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)

Since we deemed the original Classic Material, it’s surprising that Only Built 4 Cuban Linx… PT II hasn’t been mentioned more around these parts. Well, we did it for Hov, why not The Chef? Especially since we’ve waited over 14 years for this. Here’s some cuts off The Purple Tape sequel. Why did I choose these? Why not? Whose picking up Only Built 4 Cuban Linx… PT II on September 8th?

Download: Raekwon – “Baggin’ Crack”

Download: Raekwon feat. Jadakiss & Styles P – “Broken Safety”

Bonus: Raekwon feat. Beanie Sigel & Blue Raspberry – “Have Mercy”

We here at nappyafro are a family and when I got word that my bro KAJ wouldn’t be able to get the album review in for The Alchemist’s Chemical Warfare album, I didn’t mind stepping in and supporting my fam (that’s what we do!). This was one of the most recent albums that I was anticipating its release and sure enough on July 7 I picked up my copy. With it being five years since Alchemist’s debut release 1st Infantry back in 2004, many wonder with this album if he could continue the success that he saw on his first album. Let’s see how The Alchemist fares this time around on his second war-themed album.

1. Intro
Produced by The Alchemist
With a dark piano driven beat, Alchemist uses this quick introduction track to let the listeners know exactly what they are about to hear with this album. Various news audio clips play throughout this track with the album title/theme mentioned, which further sets the tone for the rest of the songs to follow.

2. ALC Theme
Featuring Kool G Rap; Produced by The Alchemist
Alchemist opens the album with his theme song if you will, which features Hip-Hop legend Kool G Rap trading bars with him over a synth heavy pounding beat that has listeners traveling back to Alc in his earlier days behind the boards. While he’s definitely not one of the best producers behind the mic, Alchemist holds his own and allows G Rap to shine with his braggadocio gutter verse.

3. Lose Your Life
Featuring Snoop Dogg, Jadakiss & Pusha T; Produced by The Alchemist
If you’re a fan of Alchemist and follow his music then you should be familiar with this track as it was previously featured on Alchemist’s EP The Alchemist’s Cookbook along with an interesting accompanying music video for it (check it out if you haven’t already). It’s with good understanding why Alchemist decided to include this track on the album as well as he produces dark and mysterious sounding beat for Jada and Pusha to deliver stellar verses on. Snoop provides the chorus only on this beat and leaves room for the other two emcees to shine as they do with lines like: (Jadakiss) “Twenty little missiles in the clip of the five-seven/I’m like navigation if you tryin’ to find heaven… (Pusha T) “Billie Jean step over the track ‘til it’s glowin’/You’re thinking I’m the O-N/E, metaphors are no win/Avalanche P push powder ‘til you’re snowed in, no end”. This proves to be one of the best tracks on the album (despite the unnecessary skits at the end of songs throughout the album…artists need to stop including these on albums, PLEASE!)

4. Chemical Warfare
Featuring Eminem; Produced by The Alchemist
I remember when I heard about this track being featured on this album and everybody was really excited to hear an Eminem collaboration track with Alchemist, but the expectations proved to be too high after listening to it. Alchemist produces a slow tempo beat that suits Em’s style as he delivers his trademark rhymes over various things from Sarah Palin to the Octomom to the Jonas Brothers before abruptly ending his verse asking if he rhymed Octomom twice in the same rap (yeah you did Em…what’s going on Marshall??). Like I said, this song/collaboration was highly anticipating but fails to deliver the superior results that everyone was expecting to hear (better luck next time).

5. Grand Concourse Benches
Featuring KRS-One; Produced by The Alchemist
Of course you know Alchemist had to stay true to his underground roots and bring the only and one KRS-One aboard to satisfy the real Hip-Hop heads. Alchemist produces a bouncy piano beat for KRS-One to deliver rhymes and drop knowledge as only he knows how. The only thing that I’m really not feeling about this track is the chorus that KRS provides, but other than that it’s a pretty solid track overall. The skit that follows this track that features the backpackers and the street cats giving their respective thoughts about Alchemist’s beats and production comes off funny compared to the other unnecessary skits on the album.

6. Therapy
Featuring Evidence, Blu, Talib Kweli & Kid Cudi; Produced by The Alchemist
This track happens to be one of the other tracks that were previously heard on Alchemist’s EP The Alchemist’s Cookbook and it fits in nicely with the rest of the tracks on the album. Properly titled, the relaxing beat produced by Alc provides therapy to the listeners’ ears as stated in the chorus provided by Kid Cudi (didn’t see that feature coming on an Alchemist album). Evidence, Blu, and Talib each deliver some nice rhymes that fit comfortably over Alchemist’s beat.

7. That’ll Work
Featuring Three 6 Mafia & Juvenile; Produced by The Alchemist
When a lot of people saw this track they probably thought their eyes were playing tricks on them but don’t be fooled into thinking this is a bad track because of The Alchemist’s pairing with Three 6 Mafia and Juvenile because you’d be very wrong. Alchemist isn’t known for producing Southern style beat as it contrasts his New York sounding production, but Alc shows that he’s diverse behind the boards. Three 6 Mafia sound at home on this track as the beat seems catered to their style and sound, but it’s Juve who goes in lyrically on this track (hopefully some new Juve is in the works…it’s been 3 years long enough since Reality Check). If anyone was doubting Alchemist’s skills as a producer before this track thinking that he couldn’t fit with the South, this is their wake up call (the snooze button is broke!).

