All new music for this edition of iPod Hustle. Mostly good too. In this go around: Jezzy tells us why trappin’ ain’t dead, Juelz mixes up the medicine, and Gucci (With the help of Usher) goes for the spotlight. Set your iPods to Hustle…now.

Download: Young Jeezy – “Trap Or Die 2”
Produced by Zaytoven
I remember seeing a video of Young Jeezy performing this song at Club Dreams and I was feeling it then. Yep, it sounds like The Snowman is taking it back to 2005 with this one. If this track is a sign of what kinda music will be on Thug Motivation 103, I’m looking forward to it (Plus I’ve been bumping Jay-Z’s “As Real As It Gets” a lot lately). Sidenote: I thought Zaytoven was Gucci’s favorite go to producer? (Zaytoven explains here)

Download: Juelz Santana feat. YelaWolf – “Mixing Up The Medicine”
Produced by Kane Beatz
Juelz hooks up with Alabama’s own YelaWolf to create a certified street banger. As soon as I heard that hook I was sold. Partner that with that fact that Santana sounds motivated again (The last time I remember that happening was at the 2008 BET Hip-Hop Awards): ”Take her out and trick around/I take her home and dick her down/Send her back to you like ‘Baby I was at my sister house’”. Hopefully this is the Juelz Santana we’ve been waiting for. Remember, his last album did go Platinum.

Download: Gucci Mane feat. Usher – “Spotlight”
Produced by Polow Da Don
Wow, Gucci Mane is in another one of my posts? I guess this is what the young kids are listening to these days. On this one Gucci Mane grabs Usher and puts on his best commercial clothes. Not to sound like a hater but the flow on this song is garbage. I don’t even listen to Gucci, but I think even some of his biggest fans will probably gives this a so-so rating. The State vs. Radric Davis is supposed to drop in December.

Harlem’s own Jim Jones returns with his fourth studio album titled Pray IV Reign. This is coming off the heels of Jim’s musical experience The Hip-Hop Monologues a stage play that was co-written by Jim using some of his music as the platform. But before Jimmy was an off Broadway star, he was and still is the DipSet Capo. Jim is still keeping the flame for NY alive, but after this release, his first with Columbia Records, will that flame sizzle or become an inferno? Let’s go in and see.

Intro
Featuring Starr; Produced by No I.D & Chink Santana
Jim starts the album out with a beat that would have been featured in a 70’s flick. Jim gives you his slick flow over the smooth production. If this is a taste of what’s to come, Jimmy got some heat in store.

Pulling Me Back
Featuring Chink Santana; Produced by TrackSlayerz & Chink Santana
Jim goes into storytelling mode on this one over some theatrical production. Jim is not going to wow you with lyrics, but he gets his point across when he raps.

Let It Out
Produced by Supa Dave West
This production is not your typical Jim Jones beat, but that doesn’t stop him from delivering a good song. Jim speeds it up a notch and shows SOME versatility on the track.

How To Be A Boss
Featuring Ludacris & NOE; Produced by Ron Browz
Jim got Jay-Z to do the hook on this song? No, he didn’t but NOE sounds a little like Jay. Jim and Luda make a good collabo on this song. Luda of course did his thing, but don’t sleep on Jim he did his thing on the song too!

Medicine
Featuring NOE & Chink Santana; Produced by Chink Santana
For some reason the song sounds like “Originator 99” but maybe that is just me. Jim speeds up the flow on the track. I respect the flow, but I’m not really digging the subject matter.

Frenemies
Produced by Chink Santana
This song gives us some background information on the relationship between him, Cam, and Max B. Call me crazy, but this song sounds like “A Week Ago”. But maybe this is just me. The song is tight though.

Precious
Featuring Ryan Leslie; Produced by Ryan Leslie
R. Les lends a hand on this one that is aimed at the ladies. I wouldn’t be surprised to see some of the “goons” singing this to their boo’s. The track is real smooth and is on the infectious side. BANGER!

