Fat Joe is a Hip-Hop pioneer in his own right, having put YEARS in the game, rapping with some of the illest MC’s out (D.I.T.C), and he had a couple of protégés under his wing (Big Pun, Remy Ma). But times have changed and so has his crew. Long gone are the days of Pun, Remy is doing a bid, and Joe has been in a public skirmish with 50 Cent years. Joe has not given his fans that “personal” album that they have been waiting on. This is the year of sequels (Blueprint and OB4CL2); will Fat Joe’s be considered on that list of “New Classics”? Let us find out!

Winding On Me
Featuring Lil’ Wayne & Ron Browz; Produced by Ron Browz
Fat Joe didn’t take long going after the younger club crowd with this one. This shouldn’t be a surprise considering this is the same guy that brought you “Lean Back” and “We Thuggin’”. I know people give Ron Browz a hard time, but I kind of like this song, maybe the Wayne feature helped. This beat sounds similar to “Pop Champagne” but the club crowd will still eat it up.

Joey Don’t Do It
Produced by DJ Infamous
The production on this song is SICK! I’m pretty sure this is a sample from some Doors Hendrix song, (guessing) but DJ Infamous did his thing on the track. I can’t sit here and act like Joe didn’t do the production any justice, he did, just wish the song would have been longer than 2 minutes.

One
Featuring Akon; Produced by The Inkredibles
It seems to me that every song Akon is featured on sounds the same. This is Fat Joe’s ode to keeping it real with ONE woman. I can dig it; I just don’t like Akon on the track. WHY? They could have gotten a legitimate R&B singer to do what he did on the song.

Aloha
Featuring Rico Love & Pleasure P; Produced by Rico Love
I guess Joe is keeping up with the ladies with the last two tracks. On this track it sounds like Joe is endorsing TRICKING. I really don’t like the featured artists on the song, they could have been left out, and maybe been replaced with Ne-Yo.

Put You In The Game
Featuring T-Pain & OZ; Produced by Schife, G-Boi, & Joe Boom
Three straight songs aimed at the females? This one is executed better than the previous songs with T-Pain on the track. What stands out to me is the production. The bass will have the sound systems working overtime. I can see know this will be a favorite by the females.

Congratulations
Featuring Rico Love & T.A; Produced by Eric Hudson
I like the feel on this song, but this might not be a crowd favorite. This production is simple, but sometimes simplicity makes good songs. The hook is on some “Empire State of Mind” or some Kanye influenced music. Whatever you want to call it…I’m feeling it.

Porn Star
Featuring Lil’ Kim; Produced by Jim Jonsin
Only two people could have done this song, Trina or Lil’ Kim. They have the latter on the track. Joe breaks out the Auto-Tune for this one, and to keep it 100 with you, I don’t want to visualize Joe doing the dirty. I’m not sure about this one; I can’t give it a co-sign.

Cupcake
Featuring Benisour; Produced by Schife
Now Joe is going back to his Young Jeezy roots. I know this is what is hot in the streets right now, but certain things Joe is too old for. This is one of them topics. I don’t want to hear 40 year old rappers talking about moving work. Leave that to the new cats out there, you better than this Joe.

Ice Cream
Featuring Raekwon & T.A; Produced by T-Weed
This is the song I have been waiting for from Joe. The production on this one is Johnnie Walker Black SMOOTH. Once again Joe’s subject matter is going at the females, which is okay, but the production makes up for the questionable subject matter. Raekwon doesn’t sound too enthused about rapping on the track, but maybe that is the way he sounds.

Okay Okay
Produced by Andrews “Drew” Correa
Joe has gotten some good production on this album, and he didn’t waste the opportunity to make decent songs. The only problem I have with this one is the hook. Joe could have done much more considering the subject matter and the production. The song is still FIRE though.

Blackout
Featuring Swizz Beatz & Rob Cash; Produced by J Buttah
It’s kind of funny seeing Swizz featured and not behind the boards on a song. This time Swizz does his best to get the crowd amped on this one. The beat will have all the girls off the dance floor, and nothing but the LIVE NIGGAS will be left standing. Joe definitely mixed some South and North on this one. DOPE.

Music”
Featuring Cherlise; Produced by DJ Infamous & Slick
FINALLY, Joe gives a song that lets us into his life. Joe doesn’t understand that he is a likable guy that his fans really don’t know him. Joe drops some gems on this one, “They say Joe too selfish, he won’t let us in the door/I say, Shit, I could’ve left Pun in front of that store/Could’ve left Remy Ma ass in Castle Hill/Where every other day another nigga get killed?/They say, What’s Cool without Dre?/I say, Shit what if them niggas never met Jose?/LV was a great DJ/Now he produced “Roc Boys”, headed for a Grammy/What if I would’ve told Khaled to stop buggin’ me??He’d probably never be president of that company/Shit, you probably would have never heard the movement/I ain’t gotta talk, I ain’t gotta prove shit/Scott Storch was the best, they kept sleepin’ on him/’Cause he’s a white boy, he kept ghostbeatin’ for ‘em/Dropped “Lean Back”, and that shit hit/And guess what? I made the nigga rich, cocksuckers.”

Bottom Line:
Joe still didn’t give us THAT album that we wanted, but don’t let that sound like this album is a failure. I don’t know what album Curly was listening to, but this one is ABOVE AVERAGE. Joe did go at the ladies on a third of the album, but seeing what his recent successes with the singles have been, I can’t fault that at all. I really don’t believe he had any major slip ups, just some questionable features, but the songs I felt weren’t the strongest were some of the songs aimed at the ladies. All in all, Joe can be happy with this release, and with the right timing with the singles, he may come home with a Gold plaque.

nappyPicks: “Winding On Me”, “Joey Don’t Do It”, “Congratulations”, “Blackout”, “Music”

Download: Fat Joe feat. Cherlise – “Music”

Download: Fat Joe – “Hey Joe” (”Joey Don’t Do It” Original Version)

When most people hear the name Mike Jones, they say ,”Who?”. They’re either in on the joke or they have no clue who he is. When I heard Mike Jones went DOUBLE platinum off of his debut studio album Who Is Mike Jones?; I found myself not saying “who” but more like… WHAT?! And Lil’ Jon was nowhere in sight.

Granted, he came out at an awesome time for the Texas scene. Paul Wall, Slim Thug, Lil’ Flip, Chamillionare, and himself were tearing up the charts and the radios. It had to be considered a banner 2004-2006 for anything Texas at that time. Of all the names mentioned, I just can’t quite put my finger on how Mike Jones did so well. I can name redeeming abilities from every other rapper mentioned, but I can’t help but look at Jones as a spirited tag-a-long with an infectious gimmick [Can’t knock the hustle. If repeating your name gets you 2 mil sold, well…….].

