing, and even his wife  (“My queen used her milkshake to bring y’all to my slaughterhouses”). Nasir even drops a 50 Cent diss so intricate, Curtis Jackson might have a hard time catching it.

2. You Can’t Stop Us Now
Featuring Eban Brown & The Last Poets; Produced by Salaam Remi
This song could be taken as a national anthem for the Black downtrodden. On the first verse he goes over our persecution, our history, and the overlooking of such (“Betsy Ross sold the American flag/Bet she had a nigger with her to help her old ass”). King Jerm was quick to point out to me that the RZA recently used this same sample/hook on his latest album. Nas easily trumps that’s version with this when you add The Stylistics’ Eban Brown blessing the hook and the superior production from Salaam Remi (If this is the song that supposedly replaced “Be A Nigger Too”, I prefer this one).

3. Breathe
Produced by J. Myers & Dustin Moore
“In America you’ll never be free/Middle finger up, fuck the police”. Even though the hook may sound aggressive, the beat and tone is completely opposite from that. This is a lay back and smoke out song (If I actually did smoke). Nas just speaks on just being able to relax instead of worrying about being arrested, poor, or shot. Even with it’s sleepy guitar, the song works because that’s the attitude.

4. Make The World Go Round
Featuring Chris Brown & The Game; Produced by Cool & Dre/Co-Produced by The Game
Well, you can’t like everything. Other than scratching my head about the Chris Brown feature, this song has other problems. The beat provided by Cool & Dre (And I guess The Game) can get kinda annoying with the background sample. Nas sounds more like his 1996 Escobar version with all the flossing in his rhymes. The Game comes with his C game (No pun intended) and spend too many bars rapping about Tony Romo, Jessica Simpson, and Nick Lachey. This is not the revolutionary music we was promised and I pray that this won’t be a single.

5. Hero
Featuring Keri Hilson, Produced Polow Da Don
The official first single off the album. The weird paring of Polow and Nas surprisingly produces gold. Some people have complained that the hook and title of the track was kind of corny. But when you think about it, couldn’t Nas’ collaboration with Alicia Keys on “Warrior” be taken the same way? From the production stand point, Polow Da Don provides a complicated track on an album that more or less musically simple. The beautiful Keri Hilson does her thing also. I surprised with all the superhero movies coming out this summer, not one of them legitimately used this as a theme song.

6. America
Produced by Stargate
Here, Nas goes in more about the thievery and backhandedness of some American tactics. Over a Stargate produced track (Who previously has worked with mostly R&B/Pop acts), Nasir evokes some pretty powerful imagery; “Lipstick from Marilyn Monroe/Blow a death kiss to Fidel Castro”. It’s basic message is that to foreigners, America is not what you think it is.

7. Sly Fox
Produced by stic.man
Nas does what a lot of rappers are scared to do, goes straight at Bill O’Reilly’s home, Fox News and the whole Fox monopoly. Over a heavy metal riff, Nas breaks done and analyzes the longs tentacles of the Fox Corporation be it the George W. Bush favoritism, their racist and bias owned newspapers, or their heavy internet presence. It’s fitting that stic.man of dead prez produced this track since that this is exactly the kind og thing dead prez normally does.

8. Testify
Produced by Mark Batson
When the first line of a song is “I just burnt my American flag/And sent three cracker Nazi to hell and I’m sad”, you know immediately that Nas is shooting from the hip. The production here is intimate; almost like you watching Nas perform this is a sparse café or blue’s club. Nas asks the question; If you believe my music, would you really stand with me and ride what you believe in? After a few listen, it’s a prevailing song.

9. N.I.G.G.E.R. (The Slave & The Master)
Produced by DJ Toomp
This is perhaps my favorite track off the album is probably started my whole excitement about this album. DJ Toomp continues his frequency of collaborating with Hip-Hop greats (Jay-Z and now Nas) and totally delivers a banger. Even though Toomp is a southern producer, Nas sounds comfortable and at home here of Toomp signature sound. Spelling out the original name of the album and continuing it’s theme, Nas goes in; “They say we N-I/Double G E-R/We are much more/But still we choose to ignore the obvious/Man this history don’t acknowledge us/We was scholars way before colleges “. Without the title, I swear this song would have gotten major play on radios and television. It’s just that good.