Blow The Bank
Featuring Starr & Oshy; Produced by Magnedo7
This is another song for the ladies…damn what’s that three? I don’t like the beat on this one, but the hook is nice. Nothing major here, this is what is called filler.

This Is For My Bitches
Featuring Oshy; Produced by Young Yonny & Lemael Ervin
Jim is pushing the envelope with this one. The song is something you would expect from Soulja Boy, not from Jim Jones. I’m sure this song is going to ruffle some feathers, but this is Jim Jones we are talking about.

Girlfriend
Featuring Juelz Santana & Oshy; Produced by Chink Santana
This album took a turn to the ladies; maybe Jim is taking his “sex symbol” swag to another level. The song would have been better had they had R. Kelly doing the hook. The song is OKAY but it’s barely tolerable.

This Is The Life
Featuring Starr; Produced by Triple-A
This one sounds like a mixture of “I Know” and “Hero”. Jim is back on his grind again on this one, going back to what works for him best. When Jim is given production like this, he usually does well.

My My My
Featuring Rowana; Produced by Teraike “Chris Styles” Crawford & Ayinde “Cylia” Thomas
The production on this one doesn’t really mesh well with Jim’s style. It actually bores the listener. Jim isn’t that strong of a lyricist to have a beat like this.

Pop Off
Featuring NOE & Mel Matrix; Produced by Young Seph
This sounds like a song that you would hear G-Unit on, but Jim and the crew give you that same vibe on this track. Maybe hanging with 50 rubbed off on Jim just a little bit. Jim didn’t deliver one of his best rhymes on this one, but Jay, I mean NOE did alright on the song.

Pop Champagne
Featuring Juelz Santana & Ron Browz; Produced by Ron Browz
This was the first single off the album that shot to #1 on the urban charts. Who knew in a recession that people would love a song like this? You can’t front on this song; if the beat doesn’t make you nod your head…you are dead already!

Rain
Featuring Rell, NOE, & Starr; Produced by Ron Browz
I have to say that I am impressed with the production by Ron Browz on this album. This is the kind of production that accents Jim’s rhyming ability. Jim is talking to his son on this one, and you have to respect that. Jay…I mean NOE shows up again along with former Roc-A-fella crooner Rell.

Na Na Nana Na Na
Featuring Bree-Beauty; Produced by ILLFONICS
I can see this becoming a hood saying, but the hook is on the dumb side. I wouldn’t end my album like this, but the Capo does what he wants to do. I think that this song would have been better had Cam been on the song.

Bottom Line:
This album started off good but then it had some dull moments on it in the middle and tapered a little towards the end. But still, Jim should be pleased with his effort on this album. This is not the album that will elevate Jim Jones to the King of NY status, but it still can be considered a win for the DipSet Capo, because he’s still releasing HIS type of music.  I’m sure Jim is glad that this album didn’t get released with Jay-Z’s Blueprint 3 and 50 Cent’s Before I Self Destruct because this would have gotten lost between those projects. Maybe if the Dips would have been at full force on this project, the album would have been better.

nappyPicks: “Intro”, “How to Be a Boss”, “Frenemies”, “Precious”, “Rain” , & “Pop Champagne”

Download: Jim Jones feat. Ludacris & NOE – “How To Be A Boss”

Here at nappyafro, we are committed to being the BEST HIP-HOP SITE…EVER. The latest person to be featured in our Independent Spotlight is a female reppin Harlem named Starr. You might have heard of her you might have not, but she is the lone female on Juelz Santana’s Skull Gang Records. If King Jerm is cosigning it…YOU KNOW IT HAS TO BE HOT. Check out the bio, then check out her song “Rockstarr”, featuring Juelz and Lil’ Wayne. Props to my girl Aaliyah over at RA Management!