I’ll give him his credit, his obnoxious flow makes for a good party song and it’s catchy in a simple way. However, he stumbles hard whenever it’s time to turn the swag switch off and hit on some other subjects. I liked “Back Then” and “Still Tippin’” as much as anyone and recent features have shown growth in his flow. Can he prove he’s more than just some catchy singles? From what I’ve heard about the track “Mr. Jones”, he may very well shock us with some lyrical content yet.

Recent interviews and even his own intro suggest that Jones is looking to shock some folk with his latest offering. So after the delays and drama leading to the release of The Voice, 4 years removed from his debut, is Mike ready to show the game something different so less people ask who he is? I certainly hope so.

1. Intro
Not even a track. Mike gives himself a pat on the back for his platinum plaque and already begins the hype train for Expect the Unexpected, a future studio album [ALREADY?!] coming soon. Quick shot at his haters and we lead in to the first real song of the album. Quick 48 seconds, has no real weight on the album one way or another. Was the mixtape DJ echo REALLY necessary though?

2. Swagger Right
Produced by Big E
Mike’s in his element right here; boasting, bragging, and taking shots at current and past haters. The beat is a mix of synth, Three 6 Mafia style drum rolls, and the commonplace repeated sample hook.

Good way to start off the album on a head nodding note, just don’t expect anything out of the ordinary from Jones. His usual “who?!” gimmick, speaking on lean and bling, and lets not forget the repeat of the verse he just dropped. Still a fun track regardless of the clichés and not a bad opener for the first song.

3. Houston Oilers
Produced by Mike D
I’m sure I don’t have to tell you the oil he’s referring to. Clever. Too bad the song’s not quite that. The beat has a space age feel to it with a hook that repeats “I’ma Houston Oiler” multiple times. He screws his voice for a few of the punchlines, but this song would have been a prime candidate to be screwed and chopped; to add to the disorienting vibe is trying to give off. Jones is doing way more repeating than rhyming on this one, with the rhymes he does spit not being all that memorable. Average track, dying to be more than it is.

4. Boi!
Featuring Young Problemz; Produced by Dat Boy Chyco
I could imagine the conversation when they made this song.

Mike: Ay, you know that song “A Milli” by Wayne?

Dat Boy Chyco: Ya mayne, that shit’s raw. What about it?

Mike: I’m wanting that, but without the Bangladesh price.

Songs like this make me realize the effect “A Milli” had on the rap game. It seems like every rapper is trying their own version of the Grammy-winning single. I must say though, this is definitely a bright spot for the album and tailor made for Mike Jones style of flow. The repeating “Boi, I got so many” may sound out of place when it starts, but fits like a glove as the song powers on.

Problemz bring good energy to the track, this being my first time hearing them. The first member especially starts this track off on the right note as everyone looks to match up. Jones drops merely a verse, but sounds confident and even drops a Kid Cudi metaphor for good measure(!). If you can get past the glaring similarities to “A Milli”, furthered by the Wayne allusions they drop throughout their combined lyrics, you’ve got a banger waiting to happen right here.

5. Cuddy Buddy
Featuring T-Pain, Twista, & Lil’ Wayne; Produced by Jim Jonsin & Bigg D
T-Pain anchors the hook here, a breeze for him at this point in his career, with solid flows by all the players involved. Unfortunately, Jones weaknesses are further accentuated in such good company; it’s criminal to compare and contrast verses, but in the interest of fairness….

Jones’ verse….
“Even though she (got a man)/
She already (Known the plan)/
She already known the deal, known the deal/
Known the deal, known the deal/
Even though I’m chubby chubby/
Your chick/
She loves me loves me/
She might be with you now but/
She’s still thinking of me/
Yall out there makin love/
I couldn’t make em love me/
In the back of the lap with it/
Just … that!”

Wayne’s verse….
“I make her hollar like when/
Mama brought her into the world/
Like I’ll let him buy you dinner tonight/
Then at the end of the night,/
You’ll be my dinner tonight/
You see he dark, you always dim in his lights/
And that girl wanna shine/
I bring her into the light/
Wa la!/
I become her Ala and I swear/
That thing feel like la, la, la/
And since he feed her lies,/
I’ll be her dessert on the side”

-Shakes head-. Crazy isn’t it? Not that Wayne hasn’t made a point of ripping other people’s songs, but it’s not even close on this. Twista has a worthwhile verse as well. It’s songs like these where Jones’ wants to branch out, but lacks skill to really own the track. He can’t use the same style he uses on say, “Swagger Right”, which he does on something like this. Jim Jonsin delivers another syrupy-smooth beat with assistance from Bigg D. Jonsin has been on a roll lately. This beat in particular I could see being used for early 90’s new jack swing groups.

Enjoyable, definitely for the ladies; Jones weaknesses are crystal clear given the excellent features chosen here and it’s dangerous to let that happen.

6. I Know
Produced by Pretty Todd; Featuring Trey Songz
Obligatory “holding your man down” song. Trey provides an enjoyable hook here; good emotion. The beat is okay, nothing truly standout about it and Jones runs through the usual “thanks for standing by me, baby” lyrics. “21 Questions” this ain’t. This suffers from Jones being…well…Jones. He’s got the same emotion, tone, etc pretty much every track. If she’s all that, act like you care eh? You’re not missing anything here by any means. Well, except Jones bringing “tenderoni” out the mothballs….[It’s due for a comeback, I say!]

7. Drop And Gimme 50
Featuring Hurricane Chris; Produced by Mr. Collipark
What can I say about this song? This song isn’t really about lyrical content, the ladies and the gents know that. They got the right man on the beat and the combined energy of Hurricane Chris and Jones makes for a proven club banger. What they lack technically, they make up for in spades with command over this catchy party track. All you can really ask for on a joint like this and definitely gets the party jumping. Easy thumbs up.

8. Give Me A Call
Featuring Devin The Dude
A light beat accented by a modest drum roll. Devin The Dude amazes me with how smooth his flow is, yet keeping it so raunchy and gritty. His adaptation to the subject matter and beat is a sight to behold; unfortunately, this is not his song alone. Jones at least sounds inspired for the track, but comes up short in the creativity department. Again, his feature outclasses him, showing him how to own a track that Jones barely gets a handle on from the start. Worth it just to see Devin cut loose, otherwise, skippable.

9. Happy Birthday
Produced by Mike D
-long pause-

I was trying to think of the best way to describe this track. A full write-up would be just too much. I’m going to turn in as much effort as Mike Jones did on this track. Two words can sum this…thing that claims to be a “song”.

Hot. Garbage.

The beat may have had a chance, but it is dragged into a void of sheer wackness by Mike Jones’ uninspired flow. The first 5 seconds, you want to like it, and you slowly realize you’re listening to auditory bullshit that should have never made the album. I hate to be venomous, but DAMN, this track is sorry. Possibly a contender for worst song of 2009. If you’ve got one worse, I’d love to (not) hear it. AVOID AT ALL COSTS.

And for Mike Jones’ supporters. Download it. YouTube it. Whatever. Listen to it and HONESTLY tell me it has redeeming value OTHER than the beat? If you can do it with a straight face, you should be in politics. Next.

