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

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

We all can spell it by now, eff-aye-be-oh-el-o-you-ess, he’s successfully spelled his name right into most of our consciousness. One of the more recognizable artists to rise up from mixtapes to mainstream, Mr. Jackson hits us with his 5th effort which seems to be a concept album a kin to American Gangster. I liked his last album so I’m anxious to see if he can deliver again.

1. The Way (intro)
Produced by Street Runner
I won’t pretend to know who Fabo is beefin’ with, past, present, or future, but he ain’t happy with someone. It may have to do with folks seemingly passing him up and him being an afterthought in the game thus far. I don’t know, but he’s taking issue and asserting himself as one of the illest to “walk in the game with no crutches / no Diddy, no Dupri, no Dr. Dre / no cash money from baby, and no Roc’s from Jay”. This intro has a lot of aggression and a champion beat. We get full horns wailing’ and a drumline inspired drum set up. Simplicity works for this one as we get started on this album.

2. My Time
Featuring Jeremih; Produced by The Runners
This beat isn’t bad. It’s not revolutionary or anything, but it definitely has that head nod quality. Jeremih doesn’t sound like the same Jeremih from “Birthday Sex”. So, that said, it’s hard to really get the star pull when he doesn’t sound like what you expect. He could have easily (or maybe not so easily, what do I know) called The-Dream for this one and it would have sounded a lot better. Lyrically, there isn’t anything I can remember from this one. This one is probably made for radio and may get that love for star power and tempo alone. I’m not a big fan of this one as a complete song.

3. Imma Do It
Featuring Kobe; Produced by DJ Khalil
SOON as the intro singing starts, I actually rather hear Ron Browz doing this one. I don’t know much about Kobe or who he is, but his name is popping’ up everywhere lately. I’m also not a fan of the track on this one. There’s just too much going on and an odd sounding thump for this track just makes it too much. Fab’s best line on here is the lead in to the hook “My attitude is celibate I don’t give a fuck” and “My attitude is virgin I STILL don’t give a fuck.” The rest of his lyrics aren’t bad though, but these lines are probably the most memorable from this song.

4. Feel Like I’m Back
Produced by J.U.S.T.I.C.E. League
Look, I’m not gonna pretend to be a mixer/producer at all, but this track sounds soft. I don’t know how to explain it really. The elements are there, but overall, it’s just soft. The thump, the horns, the chords, they are all missing that extra impact. I don’t like the hook on this one at all and personally, I think this one could have been scrapped overall. SKIP

5. Everything, Everyday, Everywhere
Featuring Keri Hilson; Produced by Ryan Leslie
If you want to get on the radio, you can’t go wrong with Keri Hilson and Ryan Leslie. R. Les can produce a beat no matter what you need and Keri Hilson does a fantastic job on this hook. I’m sure we’ll see this one on the radio. I can’t wait to hear how they edit the line “We in this bitch like an unborn baby”, that shit, although cringe-worthy, is funny as hell.

6. Throw It in the Bag
Featuring The-Dream, Produced by Christopher “Tricky” Stewart
As proven again, picking the right folks to get radio play is one of Fab’s best talents. The-Dream and Tricky team up to give us the lead single. Personally, I’m not with the “it ain’t trickin’ if you got it” movement, but I ain’t got it so take that with a grain of salt…that aside this song is decent.

7. Money Goes, Honey Stay (When the Money Goes Remix)
Featuring Jay-Z; Produced by Jermaine Dupri
So far, songs 5 thru 7 sound like a strong cohesive run of radio ready, R&B influenced tracks that could give Fabo some attention for this album. I think as Jay ramps up for the release of The Blueprint 3, radio is clamoring for anything Jay. I think that with the other two songs before it, this is a consistent offering but stand alone, I’m kind of bored with it. Also, after realizing that Jay is just doing the hook and not flowing, I quickly get bored with this one. I do still think the radio may pick this one up.

8. Salute
Featuring Lil’ Wayne; Produced by Miguel Jiminez for “The Council”
Cut from the same cloth as “The Mighty O” and other marching band influence hits, Miguel Jiminez brings us the track for Salute. Some things never get old no matter how often it’s done, and this sound is one of them. Weezy offers up his signature flow…but he didn’t really say anything. Lyrically, this may be one Loso’s most quotable on the album. “You feed a sucka he just grows to be a bigger leach…told’ em I don’t see nobody I’m a rappin’ Ray Charles / I think I need a seeyin’ eye dog / come to bein’ fly, you ain’t seein’ I dog…They ain’t ballin’, these niggas is foulin’ out / they ain’t throwin’ jabs they just throwin’ towels out”. There was some unfortunate stutter style flowing on here by fab, but other than that, this song is pretty dope.