Who’s the girl holdin’ down Juelz Santana on the hot new SKULL GANG single “ROCK STARR”, featuring Lil’ Wayne? Her name is Aqueelah McCummings, better known as STARR, the “first lady” of Juelz Santana’s SKULL GANG label. STARR grew up in Harlem USA, with all of the benefits of a loving family, an early realization that music is her life and all of the cultural stimulation a budding young artist could ask for. She began performing at the age of 8 inspired by SWV, Mariah Carey, Xscape, and Aaliyah. She studied dance, drama, and trained vocally from the age of 12 until she graduated from Performing Arts Repertory High School. At 15 she began writing songs, while still in high school, STARR auditioned to sing the National Anthem for the 76ers in Philly and beat out thousands for the honor. A packed Wachovia Center witnessed an undeniable performance; their enthusiastic applause confirmed for us all that Aqueelah was truly a STARR.

STARR’S ability to write and arrange music attracted industry talent scouts, and management companies. She began writing for hit making recording artist, but her real passion was in writing/arranging and singing her own songs. After all, her goal is to be a Platinum selling hip-hop/R&B/pop/rock artist. Starr says, “when I’m not in the studio I’m listening to music…music is my therapy” Being in the “matrix” as Starr calls it, led her to record with Cassidy in 2005. 2006 bought countless performances, and a feature on Juelz Santana’s hit single “Secret”. In 2007 STARR featured on the Jim Jones’ Pray 4 Rain album. In 2008 Starr was a cast member of Jim Jones Hip-Hop Monologues, featured with Julez on the Jim Jones Christmas album on “Jingle Bells” and signed with SKULL GANG. Now at the top of 2009, “Rockstarr”  has radio listeners asking; who’s’ that girl?

You haven’t seen her? Brown eyes, dimpled smile, long black hair give Starr’s pretty face an angelic appeal. She’s young, hot and sexy! 5’9 and quick to put on thigh high boots with a 6 inch heel, a little tee or hoodie and some Robin jeans. She has the look every young girl wants, she’s a guys fantasy girl. But Starr is all business and very serious about her music. When I asked what’s the one thing she wants the world to know about her, she replied “I want people to know that I’m a hard worker, I always give 100%. Being the only girl in a all boy camp (Skull Gang) I get looked at in a certain way. But I write and arrange my own songs and far from what everyone thinks about a girl around a bunch of guys in hip-hop and no, I don’t get disrespected, I’m not a sex toy to the guys, please! They are very supportive and protective”

STARR looks forward to working with Timbaland, Luda, Dream and Missy in the near future and to putting her dramatic training to use in films; we look forward to watching her journey.

Download: Starr feat. Juelz & Lil’ Wayne – “Rockstarr”

At first we were gonna do a recap this year’s most notable songs featured in our Song of the Week column. But seeing how some of the songs weren’t actually made in 2008, it really wouldn’t have worked. So instead of voting for a single “Song of the Year”, we thought; “Why not just let each staff member pick their favorite 5 songs of the year?” So here they are. No voting. No debates. Just each staff member picks for their 5 favorite songs of 2008. And surprisingly, there’s a lotta Killer Mike, Jay Electronica, & Lil’ Wayne. Who knew?

B-Easy’s Picks:
Jay Electronica – “Exhibit A (Transformations)” [various artists - Fresh Cuts Vol. 3 (Music By Guitar Center Employees)]
Nas – “N.I.G.G.E.R. (The Slave and the Master)” [Nas - Untitled]
Killer Mike – “I Gotcha” [Killer Mike - I Pledge Allegiance To The Grind II]
DJ Khaled feat. Kanye West & T-Pain – “Go Hard” [DJ Khaled - We Global]
Big Boi feat. Raekwon & Andre 3000 – “Royal Flush” [Big Boi - Sir Luscious Left Foot: The Son Of Chico Dusty]