10. Next to You
Featuring Nae Nae; Produced by J.R. Rotem
Rotem does it again. I like this beat, a number of artists come to mind that could have done wonders with this beat…..Mike Jones is not one of them. Admittedly, his words aren’t so bad this time around (for him)….

“I aint tripping about the lime light/
cuz when im with my shawty/
She keep my mind right/
When we up in the mall/
She feel up shopping bags/
She love to pop them tags/
She love to drive the jag/
Whenever we alone/
She throw away my phone/
Cuz she dont want no interruptions while we going strong/”

Again, we suffer from lack of emotion or change in tone really. He’s not as LOUD as usual, but just not hearing the care in this track. Again, we’re going through the motion. Nae Nae reminds me of Nivea in regards to her voice and she shoulders her part on this track. Given a rapper with more squabbles [T.I., Slim Thug, Bun B, even Plies] this could have been a standout. This is a hard average and again, this is squarely on Jones. Not liking that trend.

11. Swagg Thru Da Roof
Featuring Swole; Produced by Swole
Swole does a Swizz Beats and not only produces but takes up hook duty on the vocodor, and he definitely adds to this classy number. I love how upscale this beat sounds. Jones keeps his verses brief, filled with compliments for his lady. Even while leaning on his “who” gimmick, it can’t kill the feel good vibe this one gives off.

This is actually a case all around of a “big ups to your lady” track done correctly. Pleasant surprise and peep Swole hitting a “Computer Love” high note towards the end. Thumbs up. This look to be a single I believe and if so, good choice.

12. On Top Of The Covers
Featuring Essay Potna; Produced by Essay Potna
Is there an unwritten code that rappers HAVE to use vocoder/autotune? What can I say…it’s Mike Jones on the vocodor. It’s definitely an experience to say the least.

Was not a fan of this song at first, but it grew on me. He tries to channel Wayne, especially with his emphasis on certain words, but Jones is no Wayne of course. I will say he doesn’t make a fool of himself on it, but still suffers from verse repetition. Absolutely love the Pimp C sample used in this one and Essay’s Southern drawl gives him a unique sound on the hook. Not quite as good as Swole’s producer/hook turn in the song prior, but good. Worth a listen, this one will be an acquired taste though.

13. Scandalous Hoes (Skit)
Why he felt the need to explain a track named “Scandalous Hoes”, I’ll never know. Unnecessary. We could’ve took this time wondering why Rakim hasn’t made another album. Or if Crunk Rock is EVER going to hit shelves….I wonder…..

14. Scandalous Hoes II
Featuring T-Pain; Produced by Kojack
Standout. Among the best on this album. Mike Jones actually bothers to turn in some good storytelling on this number, with T-Pain providing smooth backup. Pain isn’t a favorite of mine, but he definitely adds more to tracks then he does take away. Kojack laced this one up properly and this is a fitting sequel to the original from Who Is Mike Jones?; where the original also stood out from the pack as well. This is a matured flow for Jones and I would have enjoyed more like this. Definitely a keeper.

15. Hate On Me
Featuring Tanya Herring; Produced by Mike D
We slow things up for a surprisingly reflective track, Mike D turning in another solid beat. Shame one of his contributions is going to be associated with a terrible track. This however is a hell of a redemption song and Mike AGAIN comes with the storytelling(!).

No verse repeats. No “who”’ing. And he saves the name repeating until the end, which is excusable. Mike merely explains where he comes from and asks why he receives the hate he does. I probably could give him a few reasons musically, but tracks like this really make you want to lighten up on him. Lovely track to help bookend this album and he needs more like this if he ever wants credibility. Not as reflective mind you, but at least as assured and steady as this one.

16. Grandma II
Featuring Kai; Produced by Amadeus
Another sequel on this album. Jones switches between some light verses and spoken word, Kai crooning in the background. Her voice is fine, but she lacks a quality that takes the song to greater heights. The beat is inoffensive, but also suffers from lacking a sizzle that takes it to another level; especially with the subject matter at hand. Sadly average, was hoping for more.

Bottom Line:
Mike Jones made a half promise. He did do some unexpected thing. Many of them not well thought out from what we have here. Mike Jones is the kind of rapper with limitations and his producers as well as himself should know what they can do and can’t. If you CAN’T do it, work at it. Your sophomore release is not the time to experiment without due practice. Biz Markie and Luke are two examples of beloved artists who had limits and just made it work within them. Either learn that or work harder to adapt.

When Jones sticks to his bravado filled bangers and high energy tracks, he’s in his element. It’s not a deep ride, but enjoyable nevertheless. Unfortunately, he tries to often to create “for the ladies” tracks that fail to hit the mark and only make it to the finish line thanks to strong features. It’s a definite problem when you think about who else could have ripped beats bestowed upon Jones while listening to HIS album. I appreciate the risks taken and he does some in the proper places like “Swagg Thru The Roof” and “On Top Of The Covers”, but his stumbles are glaring and frustrating. Must I speak on “Happy Birthday” AKA “The Song of Which We Do Not Speak”?

I wanted better for this, especially after the good word of mouth he’s been earning and getting a club buzz off of “Drop And Gimme 50″, but we’re still seeing the same problems and clichés from the last 4 years from Mike. There’s heat here that keeps it from reaching bottom of the barrel levels. Unfortunately, when you’re already the weak link in a strong Texas lineup, you better deliver and this was not it.

There’s no Houston hype-nitis [Limewire Canibus, he’ll explain it.] to cover for him this time and if this is any indication of what Expect The Unexpected brings; I’d rather not. The Voice is an unfortunate example of what happens when the gimmicks get old and you refuse to step your game up.

All it gets you is WHAT?! MEDIOCRE.

WHAT?!

You didn’t hear me the first time? –shakes head-

nappyPicks: “Swagg Thru The Roof”, “Scandelous Hoes II”, “Boi”, & “Swagger Right”

Download: Mike Jones – “Swagger Right”

Mims. A pioneer of the “ringtone” rapper hustle. The war still rages on now; either you’re trying to move an album or you’re banking on Platinum ringtone/digital single sales; with the latter looked at as adding further to the unnecessary commercialization of the art.

I call Rida, Flo and Tell Em’, Soulja Boy to the stand. I digress.

I like Mims. If anybody caught some serious hate, especially in my Southern stomping grounds, it was the artist I’m reviewing at this moment. “This Is Why I’m Hot” was loved or hated, but the success that surrounded the song could not be denied. “Like This” failed to garner much steam and Music Is My Savior sold modestly, leaving Mims hanging in one hit wonder limbo with J-Kwon [Man was “Hood Hoppin’” a hit or what? –end sarcasm-] and Rich Boy.