10. Louis Farrakhan
Produced by stic.man
At first I thought this was one of Nas “biography” song like the ones he did for Rakim (from Street’s Disciple) and Mike Tyson (from The Nigger Tape). But actually, it more like homage and uses a sample of Farrakhan’s name. Nas goes in about being the tribulations of being a revolutionary. It’s crazy, but being a dead prez fan, I still surprised at the great production provided by stic.man.

11. Fried Chicken
Featuring Busta Rhymes; Produced by Mark Ronson
I have to applaud Nas for taking this approach on this subject. In an ironic but serious way, Nas and Busta verse about the stereotypically favorite meats of African Americans: Pork and Chicken. Instead of just preaching about health ricks and such, they take it and flip it giving these foods the personification of women they lust for. Busta Rhymes surprised me because lately I have started growing weary of his features. The beat takes this from average lyrical album track to banger.

12. Project Roach
Featuring The Last Poets; Produced by Eric Hudson
This could be taken as an interlude since it clocks at around a minute and a half. Just like Nas did on other classic like “I Gave You Power” (Where he takes the role of a gun), Nas rhymes here form the perspective of a project roach. Well, maybe not. This song is a double edged sword of meaning that is helped by the poetry of the legendary Last Poets. I’ll let you be the judge. Satisfying song.

13. Ya’ll My Niggas
Produced by J. Myers
Nas continues pushing the subject about the “N word” and the commercialization of Black culture as a whole. J. Myers production gives Nas room to talk about these issues; “Controversy surrounds/Who can say it and when/Some niggas is full time/Some playing pretend/So fuck that no apologies on the issue/If it offends you, it meant to/It’s that simple”. This is a easy listen but packs a punch by way of content.

14. We’re Not Alone
Featuring Mykel; Produced by stic.man
The hook here provided by Mykel, is soulful and thought out. Nas finds a way cover subjects like alien abduction, conspiracy theories, and racial unity in the same song. Nas then surprises us when he goes spoken word at the end when he explains and states that he actually has loves America and all nationalities and that a new day is approaching (This is the same thing he did with “Hope” on Hip Hop Is Dead). This would be a great way to end the album, but it opens the door for…

15. Black President
Featuring Johnny Polygon; Produced by DJ Green Lantern
This song was at first thought to be an exclusive to the DJ Green Lantern hosted The Nigger Tape mixtape. I guess this song seemed fitting to add the official album seeing the current situation with the United States. I like this song but it seems to come off clichéd when you add the Obama sound bites and the R&B hook. Don’t get me wrong, like I said, I like the song. Nas spits some heavy knowledge about the problems and pluses of a Black Commander In Chief while the 2Pac sample from “Changes” is well placed.

Bottom Line:
When I first heard this album in its entirety, I called King Jerm and put out what I called a “5 Star Watch” (I only do this when I think an album is a classic; I don’t do this very much). We here at nappyafro have never given a 5 rating to any album we have reviewed and it seems as if that streak will continue. Nas has created arguably the best album (so far) of 2008. Untitled (I still prefer to call it Nigger but what do you do) is exactly what we need in today’s Hip-Hop climate of excess and “making it rain”. It calls back to the days when Hip-Hop could make you think about your way of life and even inspire you to make it better. The album had a cohesive feel with only one slip up; without it the rating might have been higher. Even if Nas doesn’t break the bank when the album’s sale numbers are released next week, he should be proud of the art and hope Untitled has produced. Nasir Jones should also be proud that he brought up the topic of racism and inequality and made people who normally wouldn’t talk such things do just that; and at the end of the day, wasn’t that his main objective?

nappyPicks: We really need to go and support album like this. I’ll have a better chance telling which one wasn’t notable.

Download: Nas – “Like Me” (UK Bonus Track)

Without apologies, hesitation, or regret, I admit that I am a full out Roots fan. This review may/may not be tempered with bias. You all have read a good amount of my reviews and should know by now that I am pretty objective…I hope, cause I have given some stuff good/great ratings even while I haven’t listened to that particular album again cause it’s not my type of music. This CD however, I have been anticipating for quite a while. Let’s go.

The Pow Wow (Intro) (band conversation/fight)
A really dope ass intro.

Rising Down (Hum Drum)
Featuring Mos Def & Styles P
After the extra amped intro, the methodical beat comes on and Mos Def lets you know the dark imagery that is on his mind. Talk of Jena, conflict diamonds, and other images that cloud his mind. Black Thought ads to the content with global warming talk, environmental concerns, and pontifications on the stress of working a “JOB”. Styles P finishes off with the imagery of the hood and the state of the world in general. Those who think Hip-Hop is dead; I present to you, Rising Down. Hip-Hop is alive and well.