Saule Wright’s Picks:
Killer Mike – “God In The Building” [Killer Mike - I Pledge Allegiance To The Grind II]
The Roots – “75 Bars (Black’s Reconstruction)” [The Roots - Rising Down]
Ludacris feat. Floyd “Money” Mayweather – “Undisputed” [Ludacris - Theatre Of The Mind]
Lil’ Wayne – “Dr. Carter” [Lil’ Wayne - Tha Carter III]
Nas – “N.I.G.G.E.R. (The Slave and the Master)” [Nas - Untitled]

H20’s Picks:
T.I. – “I’m Illy” [T.I. - Paper Trail]
Nas feat. Keri Hilson – “Hero” [Nas - Untitled]
Ludacris feat. Floyd “Money” Mayweather – “Undisputed” [Ludacris - Theatre Of The Mind]
Killer Mike-”God is in the Building” [Killer Mike - I Pledge Allegiance To The Grind II]
Nas – “N.I.G.G.E.R. (The Slave and the Master)” [Nas - Untitled]

Guy’s Picks:
Murs – “I’m Innocent” [Murs - Murs For President]
Termanology – “Watch How It Go Down” [Termanology - Politics As Usual]
Lil’ Wayne feat. D. Smith – “Shoot Me Down” [Lil’ Wayne - Tha Carter III]
Wale – “The Kramer” [Wale - The Mixtape About Nothing]
Jay Electronica – “Exhibit A (Transformations)” [various artists - Fresh Cuts Vol. 3 (Music By Guitar Center Employees)]

King Jerm’s Picks:
Rick Ross feat. Jay-Z – “Maybach Music” [Rick Ross - Trilla]
Lil’ Wayne feat. Fabolous & Juelz Santana – “Ain’t Got Nothing on Me” [Lil’ Wayne - Tha Carter III]
Jake One feat. Little Brother – “Bless the Child” [Jake One - White Van Music]
Kanye West – “Heartless” [Kanye West - 808’s & Heartbreak]
Lil’ Wayne – “A Milli” [Lil’ Wayne - Tha Carter III]

SBK’s Picks:
Lil’ Wayne feat. Static Major – “Lollipop” [Lil’ Wayne - Tha Carter III]
T.I. feat. Jay-Z, Kanye West, & Lil’ Wayne – “Swagger Like Us” [T.I. - Paper Trail]
Termanology – “So Amazing” [Termanology - Politics As Usual]
Young Jeezy feat. Kanye West – “Put On” [Young Jeezy - The Recession]
Q-Tip – “Move” [Q-Tip - The Renaissance]

Jay-Z/ Roc-a-fella
Bleek, Freeway, and Beans never really made it over the hump, but I’ll give you Kanye.

Eminem/ Shady
D-12 were looked at as a novelty, and Obie had the lyrics, but was catering to the wrong audience.

50 Cent/ G-Unit
Curtis and the Unit are more popular than the Set, but 50 always was at the top, never on the side.

Fat Joe/ Terror Squad
Come on, Joey was barely even making it. Cuban Link and Remy are irrelevant now.

Check out some of these videos and tell me that the Dips were not the hottest crew out at the time:

Let’s not forget the best performance at The Source Awards.

Check out Cam in this video

I know the talk of Hip-Hop was last night’s 3rd BET Hip Hop Awards, but to be real with you, I missed it. Yep, I totally forgot about it and had to watch most of the show online. Even though I give BET a lot of flack, they did do one thing last night (As they’ve done previously),they included The Cypher. Although all the participates weren’t exactly great (I love Hip-Hop from other countries, but sometimes I really can’t feel it if I can’t understand what the hell is being said); there were surprises though: Ace Hood held his own among the best of the night, Cory Gunz delivery was crazy, and Juelz Santana was surprisingly my favorite. Sometimes I think that BET could save money and just have cyphers for 2 hours straight. At least then the biggest story wouldn’t be Weezy announcing his new baby. Video + Audio below

Download: Hurricane Chris, Bun B, K’naan, & Q-Tip – “Cypher #1″

Download: Willy Northpole, Hime, Blaq Poet, & Cory Gunz – “Cypher #2″

Download: Ace Hood, Juelz Santana, Fabolous, & Jadakiss – “Cypher #3″

After seeing the response of my last column, I decided to bring it back again. This time we are discussing why Hip-Hop needs Cam’ron. I know a lot of you are shaking your heads right now, but trust me, WE NEED CAM! That is what has been missing over the last year. A lack of Cam spells a lull in Hip-Hop, and he might just be what the doctor ordered to get the game going back in the right direction.