Many dismissed him based on “This Is Why I’m Hot” and downed his basic, yet more than meets the eye flow. Taking a chance and listening to his last album, which had stumbles admittedly; I noticed there was promise underneath the mountain of hate he was buried under. Mims is a student of the game, with an obvious passion in his rhymes about Hip-Hop and music in general. The package is there, but can it be displayed? Can Guilt dispel the unevenness from the last album and distance his image from that of a ringtone royalty?

1. Guilt
This I wouldn’t have chose this to intro the album, although I understand WHY he chose it. A laid back, bluesy beat is laid down for Mims to rap about his issues (vaguely) with the rap game and his image in general. Try as he might, Mims is not Jay-Z and just doesn’t pull off that “reflective opening” style like Hov has perfected album after album. Too by the numbers and not enough emotion to make me believe what he’s saying, despite a steady flow.

2. The Skit
Produced by Da Internz
I enjoyed this. Merely a skit, but so original. It’s a conversation in a barbershop between a customer and rap “enthusisses” Murder Death Kill AKA MDK proceeds to say every hate I’ve heard about Mims since his debut 2 years ago and it’s refreshing that a rapper would willingly let himself get ate up, with pretty much no get back by the end of the skit. It shows confidence. Also goes a long way that “The Skit” is actually funny.

3. On & On
Produced by Da Internz
Enjoyable. The beat reminded me of ”Roses” by Kanye West, but distanced itself as it continued in a major way. It suits Mims laid back flow as he explains what he’s about in the rap game, answering a few questions along the way. This could have led the way easily, showcasing Mims rapping HIS style with an original beat that compliments.

4. Love Rollercoaster
Featuring LeToya Luckett; Produced by Da Internz
The obligatory relationship problems rap. Nothing really standout about this track, and by the numbers tracks like this do not help Mims at all, considering he’s still trying to flesh his style to begin with. LeToya brings it for her verse towards the end, but the material is so “been there, done that” on her part and Mims, it becomes an easy track to pass on. You’ve heard this done better elsewhere.

5. Move (If You Wanna)
Produced by Da Internz
NOW we’ve got something. This is the first single they released and for good reason. A little bit of chop and screw, heavy drums and bass, and Mims slides in and out of the beat with ease. This also marks the track where he FINALLY brings the punches and wordplay that won me over in spurts with his last album. For example…

“Don’t understand how can I have so many ha-ters /
Knowin’ I’m their father like my name is Darth Va-der /
I can get you hemmed up while I’m bein tay-lored /
Then I slide off to the side like a fa-der /
HOMEY I’M THE PRESIDENT, GOVERNOR AND MA-YOR!!! /
I CONTROL EVERYTHING, LIKE A DIC-TATOR!!! /
GET YOU BIZ MARKED UP, TURN YOU INTO VA-PORS!!! /
IF YOU GOT A PROBLEM GET YOU SWALLOWED LIKE A CHA-SER!!! /”

Tracks like this prove people are catching too much sleep on Mims. Money in the bank, and I’m not talking Swizz.

6. One Day
Featuring Ky-Mani Marley
WHY?! Ugh. I hate a bad song. More than anything, I hate a song that could have been great, but little things destroy it. Marley has a wonderful feature and the beat is well done, easy on the ears. Then here comes Mims using the new fad of the rap game, Autotune. It does his voice no favors and completely kills what could have been another solid number on this album. He would have been better suited without it or perhaps spitting as opposed to taking that kind of risk. Disappointing.

7. Chasing Sunshine
Featuring & Produced by KVN
I’m noticing Mims is striking gold on these beats featuring real instrumentation. The guitar, piano, and ESPECIALLY the violin portions elevate this song to must listen status. This is the reflective number he should have aimed for with Guilt. The emotion is dead on and features better storytelling. It only helps that the beat evolves with Mims as he experiences highs and lows on his memories. KVN’s feature is understated, slowly growing on you as it continues. He’s not meant to overpower the track and you realize this as it soldiers on. I believe him on this.

8. Rock ‘N Rollin’
Featuring Tech N9ne; Produced by Jim Jonsin
We slow things down here, as Mims makes sure you catch every rock related metaphor he’s prepared to throw at you. This track is definitely blazing if you can follow all of the references. A section if I may…

“Find me at Linkin Park with a Motley Crue /
You say you know the what but you do not know The Who /
Pay attention you could miss it if you Blink 182 /
And me I’m the one, just like I’m U2 /
Unforgettable fire, burning like the Wailers /
My life’s a motion picture, and this is just the trailer /
My suit’s a perfect fit just like it’s tailored /
Fuck her like an animal, I Nine Inch Nail her /”

And what a surprise on the feature! Tech N9ne drops a comfortable verse on this one, this kind of style made for his left-field flow. The metaphors alone make this worth the listen. The best isn’t particularly special, but the wordplay was meant to overshadow that anyway.

9. Be My Hustla
Featuring J. Holiday
Aside from Codeine related hook; pretty average stuff here. Holiday has never had a strong presence on a track voice-wise from what I’ve heard, leaving this void of a standout quality. Mims isn’t really working to provide that moment either; professing his love over the subject of this song with the usual drug related references. Again, Mims is not at his best when he’s trying a cliché style. It hurts him due to other rappers doing what he’s trying to do, but better. Inoffensive track, but easily forgettable

10. Makin’ Money
Produced by Da Internz
Whoever tailored this beat is an obvious Swizz Beats fan. Distorted sample hooked over and over, the usual “Hey”sample as it builds, and party drum patterns. Sounds like a rough cut of “Money In The Bank”. Mims hops on no problem; pity he’s not really saying anything out of the ordinary. He also falls victim of a few recycled metaphors from previous tracks. Not a bad track actually, just lacking. This easily could have found b-boy or club banger status with more fine tuning on production and the lyrical content.

11. In My Life (Why Oh Why)
Produced by Da Internz
Firmly in the “aight” category. He spits about taking risks and challenging himself in life for the blessings he has received. Oh the irony, because I’m not quite seeing enough of it on this album. Despite that, not a bad song here. I think they were aiming for an epic feel on the beat, but couldn’t quite nail it. This won’t hold a candle to the hottest tracks on this album, but this definitely has a place.

12. One Last Kiss
Featuring Solar Mesh
The strongest track of this album. Only “Move” could come close. Original, layered, emotional. The beat is never syrupy and drips of originality, yet stays grounded in enough hip-hop root not to lose you. Mims speaks on how he wish his mom could be here to see the things he has accomplished/has yet to accomplish, his love pouring through on this standout. Solar Mesh holds the hook together with passion in his voice, with just enough produced distortion to keep the song’s impact intact.

This is the fire I know Mims can create when he tries. He takes enough of everything and grounds it with his assured style to create a style that is his own. Listening to this, you can’t help but wish you had that one moment to tell someone, alive or dead, how much they mattered or how they affected you for the better. You won’t believe you’ve been listening to the same artist when you hear this. Thumbs way up.

