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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

I know we are a day late with this week’s installment of Song of the Week, but as the old saying goes, “better late than never”. This week’s edition of SOTW is delivered with a heavy heart. You guys know that King Jerm is an avid sports fan, and today one of the most popular and beloved mascots, UGA VII suddenly past away. For you guys that don’t know UGA VII is the mascot of the University of Georgia. UGA VII was 4 years old and compiled a record of 16-7 during his tenure as UGA mascot. The Bulldogs will have to take the field with a replacement for this Saturday’s home finale against the Kentucky Wildcats. RIP UGA VII.  So sit back and take a minute to reflect on anyone that you have lost. I’m out.

Download: Pete Rock & C.L. Smooth – “They Reminisce Over You (T.R.O.Y)”

Being that I was the one who reviewed Wale’s debut album, Attention Deficit, I guess it’s only right that I get to speak on it’s  chart debut (I do all The Numbers Games anyway, but still…). Yea, in this column the whole purpose is to talk about album sales but honestly, Attention Deficit’s 1st week sales don’t tell the whole story. In a recent interview with HoneyMag.com, Wale stated that Interscope only shipped out 30,000 albums. So when you see that he sold 28,000 of the 30,000, that #21 spot could have been higher. Especially when the album is pretty good (3.5 out 5 is pretty good right?).

You see how Beyonce’s I Am…Sasha Fierce shot up 55 spots back into the Top 50? Is she gonna go triple?

Anybody else knew that Wycelf released a retail version of his DJ Drama mixtape, Toussaint St. Jean: From The Hut, To The Projects, To The Mansion? At least 3,000 fans knew. He lands at #171. You can download a free version here.

#4 Michael Jackson/This Is It [OST] (Last Week: #2) – 162,900; Total: 686,500 (Gold) [3 Weeks]
#16 Jay-Z/The Blueprint 3 (Last Week: #15) – 33,000; Total: 1,271,200 (Platinum) [10 Weeks]
#20 Black Eyed Peas/The E.N.D. (Last Week: #20) – 28,200; Total: 1,356,200 (Platinum) [23 Weeks]
#21 Wale/Attention Deficit (Last Week: NA) – 28,300; Total: NA [Debut]
#37 Beyonce/I Am…Sasha Fierce (Last Week: #92) – 16,000; Total: 2,492,000 (2X Platinum) [52 Weeks]
#49 Trey Songz/Ready (Last Week: #51) – 12,200; Total: 318,100 [10 Weeks]
#171 Wyclef Jean/Toussaint St. Jean: From The Hut, To The Projects, To The Mansion (Last Week: Na) – 3,300; Total: NA [Debut]

Yep, I been waiting on this one for a second. Pill drops his follow up to his 4180: The Prescription mixtape. For those who have heard or seen the video for “Trap Goin’ Ham” and think that is all this guy is, pull up a seat. He’s not your average rapper out of the Atlanta. Grab the mixtape (The DJ or No DJ versions) and check out the album artwork. On a sidenote: King Jerm claims to have put me on the Pill. He didn’t, but since he likes getting credit…

Download: Pill – 4075: The Refill [Mixtape] (DJ)

Download: Pill – 4075: The Refill [Mixtape] (No DJ)

Are we wrong if we crown Bria Myles the top Eye Candy in the game? Besides the obvious (Face + Body + Smile = Banger), what other chick gets it in like Bria? Then again, it’s not like you don’t already know this. In these pics, she proves she owns the game. Super Duper Certified.

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

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

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

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

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

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

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

Wow. Don’t think Em slouched either:

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

Damn. What more can I say? Excellent song.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Download: 50 Cent – “Flight 187″

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

Download: 50 Cent – “Man’s World”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Download: Rakim – “Holy Are You”

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

For some reason I honestly thought Beanie Sigel wouldn’t throw any major shots at Jay-Z here. Well, actually he didn’t. 50 Cent (Who was just on the hook) did it for him: “You changed man! You let the money change you Jay! You used to be from Marcy nigga! Now you’se a pass the Grey Poupon ass nigga! You don’t want the shooter? I’ll take him.” I’ll need more listens to the actual song before I give my opinion.

Hey, when is 50’s album dropping again? Pretty soon right? Okay.

Sidenote: This is a radio rip. CDQ will be added when available. Added CDQ

Download: Beanie Sigel feat. 50 Cent – “I Go Off”

Not really much movement this week except three debuts below #46. Since I really haven’t listen to either albums, you can see how it’s slow week…well, at least for me. Amerie, Ryan Leslie, and rapper Shwayze (From the now canceled MTV show Buzzin’) all sold 12,000 (and below) albums each. Besides that, Michael Jackson did receive a Gold plaque this week for This Is It. And that’s it. In other unrelated chart news, go check out our homeboy B-Double’s (aka Your Favorite White Boy) newest site Today In Rap (Which is a great idea). Also, don’t forget to subscribe to our new podcast Frocast (We on iTunes homie!)

#2 Michael Jackson/This Is It [OST] (Last Week: #1) – 195,700; Total: 569,500 (Gold) [2 Weeks]
#15 Jay-Z/The Blueprint 3 (Last Week: #10) – 38,100; Total: 1,238,200 (Platinum) [9 Weeks]
#20 Black Eyed Peas/The E.N.D. (Last Week: #13) – 28,100; Total: 1,328,000 (Platinum) [22 Weeks]
#41 Mariah Carey/Memoirs Of An Imperfect Angel (Last Week: #31) – 13,500; Total: 303,800 [6 Weeks]
#43 Whitney Houston/I Look To You (Last Week: #30) – 12,800; Total: 778,300 (Gold) [10 weeks]
#45 Drake/So Far Gone (Last Week: #37) – 12,700; Total: 223,300 [8 Weeks]
#46 Amerie/In Love & War (Last Week: NA) – 12,700; Total: NA [Debut]
#50 Ryan Leslie/Transition (Last Week: NA) – 12,000; Total: NA [Debut]
#55 Shwayze/Let It Beat (Last Week: NA) – 10,800; Total: NA [Debut]

I really don’t need to say too much about the man this Song of the Week is dedicated to. Big Pun’s birthday was this Monday (Nov. 9th) and it’s time to pay homage. As one of the nicest, Big Pun needs to be in your conversation of one of the best MC’s of all time. Here’s just a small sampling of why. R.I.P. Big Punisher.

Download: Noreaga feat. Big Pun, Nature, Cam’ron, Jadakiss, & Styles P – “Banned From TV”
Album: N.O.R.E. (1998)
Lyric: “Ay yo I hold niggas ransom for money/Like johhny handsome/Been sonning niggas for so long/I think I got a grandson/My passion is money, a stash and a honey/That won’t ask questions but will blast anybody”

Download: Fat Joe feat. Big Pun, Fat Joe, Jadakiss, Nas, & Raekwon – “John Blaze”
Album: Don Cartagena (1998)
Lyric: “I hate a actor that plays a rapper/I’m Terror Squad beta kappa everybody’s favorite rapper/Grand imperial college material insane criminal/The same nigga who known to blow out your brain mineral/I reign subliminal inside your visual/Try to supply your physical with my spiritual side of this lyrical/I’ll appear in your dreams, like Freddie do, no kidding you/Even if I stuttered I would still sh-sh-sh-shit on you”

Download: Big Pun feat. Fat Joe – “Twinz (Deep Cover ‘98)”
Album: Capital Punishment (1998)
Lyric: “Dead in the middle of Little Italy little did we know/That we riddled some middleman who didn’t do diddily”

Bouns: Joell Ortiz – “Happy Birthday Pun”
Joell Ortiz pays respect to one BX’s finests