9. There He Go
Featuring Paul Cain, Red Cafe, & Freck Billionaire; Produced by Blackout Movement
The standout flow on this one is done by Red Cafe whose flow and confidence really lend themselves well to this track. Freck’s delivery is pretty nice as well and hopefully we’ll hear more from this guy in the future. The hook is pretty elementary and when coupled with the laid back emotion of the track, this one is almost a sleeper.

10. The Fabolous Life
Featuring & Produced by Ryan Leslie
It’s a R. Les joint, you know what to expect on the track. Something that will make you want to dance, nod your head, or whatever equivalent you do in your world. The line “She don’t wear skinny jeans cause her ass won’t fit” makes me wonder why no female emcee used that one…maybe I’m speaking too soon, I’m sure it will come up again by SOME talented female emcee. Anyway, overall, this song is mediocre. Not because it’s done bad or anything, it’s just really REALLY radio. Maybe I’m out of touch with what should be played on the radio but so far, this album seems like it was sculpted for it.

11. Makin’ Love
Featuring Ne-Yo; Produced by Jermaine Dupri
Say what you will about JD, but he’s been doing something right…a whole lot of something right for a really long time. I have no idea how he heard “Brokenhearted” by Brandy and found a way to Hip-Hop it up, but he did it. I think this is my favorite song on the album. Ne-Yo is THE male hook singer as far as I’m concerned and he does his thing on this one as he quips “I told her I’ll be there in a minute / she know Imma take it down soon as I get it / you can leave your hair a mess, don’t even get dressed, tonight we makin’ love (x2) / Til’ you tell me that you’ve had enough / Imma slow it down and Imma speed it up / and I will not stop do it to you like a dude that ain’t got no job / I ain’t got nowhere to be so I don’t gotta leave / get the it is in the sheets, Imma eat and go to sleep / then we wake up and repeat / everything you do to me / Imma turn and do to you then Imma black and blue that thing”. Sorry Fab, but Ne-Yo stole this song from you.

12. Last Time
Featuring Trey Songz; Produced by Jermaine Dupri
Same theme I’ve mentioned before, not a bad thing, just noticeable. This one is ready for airplay as them Ocean Boys give Fab something with a real grown man feel to it even though the story is about a man being torn from the street game and the homelife. I can respect this one as an older gent that still loves Hip-Hop….er….Hip n B….er….well, yeah.

13. Pachanga
Produced by Sid V for “Duo Live”
Um…this song doesn’t fit on the album at ALL. The album is already pretty scattered but this one just seems out of left field. I have NO idea what he’s talking about on this one but it sounds like regular changes in life. How you transition from one station in life to another and the things around you change as well, friends, love interest, etc. But the way he’s calling these changes “Pachanga’s” is annoying as shit. Now granted, I may have gotten this one ALL WRONG but one think I think I have right….SKIP.

14. Lullaby
Produced by The Alchemist (Scratches by  Just Blaze)
I’m diggin’ Loso’s flow on this one. “Do me a solid / Y’all stay in pocket like wallets / cause you can’t see me, closed eyelids / nighty night / I’m with a model chic Tyra thick Heidi’s height body suits body tight”. The track is different from the rest of the album, and although it doesn’t really fit the album either, this is one of it’s strongest songs (hook notwithstanding) especially considering that he’s rolling solo this time.

15. Stay
Featuring Marsha Ambrosius; Produced by Syience
I saw this collab and after hearing her mixtape, I wasn’t completely sure what was going to happen here, but as SOON as I hear the intro, I’m sold. The track takes simple piano play and builds into something that is quite nice. Marsha, who is one of the better and more distinguishable vocalists out there, murders the song and like Ne-Yo earlier on the album, simply steals this one from Fab. I think she’s so good, I’d stay away from her on my songs, she will “Renegade” you for sure. CLOSE second for favorite song on the album. I don’t want this one to end at all.

16. I Miss My Love
Produced by Sean C & L.V.
Fab does songs like this that make me wonder why he bothers having other folks on his album. This one is pretty damn dope and proves, yet again, that he is more than capable to hold his own with producers we don’t know on songs with no cameos. His story telling on this one takes the drivers seat as lyrically dances to a MJ influenced beat boasting some angelic singing throughout most of the track. I’m really impressed with this one and feel like he should have gone this route more with the album, solo and storytelling.