8. Smile
Featuring Maxwell & Twista; Produced by The Alchemist
This track was the first single for the album with a great music video to go along with it. Alchemist produces a very uplifting beat that allows him to talk about his ups and downs and being able to smile throughout the hardships. Twista joins Alc on the track along with unexpected collaborator Maxwell who takes the track to the next level. Maxwell’s vocals fit nicely over Alchemist’s beat and Twista takes it back to his Tung Twista days during his verse as he displays to the listeners why he was once listed as the fastest emcee in the Guinness Book of World Records. Alchemist couldn’t go wrong in selecting this track as a single for the album and showing how easily he can switch his style up to match any artists’ style.

9. Keep The Heels On
Featuring Prodigy; Produced by The Alchemist
Definitely not your usual ladies track but it is coming from Alchemist and Prodigy (what you though Alc was coming with some soft shit??). Prodigy gets busy (no pun intended) on this menacing Alchemist produced track telling you about how he wants his chick to keep her heels on while it’s goin’ down. There’s not really much else to this track other than what’s expected and the pairing of Alchemist and Prodigy fits so well as usual (read: Return Of The Mac).

10. Acts Of Violence
Featuring Gangrene (Oh No & Alchemist); Produced by The Alchemist
The group known as Gangrene (Alchemist and Madlib’s younger brother Oh No) gives you an example of what you can expect to hear on their collaborative album. From the sounds of this track there is some good music to be heard when that album is released. Alchemist produces a hard-hitting beat that sees him and Oh No spittin’ lyrical bars with ease at the same time displaying their collective chemistry.

11. Lights, Camera Action
Featuring Lil’ Fame; Produced by The Alchemist
When you saw Lil’ Fame of M.O.P. featured on the track you should have already know what to expect and it’s nothing less than expected (other than the track being too short). Alchemist provides Fame with a suitable hard-hitting beat that fits his style with ease as he delivers the trademark lyrics you’re used to hearing from him. As I said the only problem with this track is that it’s too short at only 1:40 and it heads to the next track right as you’re getting into it.

12. Some Gangster Shit
Featuring Fabolous; Produced by The Alchemist
Unfortunately this track falls victim to the same fate as the previous track in being too short for such a great track. Alchemist’s sinister production on this track is a great fit for Fabolous to drop some “gangster shit” in this metaphoric verse with lines like: “Maybe I should just press charges for swagger theft/You faggots deaf if you can’t hear I’m hot as dragon’s breath/Naw I’m past hot, I’m the sun’s mascot/With stacks on deck I’m at yo neck like an ascot”. This track sounds like one that should have been included on Fabolous’ Loso’s Way album as it fits the tone and feel of what he was going for with it. This is one track on the album that needed to be longer than the 2:00 it was.

13. On Sight
Featuring Dogg Pound & Lady of Rage; Produced by The Alchemist
Just as he showed you on his track for the South, Alchemist shows some love to his hometown on the left coast with this West Coast feature. The beat produced by Alchemist with its synths sounds a bit generic and average for a producer of his skill level while the Dogg Pound and Lady of Rage deliver quality verses on the mic. Despite some good verses from the guests featured, this track comes off sounding average compared to some of the other stellar tracks on the album.

14. Take A Look Back
Produced by The Alchemist
This track serves as Alchemist’s lone track on the album where he takes time to reflect his life in his lyrics and talk about all of the things that he had to go through to become the respected music producer that he is today. Listening to this track along with watching the recent YouTube video of Alchemist producing beats during his college years make you really see how far Alchemist has come as a producer from his early days with The Soul Assassins and Dilated Peoples.

15. Under Siege
Produced by Oh No
Alchemist ends of the album with another preview of what’s to come from the pairing of Alc and Oh No as Gangrene with Oh No providing the production this time around. He doesn’t disappoint with the production either as he produces a bumping guitar driven beat that he and Alchemist get lyrical over. Oh No drops a nice verse but surprisingly Alc does him one better with lyrics like: “On some Steven Segal shit, salmonella chicken I’m kickin’ that raw shit/For practice, so when you snack on this you get nauseous” (damn Alc!). That Gangrene album is sounding better and better just from their two tracks together on this album.

Bottom Line:
So what’s the verdict after 15 tracks from The Alchemist…a very solid album! Not to be outdone by his great debut album 1st Infantry, Alchemist delivers some memorable tracks like “Smile” and “Lose Your Life” as well as some strong cuts like “Some Gangster Shit” and “Therapy” (“Keys To The City” should have been included on this album). But at the same time there are some tracks on this album like “Chemical Warfare” and “On Sight” that hold it back from being a stronger album. There are plenty of good tracks to be heard on this album and the listening experience proves to be an enjoyable one especially if you’re a fan of Alchemist and his work. Listening to Alchemist’s production style over the course five years you can tell the change as he displays more experimental/synth heavy beats than the soulful sounding ones that were once heard from him. In the end this album doesn’t see better results than 1st Infantry, which had so many great songs (“Hold You Down”, “Dead Bodies”, “Essence”, “Tick Tock”), but it does show Alchemist’s growth and progress in the five years since. In the time since then Alchemist has become one of the best producers in Hip-Hop and the go to guy behind the boards for some of your favorite artists like Lil’ Wayne, Fabolous, Slaughterhouse, Jadakiss and more. With the hard work and dedication that Alchemist has been putting in for years it’s a position that is well earned and well deserved. If you’ve been a fan of Alchemist you won’t be disappointed with this album and if you’re not take a listen and realize that he’s probably been one of your favorite producers for a while now.