13. Heal Me (Outro)
Featuring Soler Mesh
Solar Mesh follows up his supporting role in the previous track with another strong turn in this piano and drum rooted track. Mims seeks forgiveness and repentance for his sins, knocking out an extended verse in the middle of this short track, book ended by Mesh’s passionate voice. Short, to the point, and it never find the time to drag. Can’t knock that.

14. I Do
Featuring Nice & Smooth
The closer. A somber beat with enough energy to tap your feet to. This would be another track professing his love, but he accomplishes it in a way so that it’s candid, yet not alienating the listener. Nice & Smooth add to the track with singing and some Fatman Scoop style hyping, but I don’t see how their feature took it to another level. Not a bad way to close and again, this track finds Mims in his element of blending many styles to create one he can comfortably flow in. This must continue.

Bottom Line:
Mims drives me insane. He’s in that rare league with a guy like Cassidy where it just doesn’t come together when it needs to. He possesses talent that is beyond his ringtone rapper label and it shines through on tracks like “Move” and the especially brilliant “One Last Kiss”. What is holding him back from paving his own style? Every time he tries it on this album, it creates something special that set him apart from the pack. Then he decides to settle into the “safe’ topics and clichés of hip-hop and completely loses the steam he’s created. Uneven is the best way to describe this offering from the DC native.

Even when he stumbled on One Day by using Autotune, it took that to destroy what could have been another hit. I can’t knock a playa for taking risks you know? The problem is, he didn’t take enough of them to cement what Mims is about. Guilt is an album that could rise above and beyond, but chooses to take steps back, afraid to soar in a time where originality counts for so much in the rap game. That’s sad, because this really could have been the album that erased layers of the hate he receives. Now it’s just a lyrical lesson in weeding through average to get to the cool.

nappyPicks: “One Last Kiss”, “Move”, “Chasing Sunshine”, “On & On”, & “Rock ‘N Rollin’”

Download: Mims feat. Solar Mesh – “One Last Kiss”

I said this before, but I’ll say it again: If I had to choose my favorite rapper out of Houston, it’s a good chance it might be Slim Thug. No disrespect to Scarface, Bun-B, or Pimp C (All are legends; Two are also technically from Port Arthur, Texas). Didn’t his verse & hook help lead the way for H-Town on “Still Tippin” (A song that basically introduced the rest of the country to Houston Hip-Hop). Maybe it’s that I feel that Slim Thug never really got the shine he deserved. In 2005 when Houston Hip-Hop was really booming, Mike Jones, Paul Wall, Chamillionaire, & Slim Thug were all at the forefront and all released albums. The only one out of the group to not receive a Platinum plaque was Slim. While Slim Thug’s first album Already Platinum did eventually go Gold, the album’s sound didn’t exactly scream Houston and was heavily produced by The Neptunes (Well, he was on their label, Star Trak). After releasing two albums with his crew Boss Hogg Outlawz in the past few years, Slim Thug is finally back with his new album Boss Of All Bosses.

1. Boss Of All Bosses
Produced by Terry “T.A.” Allen
Slim Thug starts the album over a grand sounding intro. He goes in about such things as people stealing his style, his grind, and how he’s gonna keep talking about his cars. Thugga’s voice and delivery is what gets him over and it shows here. He had the whole “boss” thing wrapped up until Ricky Ross came on the scene. Damn you Ross.

2. I’m Back
Featuring Devin The Dude; Produced by Mr. Lee
As soon as I hear this song I shake my head. It’s not really Slim Thug’s or Mr. Lee’s fault. This song is not bad at all; it’s actually good. It’s just that I already heard the original version produced by Dr. Dre and it’s way better than the one here. This reminds me of what happened to Thugga on “I AInt Heard Of That” (Where the original version featured Jay-Z). The song is basically Slim Thug’s reintroduction into the game with another one of my Houston favorites Devin The Dude. (Shout out to Pitbull in the forums)

3. I Run
Featuring YelaWolf; Produced by Jim Jonsin & J.R. Rotem
This was the first single off the album and personally I would’ve gone with another choice. I’m not feeling The Flock Of Seagulls sample. It’s does make me think about Grand Theft Auto: Vice City. I guess that’s cool.

4. Show Me Love
Featuring & Produced by Mannie Fresh
I haven’t been feeling Mannie Fresh’s most recent productions, but I didn’t mind this one at all. By the title you should already know the subject matter: showing off & flossing. This is Slim Thug in his element. Mix that with Fresh delivering the hook over party ready beat and you have a success.

5. Smile
Produced by Jim Jonsin
Jim Jonsin returns with his second production off this album with better results. Even though Slim basically talks about haters and how their women want him, the beat really gets this song over. It wouldn’t surprise me if this turns out to be the second single.

6. Top Drop
Featuring Paul Wall; Produced by Ke’Noe
Slim Thug keeps a Houston tradition and makes a song about his car (Complete with a Screwed Up hook). Producer Ke’Noe gives Thugga a good track that plays well with the subject matter, but the song as a whole is average. Paul Wall…just does Paul Wall (Is it me or does all of Paul’s verses sound exactly the same).

7. Thug
Produced by Mr. Lee
This song samples Eazy-E’s “Eazy-Duz-It” (Michel’le’s part to be exact: “He once was a thug from around the way”). Slim Thug rhymes about keeping it thug: “Real trill niggas, let me see your hands. I do this for the streets I ain’t trying to make you dance” The beat is well produced and makes a good use of the sample even though I can see how it can annoying.

8. Leanin’
Featuring UGK; Produced by Mr. Lee
Being that Slim Thug is from Houston, its Texas state law that he haves UGK on his album. I’m a UGK fan but for some reason this song struck me as boring. Its definitely the style of music that done in Houston (Maybe I’m not feeling it because I’m not from there).

9. My Bitch
Produced by Mr. Lee
Here Mr. Lee flips “Faded Pictures” by Case & Joe to good results. Thugga goes over the standards of having a “down ass bitch”. This is certainly not original and clichéd as shit, but over this infectious beat it’s a guilty pleasure.

10. She Like That
Featuring Killa Kyleon; Produce by Mr. Lee
Another song for the ladies huh? The last song was a guilty pleasure but this one is just painful. I think they tried to cover all the rap stereotypes here (Talks of “ice” and a girl liking his style). They even threw in Auto-Tune for good measure. Pass.

11. Associates
Featuring J-Dawg & Z-Ro; Produced by Mr. Lee
Here’s another subject matter that’s on a lot rapper’s albums: friends turning to enemies (back stabbers, snakes, rats, “frenemies”…you get the point). The song really doesn’t do anything noteworthy. J-Dawg sounds a little like Daz and Z-Ro’s trademark singing on the hook fits. And is it just me or do rappers always use electric guitars when talking about this subject. Average track.

12. Hard
Featuring J-Dawg & Scarface; Produced by Bigg Tyme & J-Moses
This song starts out awkward; which is sad because Scarface starts it off. I think it’s how they placed the sample. I also don’t understand why J-Dawg is on back to back songs. I know he’s part of Boss Hogg Outlawz but still. The song deal swith growing up hard and the end results is another average song about this topic.