Bottom Line:
As with most artists today, we always say “remember when” when we reference their newer work. We talk about when Fab first hit the scene and would spell his name at nauseum and back to when we could set our watches to a Lil’ Mo (drool) appearance on the track. At the same time, we always cry about artists not showing growth and evolving. We can’t have it both ways I guess. However, one thing that should be constant no matter what you do is the consistency. This album is a bit scrambled. There are a lot of R&B, radio ready songs on here, followed by some street songs that are in turn followed by songs that leave you scratching your head. It’s almost like he had 3 different albums and picked some songs from each to make this album, and that doesn’t necessarily mean he picked the best songs from those 3 albums to make this one. Let’s not forget the inference to Carlito’s Way via the title but no carrying out of the concept at all on the album. I’m left confused at the end of this album…and that’s after a lot of spins. If this is Loso’s Way, he has already done waaay better than this last offering.

nappyPicks: “Salute”, “Makin’ Love”, “Last Time”, “Stay”, & “I Miss My Love”

Download: Fabolous feat. Ne-Yo – “Makin’ Love”

Download: Fabolous feat. Drake – “Throw It In The Bag (remix)“

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”

Finally some new releases. Not necessarily Hip-Hop releases but you take what you can get. Lil’ Wayne’s Tha Carter III crossing the 3 million sales mark is not really news since we all saw this one coming a month ago. But we did see three R&B acts take spots in the Top 50. I’ll mention Ryan Leslie first because we actually featured him on the site (What up Thic Saule?). Leslie’s self titled sophomore album debuts at #35. Dude is real talented and hopefully he gets more light. India.Arie’s 4th album Volume 2: Testimony: Love & Politics does pretty well landing in the Top 10 (I haven’t really listen to the album, but I respect homegirl). Bobby Valentino, still hot of the “Mrs. Officer” comeo and his single “Beep”, returns with The Rebirth at #7 (Hey, isn’t Wayne’s upcoming album called this?). This is another album I haven’t really checked out. It looks like Akon’s album Freedom will go Gold in a week or so as well as T-Pain’s Thr33 Ringz (Not listed here). After 22 weeks, it looks like Ne-Yo will go over the 1 million with Year Of The Gentleman. I happy to see Jazmine Sullivan & Anthony Hamilton still toughing out at the bottom of the Top 50. Okay, I’m rambling now; Check out the numbers…

#3 India.Arie/Volume 2: Testimony: Love & Politics (Last Week: NA) – 75,554; Total: NA [Debut]
#7 Bobby Valentino/The Rebirth (Last Week: NA) – 64,182; Total: NA [Debut]
#12 Beyonce/I Am…Sasha Fierce (Last Week: #5) – 53,937; Total: 1,842,143 (Platinum) [14 Weeks]
#14 Jamie Foxx/Intuition (Last Week: #8) – 40,069; Total: 618,101 (Gold) [9 Weeks]
#16 Kanye West/808’s & Heartbreak (Last Week: #9) – 36,800; Total: 1,328,000 (Platinum) [11 Weeks]
#18 T.I./Paper Trail (Last Week: #19) – 33,332; Total: 1,694,521 (Platinum) [20 Weeks]
#19 Keyshia Cole/A Different Me (Last Week: #10) – 32,100; Total: 698,200 (Gold) [9 Weeks]
#24 Ne-Yo/Year Of The Gentleman (Last Week: #23) – 29,100; Total: 905,500 (Gold) [22 Weeks]
#29 Lil’ Wayne/Tha Carter III (Last Week: #22) – 26,963; Total: 3,012,110 (3x Platinum) [36 Weeks]
#30 Jennifer Hudson/Jennifer Hudson (Last Week: #47) – 25,600; Total: 621,000 (Gold) [21 Weeks]
#31 Rihanna/Good Girl Gone Bad (Last Week: #25) – 24,500; Total: 2,371,000 (2x Platinum) [89 Weeks]
#35 Ryan Leslie/Ryan Leslie (Last Week: NA) – 23,800; Total: NA [Debut]
#36 Akon/Freedom (Last Week: #20) – 23,200; Total: 489,800 [11 Weeks]
#47 Anthony Hamilton/The Point Of It All (Last Week: #44) – 15,600; Total: 279,700 [10 Weeks]
#50 Jazmine Sullivan/Fearless (Last Week: #45) – 14,900; Total: 368,300 [21 Weeks]

We said “Hip-Hop & more”….so with Hip-Hop releases being a little on the light side, I’m going to turn up the heat on the “MORE” side of things. This man can almost be called the sound of Bad Boy for the past few years making hits for Cheri Dennis, Danity Kane, New Edition, Loon, and most notably on the label, Cassie. Outside of that, he’s done music for Donnell Jones, Britney Spears, Beyoncé, and LL Cool J. He recorded an album before this but as usual, the US was sleeping on it and it didn’t receive any love. Fresh off the heels of his YouTube videos and an unrelenting buzz because of his talents, he’s releasing his self-titled album this month. Let’s see if it has the Wright touch.