nappyPicks: “Lose Your Life”, “Therapy”, “Smile”, “Some Gangster Shit”, “That’ll Work”, “Acts Of Violence”, “Take A Look Back”, “Under Siege”

Download: The Alchemist – “Lose Your Life”

It seems like you can’t start a conversation about Hip-Hop without talking about one of the following: the latest hot single on the radio, Auto-Tune, and whether or not Hip-Hop is dead. Well, I’ve compiled a list of five things that we, the listeners, can do in order to save Hip-Hop.

1. Appreciate The New School
I’m not gonna lie, I’ve trashed both Soulja Boy and Bow Wow. I think both of them are cutting themselves short of their true potential. But I’d be lying if I said I didn’t blast “Turn my Swag On” and “You Can Get It All”. And I have done the “Soulja Boy” dance. The point here is, the new talent that we’ve been getting is different in their own ways and we should embrace them. Not every song that Soulja Boy makes is garbage (Well, I guess that’s everyone’s personal opinion) and we should say: “Hey, he reallly did it here” when he does. Beyond that, we’ve also got a lot of new faces in the game, like Drake, Asher Roth, B.o.B., Wale, Mickey Factz, J. Cole, Saigon, etc. All of these artists bring something new to the game and it’s up to us to listen to their music with a open mind; not being so critical of them.

2. Buy The Records
You can’t expect rappers to function without sales. We’ve gotta stop downloading the album and not buying it. I mean, you don’t have to buy EVERY record but if you do download an album and you like it, buy it. If your favorite rapper drops an album and you want it, buy it. That’s why everyone was so surprised when Rick Ross only sold 160k in his first week. His album was hyped and everything, but we as a community have to buy these albums in order for Hip-Hop to be successful. Rick Ross’ album was good and it should have sold at least 300k in the first week to be completely honest that’s how hyped up it was. But because of the increasing downloading, no one actually went out to buy it. Look at the Weezy fanatics: Tha Carter III leaked almost 2 weeks before it dropped and STILL sold a million in the first week. Hip-Hop artists need fans like that.

3. Stop Comparing The Legends
2Pac and B.I.G. were two of the greatest to ever do it. But they’re dead now and they ain’t coming back. Ever. Even 2Pac’s new content sounds bad in the shadow of his earlier music. We need to move on from that. I’m not saying stop listening to 2Pac’s songs but at the same time stop taking someone like, say, Drake, and comparing him to 2Pac. “Drake’s wack, he’s got nothing on 2Pac”. That’s because he isn’t 2Pac! Just because he’s not as good as 2Pac doesn’t mean he’s bad. That’s like saying “A-Rod sucks, he’s got nothing on Babe Ruth.” If you like the man’s music it shouldn’t matter. You can still have your top 5 lists and your personal G.O.A.T., but if you like an artist that’s all that should matter, not whether or not they are better than a legend.

4. Stop Blaming The South
The South has been blamed for the quality of music that has been put out, but if anything, the South saved Hip-Hop. When rappers were in limbo, a bunch of rappers from the south held it down. T.I., Jeezy, Weezy, Lil’ Jon, Ludacris, Outkast, Khaled and his entourage, hell, even T-Pain! They came up out of nowhere, started dropping hot singles in the game and making all this money. The South and the Midwest have been holding the game down more than anywhere. The East? What was the biggest record from the east before Jadakiss? American Gangster 2 years ago! And the West is basically composed of four rappers: Snoop, who’s still barely hanging on, The Game, Ice Cube past his prime, and Dr. Dre, who may never release Detox. The South deserves credit for stepping up, so stop blaming them for Hip-hop’s condition.

5. Welcome Change And New Ideas
I ain’t gonna front, if you’ve seen my comments in the forums you know I hate Kid Cudi. It’s just too different. At the same time we should accept and welcome changes like the ones he’s made. How many different genres/types of rock music are there? You can’t name them all can you? That’s because there were so many different artists out there redefining what you could and couldn’t do in rock music, and that’s exactly what we need in Hip-Hop. Artists like Kid Cudi, Charles Hamilton, and B.o.B. along with albums like 808’s & Heartbreak, help to broaden the scope of Hip-Hop, and it allows people of all ages and musical tastes to join the community.

Jadakiss, Styles P, and Sheek are all established artists in the game, so now it’s time for them to take their shot at being moguls. That is what you have with No Security, D-Block’s debut album where they introduce you to: Tommy Stars, St Raw, Trav, Snyp Life, Bully, Bucky, A.P., Large Amount, T. Waters, Chary Ary, PLF, Lou Banga, S.I., Don D, and T.Y. D-Block consists of members from New York, North Carolina, Georgia, and California, so you can expect a little diversity among the group.

So Much Trouble
Sheek, Styles, & Bucky
Featuring Beanie Siegel; Produced by Vinny “King of Beatz” Idol
The album starts with a BANG with Sheek giving twitter shout outs, dissing skinny jeans, and auto tune. Beans lends a hot 16, and Styles drops his usual hotness. So far so good for D-Block.