1. Swagger is at an all time low. With all these rappers talking about “Swagger Like Us”, no one has swagger like Cam! We all know Cam invented “Swag Rap” so how can they have swag if they don’t have Cam? Maybe Jay needs to holler at Cam for his version of “Swagger Like Us” if he really wants to do big numbers. Cam used to rock seven chains at any given time with a purple mink coat, with some fur lined Air Force Ones, and driving a purple Lambo! Now who has swagger like that?

2. Rappers need a makeover. Look at the current trend in Hip-Hop, you have the “Rockstar” look, the “Hipster” look, and you got that “80’s” look, but neither one of these styles can compare to the style that Cam brings to the table. Who else had the hardest dude on the block wearing pink? In fact, who is the reason that pink became fashionable for guys? Cam is the answer to both of those questions. Dudes wasn’t wearing purses when Cam was the “epitome” of fashion in Hip-Hop!

3. There isn’t any comedy in Hip-Hop anymore. You people remember when Cam was beefing with someone. Why was that some of the funniest material you ever heard? “How is a camel riding another Camel?” Or this one: “you look like a gorilla with rabbit teeth!” Say what you will about Cam and his rhymes, but the guy comes with straight comedy to his foes. Remember when he had O’Reilly all hot under the collar on his own show. “You mad…you mad…you mad!” The game needs this humor again.

I gave you my reasons why we need Cam’ron, and I hope he is reading this and gearing up for his big comeback. After hearing some of his latest material, I hope he takes it back to the blueprint on what made him a household name in the first place. Cam if you are listening…WE NEED YOU BACK! COME BACK AND SAVE HIP-HOP!

When I reviewed Jim Jones’ Harlem’s American Gangster album in February, I honestly thought that I had filled my Jim Jones quota for the year. Not to say that I don’t like Jimmy; he a charismatic fellow. With all the flack the South gets for not having intricate lyrics, it’s funny that a guy who is currently in the fore front for New York is lacking in that category. With all that bullshit aside, I think everyone is waiting to see what Jimmy does next. Well, for one he’s bringing in his own crew that’s not called Diplomats; ByrdGang. Its members consist of Jim Jones, Mel Matrix, NOE, Freekey Zekey, Chink Santana, Sandman, as well as recently deceased Stack Bundles (R.I.P.). After being a capo in the Diplomats, can Jim Jones lead this team to a successful official debut? We’ll see…

1. I’m The Man
Featuring Jim Jones, NOE, & Mel Matrix
The album starts off the album with an electric guitar laced track. Jones is first and gives you the standard ad-lib heavy verse. After him is NOE then Mel Matrix. If you haven’t heard or read about NOE, it’s they guy that sounds just like Jay-Z (In voice and flow). No lie. The song is average to me and does what it supposed to.

2. Mobbin’
Featuring NOE, Mel Matrix, Juelz Santana, & Sandman
The beat is hard on this one; the simple piano makes it sound menacing. Julez jumps on the hook and does his thing. And just to be clear, the Sandman here is not the same one down with The Clipse’s Re-Up Gang.

3. Only 17
Featuring Jim Jones, Stack Bundles & Mel Matrix
I really wasn’t feeling it at all when I heard how terrible the hook was. The beat has an annoying quality to it also. I will say this; Stack Bundles may have delivered the line of the album: “We don’t get breaks like 2 15’s and an hour/We sell 2 for 15 and move powder”. When you think about, it’s ironic to have Stack on a track about getting killed at a young age.