1. Diamond Girl
Produced by Ryan Leslie
This is the first song I saw him create on YouTube. Now, while there is sure to be some editing, the fact that he puts these songs together by playing instruments separately and then putting them together is amazing to me. He goes with what he feels and puts together some good music. The track is what has become his signature sound, futuristic and very danceable. The scale he plays on the keyboard serves as the main element on this song and though repetitive, still works. This is the first single from the album.

2. Addiction
Featuring Cassie & Fabolous; Produced by Ryan Leslie
The second song on the album is also the second single released from this album. The song kicks off with some keyboard kicks then goes into one of the sickest key set ups I’ve seen. You’ve got to see the video on him producing this beat. Anyway, just like the last song, the keys provide the foundation for this track and the drums and snare all play well here. Ryan talks about how he’s “addicted” to his girl, something that happens to us all in that infatuation stage when the relationship is all new. Cassie gives the song some more personality with the way she sings the airy hook on this one “I’m addicted to you, I’m addicted to you, I’m addicted to you, you’re my addiction.” Fabo comes on and does his usual. He didn’t have to say “…I hopped out the suicides lookin’ so Cobain.” That’s cold as hell.

3. You’re Fly
Produced by Ryan Leslie
R. Les comes on this one spittin’ a verse…it’s not bad. I personally think the song would have been better had he kept rappin’. The track comes in and sounds very light. It almost comes off as an after school special type beat. It comes off kind of boring compared to the last two tracks. I’m on the fence with this one, it’s not bad but it doesn’t blow me away either. I think to be fair, I saw his video on the first two songs and I appreciate the work he did to make it so I probably appreciate those songs a little more.

4. Quicksand
Produced by Ryan Leslie
Quicksand also has a little more of a nostalgic feel to it and the keys almost sound like strings on this one, provides a different sound. Again, just like the last one though, I’m not sure if I am predisposed to the songs I’ve seen made, but this one is pretty mild as well. The song is about how he’s falling/sinking/stuck with the feelings he has for someone. I dig the concept for the song but I don’t know how that it all comes together successfully here. I’ve seen a video of him doing this live and it presents better sounding live than it does on the album.

5. Valentine
Produced by Ryan Leslie
This is one of my favorite songs on the album. From lyrics, “I don’t have to say you’re beautiful/You’ve got plenty other guys to say those words for you/and I don’t have to say you run the show/all it takes is a word, I lose control for you” to the very late 80’s sound of the track and the cadence of the song, it reminds me of good ol’ R&B music. This one is a lot slower than the other songs, but it’s one of his best.

6. Just Right
Produced by Ryan Leslie
Our 6th song on the album, but third single released is “Just Right.” Again, strategically, you can see him make this one too…and again the composition and making of this album speak to me louder than what I get on just the album alone. I can appreciate the artistry of him playing so many different instruments, especially on this one where we see him play the guitar as well. Lyrically, its okay, but the star on this song is clearly the music.

7. How It Was Supposed To Be
Produced by Ryan Leslie
I think the marriage of chords and drums on this one work really well together. They provide most of the body for this song with the usual suspects playing support on this track. I like how he ads drama on the bridge of this song with beefier chords and layering ONLY on that part of the song. Like the previous songs, the title pretty much tells you the story of the song, he’s talking about a failed relationship and the lingering questions after that ordeal.

8. I-R-I-N-A
Produced by Ryan Leslie
THIS is my favorite song on the album. From concept, video, to music, I think this is one of the most artistic expressions he’s made. The song is a result of a photo shoot he was doing with Russian fashion model Irina Sheik. There was a language barrier and to break the ice, Ryan started singing this melody. The song is easily relatable about words get in the way and you sometimes just feel someone, you just vibe. The line from the song that is the flyest is “…I might not speak your language, but I know just what to say….” The concept for the video is just as fly, he did the entire video in 113 seconds shot at double time. What results when you watch it in regular speed is a video is just slow enough to give it this lag effect like he’s moving in water. I love the simplicity of the black and white video, single camera use, and no background. I think similarly, the simplicity of the track work well to make this the standout moment on the CD.

9. Out Of The Blue
Produced by Ryan Leslie
I love the drums on this one as well. It’s not a new sequence, but it sounds good with the high end melody he uses to construct this song. R. Les laments the sudden way a relationship ended. I dig this track and song too, it’s a pretty chill song to kick back to.