Get Busy
Featuring Dice Raw & Peedi Peedi
I think I just broke my damn neck. Synth, Drums, and flow, period. It’s a throwback to an earlier sound of Hip-Hop, kinda like Deep Cover or something similar. t works. Dice Raw and Peedi Peedi definitely make the most of the appearance. Peedi Peedi’s sound and cadence are just dope.

@15
Wow, Black Thought at 15? (thus the name). It’s more an interlude clockin’ in at less than a minute, but it’s an interesting look at the evidence then.

75 Bars (Black’s Reconstruction)
No hook, no problem. While other emcees and rappers ask for loyalty for the ability to flow with no hook, Thought does it routinely. This song is probably one of my favorite songs of all time, already. ?uest destroys the drums and Thought brings unrelenting napalm to this fiery track. The video is as dope as the song. Now, I am in traction because I kept noddin’ with my already broke neck.

Becoming Unwritten (Interlude or Intro to next track)

Criminal
Featuring Truck North & Saigon
Mr. Mixtape, Saigon, is here with Thought over a more melodic track that still keeps it raw as hell. Saigon attacks this beat and seems to assert his feeling that he is relevant as any other emcee that gets more play than he, and ending the verse with fuck you was the !!!! to his verse. This song is a real psychological look at behavior and environment. I dig this song a lot.

I Will Not Apologize
Featuring Porn, Dice Raw, & Talib (on the hook)
As an older sounding beat with synths reminiscent of The Chronic, this is a lot funkier than I would have expected to hear. Sometimes simplicity really IS the best, I dig it. The hook is something I think we should all chant at our 9-5. I cannot apologize (I will not apologize) / I will not apologize ( I will not apologize) / This for all of my peoples who understand and truly recognize / Some won’t get it and for that, I won’t apologize.

I Can’t Help It
Featuring Malik B., Porn, Mercedes Martinez, & Dice Raw
Welcome back Malik. This shit is another dope one. I think like most of the album to most folks, it will take a few spins to appreciate fully. All the rappers come correct and Porn seems to want to make the most of all his cameos. Good shit. The way the song ends is like finding that 20 when you are doing laundry. GOOD UNEXPECTED BONUS.

Singing Man
Featuring Porn, Dice Raw, & Truck North
On the first few spins, I didn’t like this track. The hook seemed off, the track was annoying and that hampered my ability to listen to it, I just heard it. I am not a quitter though, and have started to like this song. When you finally get to the lyrics and message, it’s the perfect track for the song.

Up There (Unwritten)
Featuring Mercedes Martinez
I would have loved to hear this in with the Things Fall Apart album because it has that kind of sensibility. Oh, might I add that I would to have loved to hear it longer. It’s really more of a thought or interlude, but nice.

Lost Desire
Featuring Malik B. & Talib Kweli
Welcome back to the heavy synth and drum and bass track. On this one, I think our rappers tried to really one up each other. This is dope emceein’. I probably would have liked a little harder track or 808 type sound to this one, but that’s really nitpicking.

The Show
Featuring Common & Dice Raw
More look at the inner workings of the mind of a recording artist. Message and image trump the presentation. The hook could be a lot better, but lyrically, the song is not bad. I think both Common and Thought are at their best over more energetic tracks than this.

Rising Up
Featuring Wale & Chrisette Michelle (on the hook)
3 words…MUSICAL AS HELL. I can’t front, I wasn’t ready for this one. It is a LOT of music. Like, you know when bands do that set where each artist gets some shine, it sounds like producers did that with the track. The drums are completely insane, the chords are all over, in a good way. The result is a great song. I would love to see this one in concert as well.

Birthday Girl (dropped from the US release)
Huh? Did MTV produce a song for them? Turn Yo’ Headphones Up man. Well, this one is a little too much for the US, so may as well drop it. Chi Ali reference and all, Thought talks about deception (further evidenced by putting that message in this “happy” ass song) and the state of affairs in our twisted world as it relates to reality, and real to me.

The Grand Return (dropped from the US release)
Featuring Wadud Ahmad and Dice Raw
I can easily see this performed at the beginning of a concert. Nice drum and bass track that features some of the most insane licks I’ve heard in a long while. Damn, that guitar is soul piercing.

