Album Review: Mike Jones-The Voice

Emerging as one of the head rappers in the Houston movement with his city on the map single, “Still Tippin”. Receiving a double platinum plaque for his debut, he returns with The Voice.

Swagger Right: Repetitive hook and synthy backdrop, while 808s knock. Jones’ flow is a bit iffy here and the track tends to be a bit dull. 3/5

Houston Oilers: String plucking and grinding bass mixed with rising keyboard couplets make for a decent production. The hook is a bit weak, as Jones spits about relating the former Houston Oilers football team to sipping drank or that oil. There are boasts of getting women, but overall the track can’t get out of mediocrity. 2.5/5

Boi!: A collaboration between hot local up and comers, Young Problemz, a group out of Houston consisting of Chyco, JM, J Yung, Star Struck and Just O. The production is essentially a remake of “A Milli” down to the snare patterns, 808s and chopped and screwed backing of “Boi I got so many”. A poor man’s “A Milli” the track is a decent club banger but seems like a local than national hit. 3.5/5

Cuddy Buddy: Handling the production of lush strings and guitar notes are hitmakers Jim Jonsin & Bigg D. T-Pain serenades with his autotune croon, while Mike Jones, Twista and Wayne get their lovey dovey flows on. Fitting single that’s radio friendly and works off its guests. 4/5

I Know: Trey Songz saves this track from complete boredom, as his emotion filled hook works well. Jones seems to be going through the motion here and it isn’t nearly as heartfelt as it should, with cliches like “I was blind at one time but now I see the light”. Decent track that works because of its hook and production, but at times Jones wavers between boredom and mediocrity. 2.5/5

Drop & Gimme 50: Collipark delivers his typically energized productions as emphatic bass hits and choral vocals make the track a bit epic. Its a decent club joint however, it tends to get dull during the verses, but the hook is on point and Hurricane offers some much needed energy. The corny breakdown of “put your right hand in the air, put your left in your underwear, now tickle the cat, tickle the cat” is disappointing, buts its a decent club joint. 3.5/5

Give Me A Call: The laid back Devin The Dude joins Jones for this track about craving women. The hook is decent as well as the production, with both rappers dropping freaky verses and stories of their women. 3/5

Happy Birthday: Uncreative and forgettable, Jones attempts to find success off the club production, however the track is essentially about nothing and completely boring. 1/5

Next To You: J.R. Rotem serves up a midtempo of strumming guitars and smooth bassline, while Nae Nae croons smoothly. Here Jones sounds heartfelt and believable to his woman compared to “I Know”, as the production, hook and lyrics show why this was selected as the second single. 4/5

Swagg Thru Da Roof: Celebratory and uptempo organs with a repetitive hook create a fun number for the dance floor. While lyrically it isn’t impressive, it gets the job done, as the production supports the track well. 3/5

On Top Of The Covers: A less impressive number, its similar to “Swagg Thru Da Roof”, containing a slower beat and Jones joining the gang of autotune rap. The hook isn’t too appealing and the track is mundane after a while. 2.5/5

Scandalous H**s II: Where the first version of “Scandalous H**s” thrived off Jones compact flow, here he spits with a more mature style. Same producer, same sample and essentially the same hook, the track sounds really similar to its original with an upgrade in commercial appeal with everybody’s favorite hookman, T-Pain and more bass in the beat. Jones speaks some truth here. 3.5/5

Hate On Me: Mike D absolutely knocks out the production, calming strings and a fluid bassline are nicely structured. Tanya Herring plays backup vocalist, while Jones offers a reflective track about his rise in the game and the hate he receives. Jones loveable persona works well here, as he story tells about the hate he received following his debut. 3.5/5

Grandma II: Similar to “Scandalous H**s II”, Jones brings back Amadeus to create the mood for the “Grandma” sequel which pays homage to his grandmother who gave him advice to become successful. Singer Kai who suffered the same situation is a decent singer, who is the main one on the track. Jones’ sing songy flow is heartfelt, but I’d personally prefer the original than this. It’s a much slower version that features good production. 3.5/5

I Got It: Horn laden beat with heavy snares, Mike Jones offers up a worthy banger with Bun B. 3.5/5