10. Shouldn’t Have To Wait
Produced by Ryan Leslie
There is a throwback quality to this song as well. You can tell that Ryan, who is in his early 30’s, grew up around some good music. I really appreciate the bass guitar and music on this one. I’d even say that this may have been one of his more thoughtful songs on that end. The wordplay isn’t bad either in a time when most of guys only commitment is to being single. This song will go over well with the ladies.

11. Wanna Be Good
Produced by Ryan Leslie
This is the only song I really don’t like on the album. I’m not really feeling the track or the sample on it too much. I could go on, but for me, this is a skip.

12. Gibberish
Produced by Ryan Leslie
As told on the video for this one, “Songwriters sometimes sing unintelligible syllables to lay down a guide melody during the creative process. Here’s an amusing example of this with my voice running through a very strict pitch correction processor.” That’s right, he isn’t really saying anything on this song, but the groove is undeniable here. There are too many instruments to try and pick a favorite, but that pocket trumpet is Wright!

Bottom Line:
With this album serving as his official debut in the states, it’s a pretty good introduction into Ryan Leslie, musically. I think there are some other songs that he’s done that would make this a better album as the majority of the album comes off pretty average. It’s only 12 tracks long and because of some songs, it comes off more like an EP. I also realize that being able to see him make some of these songs has made me biased to those songs, but I realize that he is a really great talent. I don’t think this album showcases that talent the best, but like I said, it’s a pretty good intro as you do get a feel for what he’s capable of. I hope that the album does better than his songs have shown so far on the charts.

nappyPicks: “Diamond Girl”, “Addiction”, “I-R-I-N-A”, & “Gibberish”

Download: Ryan Leslie – “Gibberish”

12 albums, all gold or platinum. His last album went gold with but quickly fell off the charts and was viewed by most as a failure. This being his last album with Def Jam (some 20 years after he first signed), how does LL wrap up his tenure? By teaming up with 50 Cent, that’s how. Thic takes him to the mat…

It’s Time For War
Greek gods and chariots are the imagery for this one. Drama, ah-ah chants, big drums, it’s that type of track. LL comes in and makes sure you are familiar with “The Holy Spirit using Hip Hop slang.” Todd takes on the attacks and shuts them down. “I’m beyond the gold grills and logos on chains/Ya see, I changed rap forever, I elevated the game. Launched the greatest label in the history of rap/And for 24 years I carried it on my back.” He makes no bones about it, folks been talking shit and you need to know, this dude is on that other. The tone is set and I hope he lives up to it. The song is fly as hell.

Old School New School
Produced by Ryan Leslie
There is video on YouTube of Ryan making this beat, it’s a really nice track. I think the title lends itself better to some old school banger type beat, but this still works well. The song itself is the same swagger and boasting from the last song. He has the record to back it up, so I ain’t sayin’ shit. The song is pretty cool though.

Feel My Heart Beat
Featuring 50 Cent
Time to get to your bread and butter; a song for the ladies. There is nothing complex or special about the track, but its okay. For some reason, LL raps this one with the last word of each line going UP in tone from the rest of the sentence. It’s horribly annoying. The hook and overall tone of this song is lazy and I don’t care for it at all. The use of the big band horn section goes to waste on the first song I don’t like on this album.

Get Over Here
Featuring Nicolette, Jiz, Lyrikal, & Ticky Diamondz
Mr. Smith is credited with breaking a few careers and this song seems to be inspired by that reputation. Nicolette is the first to attack the heavy synth and chord track. She sounds a lot like Lil’ Mama but her flow is a little different. She does a good job here and I am interested in hearing more. LL goes next, oddly, and brings us a more sped up flow than he’s been using lately. I dig the way he rides this beat though. Jiz is next and he flows like the previous two; again, it fits the beat well. Rounding out the relay is Ticky who slows it down but still does a good job. The song is fun and a cool little introduction of these youngstas in the game.

Baby
Featuring The-Dream; Produced by Tricky Stewart
I think this is one of the better tracks and hooks on the album and is apparently going to be a hit. You know what LL is talking about, just read the title. If it ain’t broke don’t fix it. Now, lyrically, this shit is elementary even for LL. “Nasty girl taught me all the lingo./Her mama play bingo, she ride mandingo/She don’t give a damn if I’m married or single/She makes me tingle/Shorty I’m yo….” There is more but yeah, you get the picture. That aside, the song is too fun to really dislike. Give it a few spins and it will get your movin’.