13. Welcome 2 Houston
Featuring Chamillionaire, Mike Jones, Bun B, Paul Wall, Yung Redd, Lil’ Keke, Z-Ro, Mike D, Big Pokey, Rob G, Trae, Lil’ O, & Pimp C; Produced by Mr. Lee
Damn. Now this is way to end an album. Slim Thug puts on for his city to the fullest and gets some of Houston’s finest to lend verses to the song. This makes me want to sip on some purple lean, jump in my candy painted Cadillac, and listen to DJ Screw while crushing down the north side of Houston. Since I don’t do or have any of these things, I guess I can just say I like the song.

Bottom Line:
Even though there were times when I really enjoyed this album, I still can’t give it a 4 Star rating. Some tracks were good while others felt like filler and paint by numbers. The beat were good while Slim Thug has a good delivery and a unique voice but he doesn’t really go further that his usual cars, women, money, & gangsta script. I understand about establishing his sound but you can do that while giving a peek that there’s something more. The win here is that this album is more representative of Slim Thug than his first album Already Platinum and I’m sure this one will make Houston proud.

nappyPicks: “Boss Of All Bosses”, “I’m Back”, “Show Me Love”, “Smile”, “My Bitch”, & “Welcome 2 Houston”

Download: Slim Thug feat. Chamillionaire, Mike Jones, Bun B, Paul Wall, Yung Redd, Lil’ Keke, Z-Ro, Mike D, Big Pokey, Rob G, Trae, Lil’ O, & Pimp C – “Welcome 2 Houston”

Bonus: Slim Thug feat. Brisco, Red Cafe, & Maino – “I Run (I-95 remix)”

Bonus: Slim Thug feat. Devin The Dude – “I’m Back” (Orginal Version Produced by Dr. Dre)

Soulja Boy Tell Em’ seems to get a lot of hate in the game: when he first showed up on the scene with a record-breaking single that was catchy enough to get him a Grammy nomination AND sold 3x Platinum; people immediately had their opinions of him. All the teenagers were doing the dance and bopping their heads to the beat, while all the older folks were complaining. Who did this kid think he was? Even Ice-T, a legend, went out of his way to tell Soulja Boy to “eat a dick”. Well, now that Soulja is in the game, the next goal is to STAY there. Let’s see if he can avoid the sophomore jinx.

I’m Bout Tha Stacks (Intro)
Produced by Drumma Boy
This is a straight up-banger to start the album off. Not bad, I wouldn’t expect anything else from Soulja Boy. First thing you’ll notice is Soulja has finally hit puberty; his voice is A LOT deeper. His lyrics still aren’t anything you’ve heard before, but he seems to have smartened up; “I got the stacks, coming straight out the Vault/Checking out my life, man it ain’t what you thought”. That one line is better than anything on his last album. Good song.

Bird Walk
Produced by Soulja Boy Tell Em’
The first single off the album. To be honest, I didn’t even know this was out until I saw the music video for it on King Jerm’s Friday Night Fro’. It’s a blatant attempt to repeat the success he had on “Crank That”, but looking at the way it’s doing, it won’t. Plus, the song just isn’t as good: “Watch me do my…BIRD WALK!!” Whatever. OK song, the beat bangs like crazy.

Turn My Swag On
Produced by Natural Disaster for U.N.I. Productions
I liked this song when it first came on; the beat is hot! But Soulja Boy is trying to sing on this?!? It wasn’t bad when I thought he was just doing it on the hook, but the first verse is just awful; we can’t all be T.I.! The hook is hot though, so I’m kind of up in the air on this song; leaning on a skip.

Gucci Bandana
Produced by Soulja Boy Tell Em’
Featuring Gucci Mane & Shawty Lo
See the features on this one? CLASSIC! These three must have set out to make the absolute worst rap song they could, and they pretty much succeeded. The beat is a low key on a piano over and over, and Soulja Boy’s hook is “Gucci Bandana, Gucci, Gucci Bandana” repeated 20 times. Still, Soulja Boy has the best verse, even if he rhymes like Shawty LO. Don’t get me wrong though, this song is terrible, probably the worst I’ve heard all year. SKIP SKIP SKIP!!!

Eazy
Produced by Zaytoven
He came back on this one. Basically, Soulja Boy is boasting on how “eazy” the rap game is to him. I guess selling three million singles puts you in that mindset? This song is decent, nothing special. On a side note, I notice how most of Soulja Boy’s songs are only 3 minutes long. Thank God!

Kiss Me Thru The Phone
Featuring Sammie; Produced by Jim Jonsin
This is the second single, though it shoulda been the first. This song is just completely dominated by Sammie and he steals the show (Which isn’t necessarily a bad thing when you want to move units). Soulja Boy’s rapping is alright; it’s about how he wants to be with his girl though he can’t. It’s MUCH better than last year’s “Soulja Girl”. Decent song.

Booty Got Swag
Produced by Soulja Boy Tell Em’
This is supposed to be “Donk Part 2″. This song sucks! At least he didn’t have a song called “Booty Meat” like last time. SKIP!!

Rubberbands
Produced by Drumma Boy
This song is alright, Soulja Boy is boasting about some street shit, which we all know isn’t true. The beat is ok, but everything else falters. What’s more, this song is too damn long! SKIP!

Hey You There
Produced by Soulja Boy Tell Em’
When I saw the title, I thought he was gonna holla at some girls, but NO! Leave it to Soulja Boy to make a song about a Mall Cop yelling “Hey! You there!” at him. He makes his voice the weirdest I’ve ever heard on a rap song, and this is without a doubt one of the worst rap song of the year, no kidding. SKIP SKIP SKIP!!!

Yamaha Mama
Featuring Sean Kingston; Produced by Polow Da Don
Alright, here Soulja brings it back after three downers that messed up the whole album. Sean Kingston again steals the show, and this song was actually enjoyable to me. Well, okay, enjoyable without the SB parts.

Wit My Yums On
Produced by Soulja Boy Tell Em’
This is about Soulja Boy’s new sneaker line. SKIP!

Go Head
Featuring Juney Boondata; Produced by Soulja Boy Tell Em’
Yeah, I’m really not feeling this one either. Soulja Boy is slipping big time here; he had at least a 2 Star album before this song. SKIP!!

Shopping Spree
Featuring Gucci Mane & Yo Gotti; Produced by Mr. Hankey
This song is awful!! The beat, alright. Everything else, and Gucci Mane’s “Yahhhh!” especially is just awful. Yo Gotti’s verse is the best, but he can’t save this song at all. SKIP!

Soulja Boy Tellem
Produced by The Package Store & Mr. Collipark
Here, Soulja Boy is talking to his critics who are talking down to him and shit. This could have been Soulja Boy’s lyrical song of the album, but instead he just lazily cruises through it. I’m leaning on a skip here, but it’s a decent song…I guess.