Hidden track (Outro) (more phone convo of the band/not on US release)

Bottom Line:
I mention the Roots in concert a few times because they are simply the best (only?) Hip-Hop band out there that really puts on a show. Artistically, this album is adventurous, creative, and meticulously put together. I think Game Theory is a better album than folks give credit to and this one is the same in that respect. Over time, this album will be more and more appreciated. This is a creative expression and a monumental offering antagonistic of the hood imagery and coonery that is promoted and praised in today’s Hip-Hop/urban music scene. Simply put, I feel that the nappypicks off this album would make a better album than a majority of the releases that are out. There is more substance and Hip-Hop in the songs listed below than has been released recently (Eardrum being the exception). I credit the crew for making an album that you have to LISTEN to past what you hear. Some folks will hate the rating I gave it, but “I Will Not Apologize”.

nappyPicks: “Rising Down”, “Get Busy”, “75 Bars”, “Criminal”, “Lost Desire”, & “Rising Up”

Download: The Roots feat. Mos Def & Styles P – “Rising Down”

Download: The Roots feat. Saigon & Truck North – “Criminal”

Download: The Roots feat. Patrick Stump – “Birthday Girl”

Little Brother returns with their third album titled GetBack, this one without in-house producer 9th Wonder. The group and the producer parted ways, but Phonte and Rapper Big Pooh decided the show had to go on, so forward they went. Little Brother, the collective from North Carolina, met up at NCCU in 1998 but their official debut was in 2001. After killing the mixtape circuit over the past year and a half, with DJ Drama on Seperate But Equal and Mick Boogie’s And Justus For All, heads have been craving another studio album. The departure of 9th could prove costly, but then again it might be a blessing in disguise.

The album starts off with “Sirens” and immediately Pooh and Phonte attack the beat provided by Illmind, and already you feel the frustration they have with the industry. After the song is a snippet from The Wire; good choice! Next up is “Can’t Win For Losing” once again featuring production from Illmind, and this one is even sicker than the last one. Again Pooh and Tay commit verbal assault on the beat, talking about no matter what they do, they don’t come out on top. Keep this up, and we will have a classic LP on our hands! Lil’ Wayne makes an appearance on “Breakin’ My Heart”, produced by 9th Wonder. Wow! This has to be the best beat that 9th has ever done! Surprisingly LB meshes well with Wayne. I wondered how Wayne would perform with real MC’s, and he kept up with them. CHECK THIS OUT! The lead single follows, “Good Clothes”, and while it has the radio appeal it doesn’t stray away from Little Brother’s sound. Shout out to Pooh on this one, talking about the HUSKY jeans at Sears! “After The Party” is next up and this one is about bagging that girl when club let out. You know the motto “if you ain’t got her by now, you ain’t gone get her!” I like this one, real smooth check for it. “Extra Hard” is next and the guys do just that, go extra hard on an up tempo beat. One word…BANGER! “Step It Up” follows and on this one the fellows give some insight to the brothers that we need to step it up and do grown up things with the ladies. The beat is laid back and Tay and Pooh provide some smooth lyrics. Good drop. “Two-Step Blues” is next and the first thing that catches you is the beat, makes you want to dance. But don’t get it twisted, this is grown folks music! Pooh and Tay pull out the soft shoes on this one! CHECK FOR THIS ONE! “That Ain’t Love” is up and this is one of my favorites on the album. Illmind with another heater on this one! LB and Jozeemo killed the beat on this one. “Dreams” is next and Pooh and Tay killed the horn laced beat. The production is great, the rhymes are tight; what more can you ask for? The last song on the album is “When Everything Is New”, and this is the retrospective track where Pooh and Tay take us on a journey into the lives of Little Brother. The production closes the album out perfectly. Shout out to my boy Anthony Gilles! You made the album, how crazy is that?

Bottom Line:
The departure of 9th Wonder freed the group up to get other producers; a needed asset. Not that there was anything wrong with 9th, his sound was getting a bit redundant. The different producers brought fresh beats to the table for the guys to demolish, which they did. Top to bottom this is their best album to date. Pooh and Phonte have catapulted their way into the forefront of groups not just from the South but in Hip-Hop. Now is the time for the world to take notice. The two have great chemistry together, therefore making great music!

nappy Picks: Go get this album! Don’t get caught sleeping!

Download: Little Brother – “Can’t Win For Losing”