You Better Watch Me
Produced by Marley Marl
I was excited to see Marl doing this one; maybe we would get more boom bap for our buck. I was right!!! This is a really dark track that is bass, kick, a slight chord and a hot mic. Marl tosses in some mixing and LL does damage on this one. I think this is clearly when he is at his best, on the attack and over an 808 track. “You can’t compare me to them, line for line./I’m beyond that, I represent eras in time.”

Cry
Featuring Lil’ Mo; Produced by Raw Uncut
Have I professed my love for Lil’ Mo before? Oh well, yeah, that’s my girl. She lends her sound to this fly ass track by Raw Uncut that is a lot deeper than I would expect. The layering and production of the track does a great job of staying entertaining. The song itself has LL flowing lines of devotion and love…all ending with “girl.” That shit gets crazy irritating but about halfway he realizes it too and drops it. Song sounds much better without it.

Baby (Rock Remix)
Featuring Richie Sambora
So, we get song 5 again in the 8 spot but it’s over a “rock” beat from Bon Jovi and has slightly different lyrics. Um, look, there is nothing rock about this track but the energy. It’s about as much rock as let’s get it started is. For some reason they line “Ya body’s a gun baby, pump me full of lead” stands out to me. My gawd, that’s pretty horrible. Take a guess how I feel about this song….yeah, SKIP.

Rockin’ With The G.O.A.T.
Produced by DJ Scratch
This was the warm up single and it fell off quickly. Probably because the beat is over and the hook/chanting that is done on this one is terrible. I think lyrically, it’s about average but that is the best compliment I can give this one.

This Is Ring Tone M…
Featuring Grandmaster Caz
Soon as I hear Caz over the speakers, I get hyped. We are blessed with more drum and bass on this one. It’s a banger of a beat, and yeah, it has that yeah yeah yeah or go go go chant going for it. Either way, I’m sold. “My bars are like a bullet, blow ya’ head right off/Hate on the trigga, pull it/Give ya mouth a night off./…I used the word off seven times in rhyme/You dumb enough to think I got a limited mind.” THAT is some of his hotness. How you flip it, predict the reaction, and attack them for that. The entire song is full of James Todd goin’ on the attack including, “You sounding like a girl with them sweet sixteen’s…/Run around talkin’ bout I’m twice your age/But I was rich at 17, you got some shit to explain.” Honestly, gotta hear this one. I think this is the hardest track on the album.

Like A Radio
Featuring & Produced by Ryan Leslie
Yep, another song for the ladies, and yes, you can tell this is a Ryan Leslie beat. I gotta commend LL for not going Leslie crazy though, the two tracks are MORE than enough for this album. The song is about average.

I Fall In Love
Featuring Elan of The D.E.Y.; Produced by Jonathan Rotem
I don’t like this Middle East influenced sound on this one. I don’t like the hook or the other singing. I don’t like the lyrics, and fuck it, SKIP.

Ur Only A Customer
Ok, so the track and song isn’t bad, it’s placed in a bad location. After that last song, you need something with a little more heat on it. This song is a little more of a groove track, even with a pretty bad hook. With talk of I got my mojo back, he spits “I’m the dog killin’ the cat, ignoring the jack/This is flawless rap, you can’t call this wack/Where the ballers at?/Go head and throw up a stack.” I don’t know about that one.

Mr. President
Featuring Wyclef Jean
Ok, Clef been ridin’ this “Mr. President” theme for about 3 years now, but that’s just an observation. He has sped up the tempo of the track but kept the singing in that same tone. I don’t know how I feel about the track itself. LL digs a little deeper on the subject matter and addresses the country and some issues there in.

American Girl
Hip-Hop taps the marching band and drumline once again, in what I guess is a response to Estelle’s “American Boy”. Some of the lines in this song are so, odd, that it comes off as satire. I have NO clue what his real goal is with this song. I don’t know if it is a tribute or a social commentary on the state of our made up, Barbie worshiping, Jessica Rabbit coveting society. I have no clue…really…I just don’t know what the fuck is going on with this song.

Speedin’ On Da Highway/Exit 13
Featuring Funkmaster Flex
The track isn’t ingenious but I do like it. The combination of some well done drums and an amped guitar are a good choice. The metaphor of the game to a highway isn’t bad or new in itself, but it does come off kind of corny coming from a 40 year old rapper. The addition of a SCREAMING, yes SCREAMING Flex serves to date any of us that remember when these guys first came on the scene. I have never heard his voice crack though…Damn.

Come & Party with Me
Featuring Fat Joe & Sheek Louch
Man look, LL is channeling 50 now, and it’s not a good look. I wouldn’t be shocked if 50 wrote this one bar by bar. The cadence of the flow and hook are all 50…thru LL. It’s pretty clear. I haven’t had a chance to say it, but I don’t dig Fat Joe’s music, however, he is a welcome reprieve on this song. Sheek comes through on this party track and provides the most substantial flow on the song.