Whoop Rico
Featuring Show Stoppas; Produced by Soulja Boy Tell Em’
This album is really getting on my nerves. This song is just filler, again! Soulja Boy is not saying anything on this track, and neither are the Show Stoppas. SKIP!

I Pray (Outro)
Produced by Drumma Boy
This song is just too long for its own good, but it comes from the heart, which I think is what counts. The topics he’s talking about are his problems with his mom, getting girls pregnant (Damn!), and finally getting signed only to become one of the most hated rappers out there. I feel for him, but maybe I’m just glad I’m done?

Bottom Line:
At first, I thought Soulja Boy was going to grow up on this one and make a decent album that I figured critics wouldn’t completely destroy. Well, it looks like we’re back on that same road again. Soulja Boy needs to grow up in the game: you 18 man, make some music that isn’t just for the teenyboppers! I will say that this album is better than his last album (not that that’s a hard thing to do: it got one star!), but at the same time, it’s just not the breakout album Soulja Boy Tell ‘Em needs to be respected in the game. Update: I was harsh on the Soulja Boy album; I decided that it really deserves a 2.5 after listening to it again.

nappyPicks: “Yamaha Mama” & “Eazy”

Download: Soulja Boy Tell ‘Em feat. Gucci Mane & Shawty LO – “Gucci Bandana”

1992 had The Chronic from Dr. Dre, 1993 had Doggystyle from Snoop Dogg, 1994 had Ready To Die from The Notorious B.I.G., 2001 had The Blueprint from Jay-Z, and 2008 had Tha Carter III from Lil’ Wayne. If you didn’t catch that, those were all the most anticipated album releases of the respective years. 2008 isn’t any different as Lil’ Wayne has had the most anticipation for an album release, even surpassing the same day album release battle hype between Kanye West and 50 Cent for their Graduation and Curtis albums last year. You can’t watch TV, listening to the radio, or surf the Internet without hearing about Tha Carter III’s upcoming release in some form or another. As a result of Weezy’s recent comments about mixtape DJs and their need in the rap game, DJ Chuck T decided to leak the official album on the Internet for listeners and fans to download at will. Despite this, I think Wayne will still go on to sell millions and go platinum with this release, regardless of the leak attempt/revenge (Wayne fans are going to download and purchase the album…so it’s pretty much a win/win for Weezy). The hype and anticipation for this album has been well built over a span of 3 years since his previous album release (Tha Carter II) and numerous guest appearances. Does the album live up to the hype though? It is a certified classic or certified collision course…Let’s see Dr. Carter!

3 Peat
Produced by Maestro
The beat provided by Maestro immediately gives this track that “introductory” feel to it, similar to past tracks like “I’m Me” (The Leak EP) or “Tha Mobb” (Tha Carter II). Wayne drops some nice aggressive sounding lyrics on this track, clearly stating his position and making his presence known to listeners. This is the official introduction of Tha Carter III to the public with Wayne stating this is a three-peat like the 90’s Chicago Bulls dynasty. This is a nice way to start off the album and leaves you prepared for the rest to come.

Mr. Carter
Featuring Jay-Z; Produced by Infamous
Being a huge Jay-Z fan, when I saw this track on the track listing I was excited and anticipated a great track. Upon listening to the track my anticipation was fulfilled as this track starts off great with some very nice subtle production from Infamous. I can remember how excited I was about “Hello Brooklyn 2.0” on Jay-Z’s American Gangster album, and how very disappointed I was with it after hearing the song (the worst song on American Gangster in my opinion). Nonetheless this song makes up a lot for the previous offering from the two and this is how their collaboration should have been the first time. Without a doubt Jay-Z spits some very ill lyrics on this track, but Wayne not to be out done gets down for the crown and stands toe to toe with Hov in terms of lyrics. Glad to hear that this is the fifth single for the album, and I hope they make a great music video for it with Wayne and Jay-Z featured together in it.

A Milli
Produced by Bangledesh
This is the official second single for the album and it’s a song that has been constantly played on the radio, and I sure that most listeners have heard it plenty of times. Bangledesh is able to cook up an interesting sounding beat for this track that goes well with Wayne “freestyle” sounding delivery. This song is a pretty good one, but has gotten old now and won’t be getting a lot of play from me. I’ve heard it enough on the radio and won’t be listening to it that much in playing the album.

Got Money
Featuring T-Pain; Produced by Play-n-Skillz
This track is the official third single off the album and it has that club feel to it. Featuring the maestro of Auto Tune on the hook in T-Pain, Wayne spits lyrics that are fitting for a song of this type and they do what they are supposed to do. I’m not really feeling the production from Play-n-Skillz on this track, as it sounds kind of generic especially from the synths that they use. This is an average song in my opinion that will most likely get play in the clubs and radio. This is the first track on the album that I’m not really feeling and will probably skip a lot when playing.

Comfortable
Featuring Babyface; Produced by Kanye West
What!? Babyface on a track with Lil’ Wayne, I never thought I would see the day of that happening. But I ain’t trippin’ cause he truly adds to this track and makes it that much better. The production by Kanye West on this song really sounds like some vintage Kanye beats from his College Dropout days, and that’s the kind of production that he does best (not a lot of this heavy-snyth/techno sounding stuff he has done lately). Wayne sounds very comfortable spittin’ over this track and doesn’t sound out of place at all on this type of track. I can clearly say that this is one of my favorite tracks on the entire album, if not my favorite. This one has been on repeat for a while and is top quality in my opinion.

Dr. Carter
Produced by Swizz Beatz
Right off the back I must say that Swizz did his thing with the production on this track in sampling David Axelrod’s “Holy Thursday” to near perfection. Wayne delivers a very creative track in the theme/topic of this track in him playing a doctor who is operating on various artists in the industry trying to save them. If you really listen to what he’s saying he’s actually on point with a lot of the statements he’s making about the rap game and music industry. I love the fact that after unsuccessfully saving the first two artists/patients, he is able to save the last one from dying which happens to be “Hip-Hop”. That’s some clever thinking on Wayne’s part to create a song like this that shows his creativity as an artist when a lot of people claim to rarely see them in him. I would enjoy seeing a music video made to this track, it would be some creative shit to watch.

Phone Home
Produced by Cool & Dre
The team of Cool & Dre provides some sci-fi sounding production on this track, which is the point judging by the song title and direct reference to the movie E.T. Wayne is dropping some rhymes on this track explaining how he’s a Martian and not off this world. I can understand where he was trying to go with this track, but unfortunately he missed the mark on this one. The chorus is really poor on this track, especially the person yelling “phone home” throughout it. This track is a skip in my opinion.