Thrilla
Sheek, Snyp Life, Large Amount, & Tommy Stars
Produced by Toneheadz
I’m really not too thrilled with the R. Kelly sounding guy on the hook, and the song is on the corny side. I’m going to have to hit FAST FORWARD on this one.

Show Em
Don D & T.Y.
Featuring OJ Da Juiceman; Produced by Wayne Petti
These are obviously the southern members of D-Block hence the OJ collaboration. Don D and T.Y were actually pretty tight on the song; however, the weakest link on the song was OJ. If the song would have ended after they rapped…this song would be FIRE.

Get That Paper
Sheek Louch, Styles P, Jadakiss, & S.I.
Produced by Crada
This is your typical L.O.X. song…HOT! The Yonkers trio comes out the gate with a nice beat, a nice hook, and Sheek, Jada, and P give you what you want on this one. The song is smooth and this is what you want to hear from the LOX.

Get Ya Bounce On
Large Amount, A.P., & Bully
Featuring Webstar; Produced by The Twin
This song doesn’t feature either of the LOX and the track suffers because of it. The song is disposable and shouldn’t be listened to. SKIP!

From the Block
Sheek Louch, Styles P, Bully, T.Y., & Tommy Stars
Produced by Vinny “King of Beatz” Idol
This is the type of music that we like to hear from D-Block. Certain artists make better music when they stick to the script. When I check for D-Block, these are the kind of songs I want to hear.

That’s D-Block
Styles P, Bucky, Straw, Large Amount, AP, & Snyp Life
Produced by Vinny “King of Beatz” Idol
First thing that catches your attention is the production by Vinny “King of Beatz” Idol. This beat is SICK! I think Jada would have bodied this beat, but even without Jada the song is pretty tight. Styles killed it in the end. CHECK FOR IT!

Round & Round
Large Amount, A.P., Bully, & Tommy Stars
Produced by Jesus “Poobz” Fernandez
This is another track that does not feature SP, Jada, or Sheek, and you can tell. The concept is wack, (groupies) the beat is alright if you wanted to dance to it, but it just seems out of place on the album. SKIP!

Hello
Sheek Louch, Large Amount, T.Y., & Bucky
Featuring Red Cafe; Produced by Scram Jones
This is my favorite track off the album so far. T.Y. comes out the gate with Young Dro-esque lines like: “In Carolina I’m the black Pacino/orange Chevy with the white rally stripes like I drive Nemo”. SICK. The person that stood out the most to me was Red Cafe. I must say I have been sleeping on dude. This is a DOPE SONG!

Brother’s Keeper
Sheek Louch, Jadakiss, Styles P, & Bully
Produced by The Minnesota Boyz
This is classic LOX on this track; they overpower the beat with some real heartfelt lyrics. Bully didn’t fit in on the song, but with the work that the other guys put in made up for the suspect verse.

Hustler’s Prayer
Styles P, Bully, & Straw
Produced by Marcus D’ Tray
This track could have been done better, but it wasn’t. The production is pretty good, the only one that brought it was SP, but he needed some more help on the song.

Like That Ya’ll (remix)
Sheek Louch, Styles P, Jadakiss, A.P., Straw, & Snyp Life
Produced by Pete Rock
Don’t rub your eyes, Pete Rock produced this song. With the issue of good production out the window, all the guys have to do is bring their best rhymes to the table. They did. Of course the pups got shined on by the big dogs, but when you are rapping with some of the best to ever do it, you can’t hold your head.

*album also features three hidden cuts*

They could have substituted some of the weaker cuts to include these as actual tracks and the album would have been better.

Bottom Line:
Now that the L.O.X. have put the boys on, the question now is do they have what it takes to make them stars. I can say that they have a nice stable of artists; all of them are nice to an extent. My problem with the album is that it got boring at times, especially the songs where there were no L.O.X. members present. The new guys can rap, they just need help writing hooks and a couple of the guys have delivery problems. I’m sure their intent was to focus on the new generation, but I think they needed more of the old generation to make this a solid album.

nappyPicks: “So Much Trouble”, “Get That Paper”, “That’s D-Block”, “Hello”, & “Like That Ya’ll” (remix)

Download: D-Block – “Like That Ya’ll (remix)”

You guys know King Jerm stay bumping some other shit, and this week’s installment of Song of the Week is no different. Don’t get mad at me if the music today isn’t as dope as it was, that is why my iPod stays on shuffle. This song is off of Jadakiss’ debut Kiss tha Game Goodbye, which dropped in 2001, featured DMX over some nice production from Mas and Rated R. The song came out the time he was beefing with Beanie Siegel (which is one of the better rap battles) and DMX had some lyrics that were aimed at someone, just can’t figure it out. Check out some of Jada’s lines: what you wanna bet the limer will squash you,/I been had a white fan base before the signing of Marshall. Damn. What about this one, the infamous line: Niggas can’t fuck with Kiss I meenie that/had to stop eating red meat cuz I ate too many Beanie Macs/I’m not one of them niggas/ and since you so righteous don’t make me send yo ass to Allah quicker/niggas gas you to force your hand/realistically you just a worker and your boss is my man! EXCELLENCE! After that line it was hard for Beans to recover. This is an oldie but goodie, so sit back and enjoy this installment of Song of the Week!