We Rollin’
I don’t really wanna feeeeeel….oops, wrong song. Yeah, LL jacks Boss’ track and adds some layers but that bassline is the foundation for this track. LL taps into his pimp persona and steps in the booth. It’s not a bad song, just not what I’d expect from LL. Talk of his caddy, and spending time with the G.O.A.T…for the ladies of course.

Dear Hip Hop
Produced by StreetRunner
StreetRunner gives us another pretty cool track. Nice drum work and melody give us a smooth track for LL to close out the album. Now, he goes on and says that he’s tired of the money talk and bitches and hoes, but he just spoke the same way (sans bitches and hoes) on like 11 of the previous 18 tracks. I’m so confused. He is however open and honest about his music and it’s refreshing to hear that in the game. The song itself isn’t bad either.

Bottom Line:
I went into this review expecting to hear some heat. I debated all week with folks saying LL fell off, and was no good. I still will debate with them on that, but this album doesn’t back me up as well as I’d hoped. With all the interviews of him on the net saying how he had something for us, how he was going to check folks, how he turned down numerous movie roles to work on this album, it could have been much better. I will still say he is a Legend and I appreciated his honnesty about his rep even stating several times that he may have fell off, but he came right back. I will still claim him to be one of the best, but I think that LL has his own lane and he doesn’t need to conform to certain gimmicks to sell records. Give this man a DJ, an 808, and let him rip, then tell me what you think. This album is average, and it hurt to type that. I think he has some good elements but they are scattered thought the album.. Great track, bad hook, or dope lyrics and hook, bad track. He has proven that his fans will be there, to buy his albums, and they will all ride on through Exit 13…riding until the wheels fall off.

nappyPicks: “It’s Time For War”, “You Better Watch Me”, “Cry”, & “This Is Ringtone M…”

Download: LL Cool J – “You Better Watch Me”

G-Unit knows how to stay in the limelight even when they have no album out. The shit with Buck, the court situation with 50 and his BM, Yayo and his prison shit, etc. Kanye beat 50 in the sales challenge but 50 did major numbers out the gate as well, however, the bet was that 50 would not do another solo album if he lost…and he did. What does that mean for him or the crew to come off such low times as mentioned? Let’s find out.

Straight Outta Southside
Produced by Ron Brownz
This is one of the hardest songs out. Get yo’ throwback on as the crew pays homage to NWA and that gangsta mentality that initially got the crew over. Banks gets the baton first and does aite. Yayo seems to be more energized in the booth as he shouts a fuck the police to Shawn Bell’s murderers. 50 does aite as he tries to keep pace after Yayo’s verse.

Piano Man
Featuring Young Buck; Produced by Tha Bizness
Yayo seems to have upped his swagga game and Banks is a fool; straight comedy on this one from the thugged out Craig David. Buck does his thing on here. Not a member, but the best one on this track by far with some decent wordplay and brash delivery. The track itself is aite; the hook is, well, 50.

Close To Me
Produced by Teraike “Chris Styles” Crawford
I didn’t expect to hear this type of song this early after the first two singles. Fiddy knows how to make songs for the ladies and strippers to work…so I guess that means that he makes music for the men? Anyway, nothing groundbreaking but for Curtis’ fans, this is a welcome return to some older sound. Banks styles on this shit quite well. Shout out to Spitzer on here; Ha! And the falsetto shit is comedy. I dig the track and trust me, this song will thump in the clubs…strip and otherwise.

Rider Pt. 2
Featuring Young Buck; Produced by Rick Rock
Voice mods, oh joy. That aside, song is pretty dope. 50’s verse is forgettable and Buck seems to really seal his own casket with the crew on this one even if 50 drops me I still wouldn’t sign. The beat is dope and there is no denying this is a posse cut.

Casualties Of War
Produced by Ky Miller
The hook grates my soul, I hate it. The track, eh, it’s aite. Banks comes on and intros his flow saying some pretty lame shit. Overall, the metaphors are pretty lame on this one and even for the crew; this one is pretty pedestrian lyrically.

You So Tough
Produced by Ky Miller
The hook with the mocking tone is funny as hell. I think Banks mailed this one in, not really a good sound for him at all on here. Yayo comes with some heat on this one and amps up one of the more mellow tracks on the album. I think 50 is goin’ at T.I. and his case on this one, for what, I’m not sure. Lyrically though, this track is pretty grimey and I dig it, even if you omit Banks verse.