S*** On Boyz: Mediocre street joint that features Jones’ Ice Age artists. 2.5/5

Jones’ sophomore release that experienced numerous setbacks, originally planned to be The American Dream, singles failed to chart leading to a 6 track EP. The Voice shows Jones in a much more mature state and softer side, as his first album showed a hungry emcee that kept things underground and street. Glimpses of softness were on the debut, but here it is expressed much more often, the smooth “Cuddy Buddy”, ode to his lady “Next To You”, questioning “Hate On Me” and heartfelt “Grandma II”. Surprisingly the street tracks are quite tepid and lackluster, as well as the club banger “Drop & Gimme 50”. Jones lyrically has improved slightly, but he still tends to come off a bit annoying, not nearly as repetitive as his debut though. While the album expresses maturity, Jones’ loveable character and dream, the overall product is merely decent and lacking of his on point flow from his debut. A few overly commercial shots “On Top Of The Covers”, “Happy Birthday”, as well as the lackluster “I Know”, show Jones faltering from uncreative ideas and cliches. Decent sophomore release but not nearly as many bangers, mainly joints for the ladies.

Rating: 6.5 out of 10

First Listen: Tech N9ne/Sickology 101

Sickology 101: Hard hitting drums and fitting start, Tech, Crooked I and Chino all are on point.

Midwest Choppers: Eerie production, unique percussion and features from Krayzie Bone and K-Dean. Fast fire flows and a solid hook.

Ghetto Love: Smooth hook, knocking bass and club horns/strings lay the backdrop, Strange Music associates, Krizz Kaliko and Kutt drop by.

Poh Me Anutha: Typical drinking track but works off its production, flutes, organ and moody horns.

We Kixin' It: Bass heavy and organ laden, choir voices croon. 

Nothin': Primarily bass, static driven guitars join in at the hook. Messy Marv & Big Scoob drop worthy verses.

Let Me In: A bit cliche, horns and a smooth hook. Guests aren't nearly up to par with Tech.

In The Air: String based beat, the track knocks well and the musicality is nice. 

Blown Away: Solo number by Tech that has him addressing the haters and his past. Autotuned hook croons, "I take the stage but I blow em all away". 

Party And Bulls***: Unique beat that has a killer hook from Tech. The guitar riffs are jammin as well, Big Ben & Shadow join in on the cut.

Sorry N' S***: Seems forgettable, street cut that features 57th Street Rogue Dog Villains. 

Dysfunctional: Big Scoob and Krizz assist for a "better not mess with me cause I'm a bit crazy" styled track. 

Far Away: Reflective track that is guitar laced and Tech spits some truth and honesty. Krizz assists.  

Creepin': Sing songy hook that is a bit catchy, as Tech drops a charismatic verse, while B.G. Bulletwound spits a southern drawled verse.

Red Nose: Another solo Tech track that has Tech feeling like he's Rudolf (the red nosed reindeer) because the media is after him. Tech turns a bit emo with this one, a "me against the world" type of track over a dark beat.

Areola: Chanting hook with pulsating beat and fast spitting performances from both Tech and the 816 Boys.

Solid Tech album for the fans, fits in his catalogue as another solid release. Tech brings the usual hit and club bangers, there's a few filler tracks, but overall another solid album. The productions are mainly uptempo spare a few tracks, bass heavy and musically nice. While it may be tough to follow who spits on the mic, because of so many different rappers, most of which are not known unless your a die hard Strange Music listener, but even the outsiders are a bit unknown, besides Bone member Krayzie Bone. Solid.

First Listen: Mike Jones/The Voice

Swagger Right: Bass heavy, chopped hook that repeats, simple synth line and Mike Jones' "haha". 

Houston Oilers: Houston sounding production, claps and plucking synths, as well as rising keyboard couplets. A reference to the original football team, but represents more the of H-Town drank referred to as "oil" and attracting the ladies as well.

Boi!: Collab with relatively unknown Young Problemz, sounds like "A Milli" as far as drum patterns. Screwed repetition of "Boi I got so many".

Cuddy Buddy: Smooth guitar and supporting strings. Wayne, Pain and Twista hop on this, smooth commercial look.

I Know: Light Trey Songz hook, feel good beat that has Jones staying true to his girl.

Drop & Gimme 50: Club banger with Hurricane Chris, Collipark handles the beat, uptempo and high energy style. Works off production.

Give Me A Call: Devin croons on the hook, Jones and Dude share their desire of "horniness" for a lady. 

Happy Birthday: Uncreative track that has a typical club bass production, but overly repetitive and random.

Next To You: Nae Nae croons softly on the hook, as Jones delivers another one for the ladies. Guitars smoothly glide, heavier bass in this one though.

Swagg Thru Da Roof: Autotuned hook that is repetitive, mainly autotune, with Jones and Essay Potna finishing each others rhymes. Luckily the production is upbeat enough to hide the horridness of the track, but its still pretty bad.

On Top Of The Covers: Jones turns cliche joining the autotune singing and the hook is also autotuned. Forgettable.