Download: Jadakiss feat. DMX – “Uh Hunh”

A few Tuesday’s ago (May, 19th to be exact) we saw album releases from Busta Rhymes, Method Man/Redman, & of course, Eminem. This was so far the biggest release date of 2009. All three acts that I mentioned are veterans in the game and well respected by their peers. Another thing they have in common: They’re all over the age of 30. If you think about it, most of Hip-Hop’s elite are over the age of 30. I guess it’s no longer a young man’s game. So I was thinking, since you see a lot of lists with titles such as “25 Hottest Celebs Under 25” or “40 Richest Under 40”, why not The Best 30 Rappers Over 30? But for this list, we got set some ground rules. #1 of course is the most obvious; you gotta be over the age of 30 (That throws out people like Weezy, Lupe, Drake, & T.I.). #2, you have to be 30 as of this list (Both The Game & Joe Budden will be 30 this year, but aren’t as of yet). #3, you got to be active and releasing records with new material that’s relevant (Rakim & Big Daddy Kane are legends but they don’t make this list). Other than that, the only requirement is being 3-0 or older. So, here’s it: The Best 30 Rappers Over 30 (Ordered from oldest to youngest). 30 is the new 20! Did I forget anybody? (Update: Fabolous replaces Beanie Sigel)

Ice Cube (June 15, 1969) – 39
Jay-Z (December 4, 1969) – 39
Raekwon (January 12, 1970) – 39
Q-Tip (April 10, 1970) – 39
Redman (April 17, 1970) – 39
Ghostface Killah (May 9, 1970) – 39
Fat Joe (August 19, 1970) – 38
Scarface (November 9, 1970) – 38
DMX (December 18, 1970) – 38
Method Man (April 1, 1971) – 38
Snoop Dogg (October 20, 1971) – 37
Common (March 13, 1972) – 37
Busta Rhymes (May 20, 1972) – 37
Black Thought (October 3, 1972) – 36
Eminem (October 17, 1972) – 36
Bun B (March 19, 1973) – 36
Nas (September 14, 1973) – 35
Mos Def (December 11, 1973) – 35
Andre 3000 (May 27, 1974) – 35
Styles P (November 28, 1974) – 34
Big Boi (February 1, 1975) – 34
Jadakiss (May 27, 1975) – 34
50 Cent (July 6, 1975) – 33
Talib Kweli (October 3, 1975) – 33
Rick Ross (January 28, 1976) – 33
Cam’ron (February 4, 1976) – 33
Kanye West (June 8, 1977) – 31
Ludacris (September 11, 1977) – 31
Young Jeezy (October 12, 1977)- 31
Fabolous (November 18, 1977) – 31

About three years since his last release The Big Bang, Busta Rhymes is “back in the most immaculate way” as he would say. Back On My B.S. is Busta’s eighth official album release to date since The Coming back in 1996 and as the album title would suggest, this is Busta getting back to his old ways on the microphone that we’ve grown to love. Originally scheduled for release back in 2007 under the title Before Hell Freezes Over, lets see if it was worth the wait and anticipation.

1. Wheel Of Fortune (Intro)
Produced by DJ Scratch
After a humorous introduction to the album in opera fashion Busta wastes no time getting right into it. The mid-tempo, stutter step beat is produced by the legendary DJ Scratch who provides a backdrop for Busta to let listeners know who they should be putting their money on when it comes to the rhymes. Busta interpolates Slick Rick’s “Mona Lisa” and Grand Puba’s “I Like It” into the chorus for nice results. This introduction track or “sound check” as Busta puts it is a nice start that leaves room for more intense tracks to follow.

2. Give Em What They Askin’ For
Produced by Ron Browz
Picking up the pace of the album after the introduction track Busta enlists auto-tune producer/rapper Ron Browz for a beat to get things moving. Browz provides Busta with a beat that is banging but sounds average at best and too similar to other Browz beats. I’m not exactly sure if this is the song everybody was asking for as Busta implies in the chorus it won’t be getting much play from me listening to this album. This is an average track that could have been much better given what we have previously heard from the Busta/Browz pairing.

3. Respect My Conglomerate
Featuring Lil’ Wayne, Jadakiss, & Debbie Coda; Produced by Focus…
After a minor step back Busta gets back on track with this one, which is the album’s third single. Busta recruits Weezy and Jada as guests on this track over a pounding, menacing beat provided by Focus. All three emcees do their thing on the track and give you enough reasons as to why you should respect them and their organizations. I must say that I liked this version of the song with Wayne better than the bonus track version with Jeezy on Jada’s The Last Kiss. The Chris Robinson directed video for this song is a nice complement to the song, check that out too.

4. Shoot For The Moon
Produced by Danja
On this track produced by Danja, Busta gives us rhymes about shooting for the moon and stars. This track is a nice follow up to the previous single as it keeps things moving along. It’s not one of Busta’s best tracks, but it’s pretty good for what it is and might be motivation to some in its meaning.