No Days Off
Featuring Young Buck; Produced by Dual Output
Buck offers up part of the hook on this one which sets the tone for the track. Mr. Jackson comes on with a slow burn flow, because in the offset, it sucks. It does get better as he goes on. Yayo’s verse is pretty fly until he starts talking about his ride and a bulletproof hat. Ha! Banks paints the best picture and takes shots at Fat Joe and Weezy.

T.O.S. (Terminate On Sight)
Produced by Ty Fyffe
We get 50’s hardest verse since the first track with lines like “It’s fuck 50 I stay in the drama/He luv her I fuck her/She’s  his baby mama.. ” Damn 50. Banks rides and delivers on this track, hypes it up a little. Yayo does him one better bringing this shit to a frenetic pace that matches the track. The track, though simple, works well on here due to the deliveries brought to the table.

I Like The Way She Do It
Featuring Young Buck; Produced by Street Radio Inc.
Summer jam much? This is a club banger. A lot of you dudes need to thank fiddy. If you club and you  like women, many of you will get yo’ grind on to this very song. No women sittin’ when this shit comes on, I promise.

Kitty Kat
Produced by Hit-Boy
Um, what is this, a woman’s anthem or something?  The chic on here is annoying as hell. The track is fuckin’ phenomenal, but yo, the hook is terrible, just terrible. I can see the squad groovin’ to this one in the studio though, having fun. Lyrically, there’s nothing new here, money, cash, hoes. The track is the biggest standout here though.

Party Ain’t Over
Featuring Young Buck; Produced by Damien Taylor
Yep, another club jam. The beat is dope; you can’t stay still on this one. The flows, again, aren’t anything new or groundbreaking for the group. Almost to the point, the song sounds familiar. Banks seems to have the idea on how to ride the tracks on this album and he does a good job on here as well.  Buck talkin’ about he got Vitamin Water money seems to be included on here like they poking fun at him. You got money….like yo’ boss? WTF.

Let It Go
Featuring Movado; Produced by Don Cannon
I’m feelin’ this from the jump. Movado kills it and the track is undeniable.   This is one of the better songs on the album.  Yayo delivers a dope ass verse including, “I’m the high school drop out/Crack game genius/The mack will turn ya back into Gilbert Arenas.”

Get Down
Produced by Swizz Beatz & The Individuals
There was a time when having Swizz produce your track meant damn near instant Gold. My how the times have changed. This song is horrible.

I Don’t Wanna Talk About It
Produced by Jesse Corparal Wilson & Reginald “Regg” Smith
I love the track on this one, some bounce with heavy synth. It sounds like some Ryan Leslie produceduction as it has a lot of layers to it. Its comical how this song is one of the longer, if not the longest, on the album. I really like the concept and flow of this song a lot. 50 brings the best verse on this one.

Ready Or Not
Produced by Jake One
A dark track that may be a little overly simple is paired with Banks best lyrics on the entire album. “Cause niggas get hit, and call a lawyer/Gon’ try and sue you/That’s a bitch nigga for ya’/….why be slick, say somethin’ bout my name/Don’t jump out the window/Ya safer jumpin’ out a plane….you don’t want a lead shower/Stay the fuck out the rain/So much ammo/Muh’fuckas don’t gotta aim.” Yayo offers up a decent verse, but it’s hard to follow up what Banks gave us.

Money Makes The World Go Round
Produced by Ron Browz
Yayo makes the hook more annoying than it has to be, and it’s equally bad having him doing the first verse on the song that he does the hook on. Stuck like Velcro? Damn, we gotta do better than that though. The track is about average. It sounds like its all build up and is missing something extra.

Bottom Line:
There isn’t much elaboration needed. The album goes from hardcore banger to slow and methodical in a largely inconsistent feel. I think ultimately, this one will come down to what you like to listen to.  The crew doesn’t reinvent the wheel outside of Yayo who seems to a lot more energized overall, but seems to struggle to find where he fits in.  50 offers up a lot more forgettable verses than you would expect.  Banks, on the other hand, keeps it live with his change of flows and pretty good lyricism for the most part.  Buck, when featured, is a welcome change to the sound of the crew and I think will be missed when all is said and done.  Overall, it’s a little better than ya’ average album that would be better if not for the inconsistencies and smattering of mediocre songs. TOS does nothing new or groundbreaking but does show glimmers of them reclaiming that juggernaut status that once had the world saying G G G G – Unit!

nappyPicks: “Straight Outta Southside”, “Close To Me”, “You So Tough”, “I Like The Way She Do It” , & “I Don’t Wanna Talk About It”

Download: G Unit – “Straight Outta Southside”