Tie My Hands
Featuring Robin Thicke; Produced by Kanye West
Once again Kanye West returns with some nice and smooth music production on this track. Weezy hooks up with Robin Thicke again for another great collaborative effort. This track seems them picking up where they left off with “Shooter”. It sounds more like a Robin Thick song than a Lil’ Wayne track, and I wouldn’t be surprised if Robin Thicke included it on his album as well. Wayne really drops some knowledge on his second verse with lines like these: They tried to tell me keep my eyes open/My whole city under water, some people still floatin’/And they wonder why Black people still votin’/Cause your president still jokin’/Take away the football team, the basketball team/Now all we got is me to represent New Orleans/No governor, no help from the mayor/Just a steady beatin’ heart and a wish and a prayer. That’s some real truth right there spoken by Weezy and should really be heard by everyone. This is a perfect example of why people shouldn’t just write off Wayne as an artist who doesn’t rap about anything. You can tell that he’s very passionate about his hometown and everything they have been through and are still struggling with. This is another favorite track of mine of this album that will get many spins from me.

Mrs. Officer
Featuring Bobby Valentino; Produced by Deezle & Wyclef Jean
This is an interesting song by Wayne with him talking about his escapades and thoughts about having sex with a female police officer. Even though it’s a clever track with it topic/theme, it still comes off sounding your average track for the ladies. Bobby Valentino singing on the hook does what it’s supposed to do in further talking to the ladies, but the song kind of gets stale after a while of listening. Deezle & Wyclef Jean provide some nice production for this type of track and it does its job. This song isn’t a skip, but it’s kind of close to it for me.

Let The Beat Build
Produced by Kanye West
I know that they were trying to stay true to the song title with the production on this track in letting the beat build up throughout the song, but it gets very repetitive really quickly. Wayne isn’t really saying much on this track, but he does a nice job in switching up his flow during the song. The hook on this track is horrible and more thought should have been put into it than just what it is. This track is a skip for me and I won’t find myself listening to it much.

Shoot Me Down
Featuring D. Smith; Produced by Kanye West
The beat provided by Kanye on this track fits nicely with Wayne’s flow and delivery as it sounds very personal. The singing by D. Smith on the song’s hook is a nice addition, and it makes it sound like a Lupe Fiasco or Kanye West type track. This song is nice for it’s build-up, as Wayne’s flow and delivery get more aggressive as the song nears its end. It has a similar feel to Wayne’s “Gossip” track (The Leak EP).

Lollipop
Featuring Static Major; Produced by Deezle & Jim Jonsin
Okay, everybody and their momma has heard this song on the radio or seen the video on their favorite music video television program like 106 & Park or TRL. This song, which was the first official single for the album, like “A Milli” has been played to death and has gotten old after hearing it so much. Just like “A Milli”, this will be a song that doesn’t see much play from me just because I’ve heard it so much already. Despite that, this is an interesting type of song from Wayne and one I was surprised to see as his first single for the album when it was released. I was wondering what Wayne was on when I first heard this song, but after a while this song kind of grew on me and it did its job in building much anticipation for the album. The only question I have is why Deezle & Jim Jonsin sampled the music/sound effects from the game show Deal Or No Deal. When I first heard this song I said to myself, “those are definitely the sound effects from Deal Or No Deal” (Ha!).

La La
Featuring Brisco & Busta Rhymes; Produced by David Banner
This track could have been done without on this album, as it sounds absolutely ridiculous with the “childlike” sounding production by David Banner. None of the artists on this song are really saying any spectacular or amazing, which makes this song even less interesting. This track is definitely a skip for me, and sounds like it should have been put on one of Wayne’s many previously released mixtapes instead of being placed on the album.

Playing With Fire
Featuring Betty Wright; Produced by StreetRunner
I know that I said earlier that the track “Shoot Me Down” sounded like Wayne’s “Gossip” track off his EP The Leak, but I think this track exemplifies that even more. Seeing as how StreetRunner, who also produced “Gossip”, handles the production, it gives off an epic kind of feel and blend well with Weezy’s lyrics and intensity/energy. Even though it’s similar to “Gossip” it’s not better than that track, as Wayne’s lyrics don’t really grab your attention like they did on the previous track, especially when you saw him perform it live for the first time at the BET Awards. This is an average track in my opinion and nothing more than that.

You Ain’t Got Nuthin’
Featuring Fabolous & Juelz Santana; Produced by The Alchemist
The Alchemist delivers his trademark sounding production on this track, which sort of works at times throughout the song. It might be just me but the production gets kind of boring to listen to after a while and it kind of takes away from the potential that this track had with Wayne, Fab, and Juelz all on a track together. Lyrically, all three emcees spit some nice rhymes, but the feel of the track makes it feel like a mixtape track instead of an album cut. Some better production would have made this track work much better.

Don’t Get It (Misunderstood)
Produced by will.i.am
After three average/mediocre tracks, Wayne closes out the album on a more personal note with an excellent finale to the project. The production from will.i.am is good on this track, but it comes off as kind of bland seeing as how the same kind of beat and song was done by Common with the song “Misunderstood” on his Finding Forever album. After two verses from Wayne, the proceeds to explain how people in the hood are really just misunderstood individuals. Think of Kanye West’s “Last Call” when you think about this track in ending off the album.

Bottom Line:
So in the end does C3 (Tha Carter III) live up to its hype and anticipation? Yes it most certainly does. Lil’ Wayne was able to continue his success from Tha Carter II and further build upon it into a product just as good. Is Tha Carter III the best album of 2008? It’s only June so it’s too early to determine that, especially knowing how the 4th quarter in the rap game is. Personally, I don’t think it’s the best album released in 2008 so far cause there have been some better released before this album, but I definitely think it’s one of the top albums of 2008 without a doubt. Despite the album being leaking, this album will still see some of the highest sales for a rap album in a very long time considering the state of the buying trends for rap albums. I can confidently say that this album will go platinum in its first week (and that’s a bold statement nowadays), but Wayne has the fans and support to do so. Wayne will no doubt have plenty of support from his die-hard fans, and I think he will be able to garner even more fans with this album. A lot of people, specifically “Hip-Hop Heads” have written off Wayne as just a commercial, pop-rap artist that’s just following the trends in the music industry, but I think that Weezy is much more than that if you really give him a chance. Yeah all artists have their commercial tracks and club songs (who doesn’t nowadays), but when Wayne wants to talk serious and spit the truth especially about the conditions of his hometown New Orleans, he can definitely lay claim to “The Best Rapper Alive” or at least the heir to the throne (that is once Hova really does retire from the rap game). This album had some low points, but there were more good points to be found and that’s what makes this album worth purchasing even if you aren’t a big Lil’ Wayne fan. Wayne has produced a great album right here that is sure to please various audiences with its range of songs from “Lollipop” to “Comfortable” to “Mrs. Officer” to “Dr. Carter”. There’s something to be found and liked by everybody off this album even if it’s not the entire album, and in the end that’s really what a great album is supposed to do and how you recognize one.

nappyPicks: “Comfortable”, “Mr. Carter”, “Tie My Hands”, “Dr. Carter”, “Lollipop”, & “A Milli”

Download: Lil’ Wayne feat. Robin Thicke – “Tie My Hands”