5. Hustler’s Anthem ‘09
Featuring T-Pain; Produced by Ty Fyffe
Busta turns it up with this Ty Fyffe produced track featuring every artist’s go-to-guy for chorus and singles, T-Pain. This track, which was the album’s second single, is about hustling just as the title suggests and stands to be this year’s anthem for hustlers alike. Busta comes correct with his rhymes pertaining to the song’s topic and T-Pain delivers a trademark chorus as only he can. I’m not too sure if it’s good enough to be labeled an anthem for hustlers, but it’s a pretty damn good track I just don’t know if it will be as known with hustlers as songs like “Can’t Knock The Hustle” or Ross’ “Hustlin’”.

6. Kill Dem
Featuring Pharrell & Tosh; Produced by The Neptunes
This is an interesting track to hear from Busta as it definitely goes left from what we’re used to hearing from him. The Neptunes produced track hears Busta spittin’ with reggae accent (What have you started Em???) about what he does with the tools when in his grip. Tosh sounding like an exercise instructor and Pharrell assist Busta on the chorus that doesn’t sound all that great. In my opinion I could say that about the entire song in that it doesn’t sound that good and sounds like Busta is reaching. A Busta/Neptunes collaboration should have been much better than this. This sounds like a sound more suited for Pharrell with Busta guest featuring than a Busta Rhymes song.

7. Arab Money
Featuring Ron Browz; Produced by Ron Browz
This is a song that everybody should be well familiar with by now as it was released last November. This track served as the first single for the album and when it came out was the joint to play. From the term “arab money” to the song’s dance it saw the return of Busta Rhymes to the music scene and came at a time when Ron Browz was starting to take off after “Pop Champagne”. Now half a year later this song just sounds dated in listening to it and doesn’t have the same effect or flare that it once did. It’s a bangin’ joint, it’s just well past its time listening to it at this point. At this stage they could have replaced it or included one of the song’s remixes that was released. I’m surprised they had the original version on the album given all of the controversy that occurred from the song.

8. Imma Go & Get My…
Featuring Mike Epps; Produced by DJ Scratch
Wow, this track could have really been left on the cutting room floor instead of being included on the album. Mike Epps wasn’t the best feature on this track with the numbers being called out and that stupid part he does at the end of the chorus. It gets annoying that they left that part going throughout the song and the beat provided by DJ Scratch isn’t one of his best by far. Busta does his thing as usual with the rhymes and goes hard despite the weak production provided. This song could have been done a lot better but since it wasn’t it will be a track that will be skipped most of the time.

9. We Want In
Featuring Ron Browz, Spliff Starr, & Show Money; Produced by King Karnov
This track stands to be the posse cut of the album featuring the members of Busta’s Flipmode family. I understand what they were going for with this track as it talks about how it’s Flipmode’s turn to shine in the industry, but the results come out poorly. King Karnov provides a good beat for Busta to spit some good rhymes, but Spliff Starr and Show Money get outdone ultimately. This dude Show Money really needs to stop with the Wayne/Jeezy impressions he does on this track with his ad-libs, it’s really not a good look for him at all. This song could have also done without the auto-tune chorus provided by Ron Browz, didn’t even really fit good with the track. I know he’s trying to sound different with his auto-tune, but it’s the same damn thing and it just needs to die quickly.

10. We Miss You
Featuring DeMarco & Jelly Roll; Produced by Needlz
After an average track Busta doesn’t really provide anything much better on this next track. Needlz provides some average production as Busta spits about how he stays reppin’ the streets and the hood no matter where he is. Some more auto-tune chorus is featured on this track (enough already!!!) as it sounds like someone doing a Sean Kingston impression with failing results. Like I said this track is really average at best as the topic is cliché and has been done many times before and better than this.

11. Sugar
Featuring Jelly Roll; Produced by Jelly Roll
Busta decides to slow things down on this track with one that aimed towards the ladies attention. Jelly Roll does a nice job in multitasking as he provides suitable production and a chorus to match the topic and feel of the track. Busta delivers some rhymes that fit comfortably on this track and have good results overall. This is a nice track that the album hopefully continues with for the rest.

12. Don’t Believe ‘Em
Featuring Akon & T.I.; Produced by Cool & Dre
Continuing with the current trend started by Just Blaze and T.I., this is one of those motivational songs in the likes of “Live Your Life” and “All The Above” (the beat even has similar elements/chord progressions to those songs). This is song is good especially with the feature of T.I. and Akon providing the chorus, but unfortunately this type of song has been before most recently and better in my opinion by T.I. and Maino respectively. It’s still a good song overall and recommended to take a listen to.

13. Decision
Featuring Jamie Foxx, Mary J. Blige, John Legend, & Common; Produced by Mr. Porter
I remember reading the album review for this album in last month’s issue of XXL where it says this was perhaps one of his best songs yet. After listening to this track I can agree that it is one of Busta’s best retrospective type tracks and he does it in a great way with this song. Mr. Porter provides some very mournful, somber production on the track as Busta talks about the past decisions that he’s made in his life whether they were for the better or not. The inclusion of Jamie Foxx, Mary J. Blige, and John Legend on the chorus elevates this track even more. It sounds like they interpolated Musiq Soulchild’s “Just Friends (Sunny)” in the way that the chorus is sung. Plus Common dropping a memorable guest verse, it’s good to hear the classic Common that we all love on this track and not the more recent UMC Common. This stands as one of the best track on the album and is one that everybody can relate to not matter what he or she has been through in life.