4. Blasphemy
Featuring Mel Matrix, Stack Bundles, Jim Jones, & Sen
The production on this isn’t really bad or anything; it’s actually good. It isn’t that the subject matter is old (Drugs, thugs, flossing, & sex is but I’m already over that). The problem I have is when you do something to death but don’t do it creatively. That’s the problem here.

5. Money Right
Featuring Jim Jones, NOE, & Sen
NOE begins talking in the beginning of the song and I’m still having a problem getting past the Hova impersonation (“I got my money right!”). Jim Jones tries out a faster rapping style that surprisingly wasn’t half bad. Sen sings his verse and NOE does the hook.

6. Throwin’ Bg’s
Featuring NOE, Sandman, & Chink Santana
When I first saw the title of this album, I wondered; what the hell was “throwin’ bg’s”? Well, the answer to that question is…I guess it’s some sort of ByrdGang gang sign (Correct me if I wrong though). This is another track that I feel suffered from an annoying hook. As far as lyrics are concerned, nothing much more than banter about having bottom bitches and money. Eh…

7. She So Gangsta
Featuring Chink Santana, Jim Jones, NOE, Oshy
The sad thing about this song is that in the beginning, it tells you what the “ideal bitch” is. Besides using the word bitch, I actually agreed with most of it. Now, that’s the good part. The bad part is the hook, the generic and derivative ass lyrics, and the fake ass southern accents.

8. Splash
Featuring Jim Jones, Juelz Santana, NOE, & Chink Santana
This was the first single for the album and I’ll have to admit that at first when I heard it I hated it. But after you hear that hook a few times, that shit gets stuck in your head (Seeing the video adds to this). The beat is simple and is probably one of the best on the album. Juelz feels like he wasn’t even trying hard but still easily outshines everyone on this track by leaps and bounds.

9. Hustle
Featuring NOE & Jim Jones
I know I should let this go, but even NOE’s ad-libs sound like Jay-Z’s; it’s crazy! More to the point, Jim Jones does the hook in a higher pitch for some reason. It’s sad because the beat really wasn’t that bad.

10. Oopsy Daisy
Featuring Jim Jones, NOE, & Mel Matrix
What’s up with Dipset members and funny words (You all remember “Holey moely”)? The song subject matter is actually more serious and deals with having an absente father; It’s like when you father threw you up in the air and didn’t catch you; that’s where the title comes from. The song has a deep message but it suffers from another silly hook and uninspired lyrics (And I feel like I’m repeating myself).

11. Heartbeat
Featuring Jim Jones, NOE, & Hell Rell
After you looked past the common R&B singer on the hook, the beat is okay. The song deals with repping for your hood/crew. Hell Rell (probably my favorite Dipset member) turns in a good performance; “It don’t looked cool with you the coup/Riding around the hood your whole crew on the stoop.”

12. ByrdGang Money
Featuring Jim Jones, NOE, & Mel Matrix
This song also appeared on Jim Jones’ Harlem’s American Gangster that was released earlier this year. I thought it was irritating then too. Skip!

13. Gizzang
Featuring Chink Santana & Jim Jones
Over a slow minimalist beat, Jones goes at it all alone (Chink Santana just does the hook). It works a little but then you realize that Jimmy really isn’t saying much. With a beat like this, it works better with a lyricist because all the attention is on his delivery and word play; you see why this might not work with Jim Jones.

14. We Flying
Featuring Jim Jones, NOE, & Mel Matrix
The bass line as well as the whole production on this one is pretty good. At first I thought it was the sequel to “We Fly High” (I still don’t know if that would have been a good thing). It had something that made me not really want to get into it though.

15. So Cold
Featuring Chink Santana, Jim Jones, & Sandman
We close the album with an ode to a chick that “suck a bomb ass dick”? Okay. I just didn’t think they would end this album with a song about a “down ass chick”. Well, the beat is a better quality but nothing that stands out (This is true for the lyrics too).