14. World Go Round
Featuring Estelle; Produced by Jelly Roll
Speaking of Universal Mind Control, this track has the very same feel of a song that could have been featured on that album. From the up-tempo beat produced by Jelly Roll (not the West Coast flavor we’re used to from him) to the robot-sounding chorus provided by Estelle, Busta takes a page out of Common’s book for this song. In that essence this song doesn’t fit Busta at all and once again sound like he’s reaching. I don’t think this song should have ended the album, as “Decision” would have done that perfectly. This song really didn’t need to be included at all as it doesn’t sound like something we would expect to hear from Busta. I guess it might get play in some clubs by a DJ mixed with some Dance/Techno, but it won’t get much play from me. Nice interpolation of Eric B. & Rakim’s “I Know You Got Soul” on the track opening.

Bottom Line:
After 14 tracks, which is plenty nowadays in terms of album lengths, Busta has returned to the music scene in a strong way. There are a good 5 really strong tracks on this album, but at the same time there were more weaker/throwaway tracks included that could have been done much better. It’s those weaker tracks that ultimately hold the album back from being a much better return album rather than a just slight above average album. Busta took some steps forward in his music with tracks like “Decisions” but more steps back with tracks like “Imma Go & Get My…” that make this album not better than his previous efforts. In my opinion I don’t think this album is better than his last album The Big Bang as that album had so many consecutive strong tracks like “New York Shit”, “Touch It”, “You Can’t Hold The Torch” and “Don’t Get Carried Away”. There were only about one or two tracks that kept that album from being labeled a classic as opposed to Back On My B.S. which has too many tracks that you have to skip over to get to the good ones. Overall this is a slightly above average album from Busta Rhymes with some good songs to enjoyed along with some bad songs to be skipped. But I think this album ultimately shows that Busta really doesn’t have much more to prove in the industry in showing why he’s one of the greatest of all-time behind the mic and why people should recognize that by now. Busta Rhymes is most likely one of your favorite rapper’s favorite rapper and his 10+ year career definitely displays why. Pick up this album and support Busta as he’s one of the few high caliber rappers left in the industry opposed to this new generation coming in.

nappyPicks: “Decision”, “Sugar”, “Arab Money”, “Hustler’s Anthem ‘09”, & “Respect My Conglomerate”

Download: Busta Rhymes feat. Big Tigger – “If You Don’t Know Now You Know”

In all honesty, this album was real close to not being reviewed at all. We don’t have much information about K.A.R. (aka Kill All Rats). We know they are cosigned by Fat Joe and were featured on his “300 Brolic (remix)”. We know that, the guy who runs the label their signed to, Pistol Pete, has a reputation in the streets (He did a over a decade in jail and was on the Bronx’s “Most Wanted” list). And lastly, we know there are 4 members Mike Beck, Onez, Leader, & Rob Kash (See, I did SOME research). That’s really it. So why are we reviewing this knowing that it’s a great chance no one will care? The features. It features Jadakiss, Sheek Louch, Hell Rell, Fat Joe, Ace Hood, Sean Kingston, DJ Khaled, & Dre. That’s the main reason. We don’t even have proper production credits. Here goes…

1. Intro From Pistol Pete
The album starts of with Pistol Pete giving thanks to everyone from Fat Joe, his lawyer, his kids, and of course his haters. This is supposedly an album for people in the struggle

2. Girls Wanna Have Fun
Featuring Ace Hood
For a group that has street and jail ties, I’m surprised they started off with this song. The beat is generic and the rhymes are your standard “I got money, I’m making it rain” bullshit. The Ace Hood feature really didn’t matter.

3. Hustler
Featuring Hookmaster
Cue the auto-tune! I really don’t understand why new rappers feel that they can stand out by doing the same tired trends that have been done to death. Here’s another song about hustlin’ & grindin’ with a forgettable beat. I did hear one semi-good line that did catch my ear; “I keep that thing with me like the Fantastic Four”. I’m sure it’s been said before and don’t ask me who said it cause the K.A.R. members are kinda interchangeable (I think it was Leader though).

4. They Hate Me Man
Featuring DJ Khaled & Dre
I’m guessing that Cool & Dre produced this track. Don’t be quick to think that K.A.R. got the top notch shit. They got the, “I owe Fat Joe a favor but not a big favor” beat. The songs is about haters of course, and my skip button is broken.

5. Getting Money Money
Featuring Tony Sunshine
I can’t put this one on K.A.R. The boring beat and hook by Tony Sunshine here just kills this song from the get go. The crew shows some versatility and go to the fast flow. That hook is atrocious though.

6. Oh Baby
Featuring Fat Joe
This is the only song off this album I heard prior and the beat alone make this the best song off the album. They still don’t wow us with creative or lyrics but at this point you take what you get. Fat Joe appearance helps but also outshines the other on the track (Yea, you read that right). You can check out the video here.

7. You Could Tell I’m From New York
Featuring Jadakiss
Okay, here’s the Kiss feature. This song pays homage to the NY and it’s not terrible. It’s not gonna be the new New York anthem. The beat is generic and the hook is still subpar and even a unmotivated Jadakiss can’t save the song (He still outshines K.A.R.).

8. Guy Like Me
Featuring Sean Kingston
These guys are really going for the radio play! Mr. “Beautiful Girl” shows up to do the Jamaican themed hook and K.A.R. says almost the same shit they did on track 2. The beat isn’t that bad, but very forgettable.

9. From The City
Featuring Layzie Bone
Layzie Bone? Really? This track only has Layzie and Mike Beck on it (Who sounds a little like Cassidy). The two rappers really didn’t mesh well. I applaud trying to go outside the box, but it didn’t work.

10. This Is The X
Featuring Fat Joe & Hell Rell
I can’t front here; this track is okay. The production is dark on here gives room for all 3 Bronx representatives to rep their hometown. Even though Ruger Rell adds to the track, it’s too bad that only one K.A.R. member is featured here.

11. Serious
Featuring Sheek Louch
I do gotta admit that the production has gotten better over the past two tracks (Hooks are still bad though). The track is about how stuff in the streets gets serious. Sheek steals the show but the track isn’t spectacular.

12. What You Gonna Do To Me
Featuring Fat Joe
Here Joe Crack just does the hook and leaves the verses for the members of K.A.R. Actually the hook isn’t bad; it sounds like something 50 Cent would say sing. The production is much better here also.

13. Get Your Money Up
Featuring Jadakiss
Jadakiss has two features on this album? I’m not complaining just wondering. After listening to this verse, you can really tell Kiss wasn’t coming with his A game. The topic is kinda tired since they already did 4 songs about it. The beat is generic…again.

14. Rat Killa
Featuring Raekwon
This beat actually had a chance but they had to put that annoying bird chirping sound effect in. The Chef sounds good here though (OB4CL2 might not be that bad). And what’s the hell is up with the girl on the hook. Wack.

15. The Takeover
Original title huh? This track has K.A.R. members Leaders & Onez going back and forth to mediocre results (“My niggas dream about beef so they sleep with chrome”). The beats sounds just as amateurish with the heavy synth sound.

16. Growin’ Up In The Streets
This is the solo track by Rob Cash. I will give him props for talking about the ills of the hood (The second verse is about young girls turning into hoes). The track doesn’t grab you but I will give points for effort.

17. Get It Right
Featuring Figgaraw & Bully
This track has D-Block’s Bully and Figgaraw from K.A.R. South…wait theres a K.A.R. South? Okay. The track sequencing has me scratching my head. Nothing to write about here. It is the last track though and I’m happy to see it.

Bottom Line:
One problem that a lot of new rappers have these days is that they do not stand out. K.A.R. has this same problem. After listening to this album 4 times (You’re welcome), I can honestly say that it doesn’t leave a mark and may fall under the category of “disposable music”. If you wanna rap about the run of the mill shit that’s popular now, at least do it with some sort of creativity. The bright spots here are few and far between. This album is proof that street cred definitely doesn’t equal into good music. I do give props for anybody that has the courage to go out there and try to make music, but it’s not for everyone. UPS is hiring.

Download: K.A.R. feat. Hell Rell & Fat Joe – “This Is The X”

Sometimes I don’t mind being wrong. This is especially true when talking about The Last Kiss‘ first week sales. I would have bet money that Jadakiss’ third album wouldn’t do over 100,000 units in sales. Well, I’m happy to say that The Last Kiss sold over 130,000 copies and got the #3 spot. After being an underrated MC for so long, Jadakiss definitely deserves this. I remember watching a video of Kiss looking at his CD art and thinking, “Hip-Hop needs for Jada’s album to do well”. I also read somewhere that this is the biggest release from a New York rapper since American Gangster; if so, that’s really sad for New York. Another rapper out of New York also made a debut this week. Well, then again, do New Yorkers claim Mims? (That was not a diss; I really want to know) Mims’ sophomore set, Guilt sold around 12,000 copies and lands at #53. I know Saule Wright kinda likes this dude, and the album wasn’t  that bad, but maybe it’s time to start thinking about other career opportunities. There is something about Mims that doesn’t grab people (Read: No personality or star quality). Okay, enough of me being a jackass. Peace. (P.S. -  A few week ago I called The-Dream corny and people started e-mailing/commenting saying I was hating. I finally listened to Love Vs. Money and I thought it was terrible. What album were you guys listening to?)

#3 Jadakiss/The Last Kiss (Last Week: NA) – 134,921; Total: NA [Debut]
#9 Prince/Lotus Flow3r (Last Week: #2) – 66,492; Total: 234,950 [2 Weeks]
#15 Keri Hilson/In A Perfect World… (Last Week: #11) – 32,713; Total: 164,340 [3 Weeks]
#17 Flo Rida/R.O.O.T.S. (Last Week: #8) – 31,744; Total: 87,100 [2 Weeks]
#20 UGK/UGK 4 Life (Last Week: #6) – 26,304; Total: 102,904 [2 Weeks]
#24 Beyonce/I Am Sasha Fierce (Last Week: #21) – 24,400; Total: 2,073,900 (2x Platinum) [22 Weeks]
#25 The-Dream/Love Vs. Money (Last Week: #18) – 23,700; Total: 295,200 [5 Weeks]
#27 Jamie Foxx/Intuition (Last Week: #23) – 22,200; Total: 830,400 (Gold) [17 Weeks]
#30 T.I./Paper Trail (Last Week: #24) – 19,500; Total: 1,877,600 (Platinum) [28 Weeks]
#48 Bow Wow/New Jack City Part II (Last Week: #16) – 12,900; Total: 43,800 [2 Weeks]
#53 Mims/Guilt (Last Week: NA) – 12,411; Total: NA [Debut]