Bottom Line:
After listening to this album a few times, I realize what’s wrong with this crew (As well as a lotta crews in Hip-Hop/Rap). No one really stands out. I didn’t see any star quality in NOE, Mel Matrix, Chink Santana, or Sandman. I know most rapper wanna put on their homies and become moguls, but come on, it’s just too much of that shit. At the end of the day, this is a side project for Jim Jones and Dipset fans to buy until a main or more popular Diplomat member releases an album (Juelz, Jim, and maybe Cam’rom). Back to the drawing board Jimmy.

nappyPicks: “Spalsh”

Download: ByrdGang featuring Jim Jones, Juelz Santana, NOE, & Chink Santana – “Splash”

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”

Welcome to a round up of current news stories we didn’t have the time to get into:

Mariah poses in Playboy…kinda

Yes, Ms. Mariah Carey will pose in the March 2007 edition of Playboy, but no, she won’t be nude. What’s the point? Then again, the first Playboy my Grandfather ever gave me was with LaToya Jackson and she wasn’t nude. My only question is: Does Mariah Carey still have to do shit like this? I thought her last album solidified her spot as an R&B queen?

9th Wonder leaves Little Brother

For real? Naw, I’m really not mad at this one. I’m a fan of Little Brother but 9th Wonder beats sometimes are a little one-dimensional. Not to say that they aren’t good (check my review of his CD with Murs). But with Little Brother’s last CD, The Minstrel Show, I felt they should have reached out to another producer (Just Blaze or Kanye maybe?) to do the first single if they wanted any recognition at all from the mainstream Hip-Hop community. But anyway, I wish both parties well. I know 9th Wonder is constantly producing and you can catch Little Brother’s new mixtape …And Justus For All on February 13th (it’s free!).

Def Jam: Icon

I have spent many days beating ass of Def Jam: Fight For NY. Now I can do it on the Xbox 360 with Def Jam: Icon. Why do I like to see rappers beating the crap out of each other? Cause it’s so damn fun, that’s why!

Jay-Z, watch ya back homie!

Did anybody else catch Jay-Z’s stalker on Dr. Phil?

She had this to say: “I’ve been stalking Jay-Z more than three years,” Katrina says matter-of-factly. “Jay-Z is the CEO of Def Jam [Records]. He’s a big celebrity. In my mind, he’s more than that. He is just my dream. I can’t seem to think of anybody else. He is my all and all.” Katrina buys every magazine Jay-Z is in, has called him over 300 times and e-mails him 200 times a day, but he has never responded. She even had a T-shirt made up with Jay-Z’s and her picture, that she says she sleeps in every night. “Jay-Z’s real name is Shawn Corey Carter. When I’m writing songs, I would just call him Shawn. I make up my own songs and leave them on his voice mail,” she shares. “I went to a Web site that has gossip, and they believe anything you say. I e-mailed them a letter, saying I was Jay-Z’s ex. I also went as far as saying Jay-Z liked me better than [his girlfriend] Beyoncé. He’s in love with me,” she reveals. “Everything was made up.” That chick is crazy!

Juelz Santana & Lil’ Wayne – “Black Republican Freestyle“

Speaking of Jay-Z, Lil’ Wayne & Juelz Santana kinda get at Hovi & Nas when that spit on “Black Republican”. With lines like: “More like a black democrat running ‘em out of office” and “I don’t parking lot pimp, I just politic”, these young guns are going at the kings. I not the biggest Juelz fan, but this guy is everywhere (ex. White Rapper Show, Nike ads) and in the issue of XXL they have Wayne’s The Carter III as the most anticipated album of 2007. This song has been tearing up the internet/radio and it’s a teaser for their collaboration album, I Can’t Feel My Face (Until then I guess you can check out DJ Mick Boogie’s Blow: The “I Can’t Feel My Face” Prequel). Check the song out here.