Scandalous H**s II: Essentially the same production, as Kojack produces, same sample and similar hook. Its mainly an upgrade, same hook (for the most part), same beat, more commercial hookman (T-Pain compared to last album's Lil' Bran) and Jones less annoying vocals.

Hate On Me: Tanya Herring acts as backup vocalist while Jones lightly croons on this, of "why do they hate on me". Guitar laden with a fluid bassline, musically its intact, worthy reflection.

Grandma II: Ballad-midtempo range, as Jones offers sing songy heartfelt vocals compared to its predecessor which was an uptempo and completely believable track that worked thanks to the sample and Jones' rhymes. Here its more of a laidback appeal and mainly talking from Jones, Kai croons the majority of the track (she also recently lost her grandmother hence Jones placing her on the track), Amadeus knocks out the smooth vibe, but it isn't quite as appreciable as the past version.

If anything the albums more commercial than his past, his last album was strictly H-Town style and represented a hungry emcee, despite his lack of lyricism, had bangers-production wise that hid his weaknesses. Here Jones comes in more experienced, far more commercial appeal that is both bad and good, some tracks are smooth and likeable, however Jones turns soft on about half the tracks which is why it gets tiresome. His hit, "Flossin'" was a smooth track but had a loveable Jones rapping, here there's rarely that, he's singing and lightly rapping which often is forgettable. The bangers don't touch the past hits and overall its merely decent, but does not move Jones very far for his career.

The Lowdown (4/28)

Next tuesday consists of the return of H-town's Mike Jones and underground favorite, Tech N9ne. Four years since his debut, Who Is Mike Jones?, Jones returns with The Voice, boasting collaborations with Lil' Wayne, T-Pain, Trey Songz, Devin The Dude among others. With a new phone number, new image (Jones lost tons of weight and has a much slimmer look than before-thanks to Subway) and new label deal, Jones hopes his voice will be heard, with beats coming from Mr. Collipark, Mike D, Jim Jonsin, J.R. Rotem to name a few. Lead Single: "Drop & Gimme 50"(feat. Hurricane Chris), "Cuddy Buddy"(feat. T-Pain, Lil' Wayne & Twista), "Next To You"(feat. Nae Nae)

On the flipside, underground favorite, Tech Nina delivers his, Sickology 101, the second release of the "collabs" series. Featuring productions from his usual crew, Wyshmaster, YoungFyre, Matic Lee and Seven, collabs come from his Strange Music pals, Krizz Kaliko, Kutt Calhoun and Big Scoob, as well as outside collabs with Chino XL, Messy Marv, Krayzie Bone and Crooked I. Lead Single: "Red Nose", "Sickology 101"

Album Review: Rick Ross-Deeper Than Rap

A lot has occurred since Ross’ last release, questioning of his street cred (former fed. Prison guard) and one of the bigger beefs in recent memory with G-Unit head, 50 Cent. Promising to be more lyrical with this release, the Miami boss teams up with typical down south hitmakers, The Runners, J.U.S.T.I.C.E. League and hot duo The Inkredibles.

Mafia Music: Blood bumping bass and boss aura organs create an excellent intro for Ross. Mainly filled with boasting and the lavish life of a boss, Ross sends a barb at enemy 50 Cent with, “Curtis Jackson baby mama I ain’t askin for a cent, burn the house down, gotta buy another, don’t forget the gas can jealous stupid motherf***er”. 3.5/5

Maybach Music II: J.U.S.T.I.C.E. League deliver another extravagant and grand production, as the sequel to “Maybach Music” is less smooth and more celebratory. T-Pain’s fitting hook, Kanye and Wayne’s on point performances make for a superstar collab that fits the grand Miami collabs. Not necessarily better, but equal to the original. 4/5

Magnificent: Originally didn’t like the track, however it grew on me and rides like a smooth summer maybach. John Legend adds a decent hook, while the Boss flaunts his wealth smoothly on this chilled summer number. 4/5

Yacht Club: Bouncy keys and summery beat is joined by the reggae Magazeen hook. The track is merely decent, a nice summer joint, but Ross’ flow is a bit choppy. 3/5

Usual Suspects: New R&B singer Kevin Cossom offers a decent hook, while Nas drops a decent verse. Ross spits well on this and the production serves him well. 3.5/5

All I Really Want: Mediocre club joint that is scheduled as the second single. Tricky didn’t really deliver hit quality production, it just seems average, while Dream’s hook is likeable, but not his best and merely one of his less catchy ones. Ross sounds only decent on the track. 3/5

Rich Off Cocaine: Another on point beat by J.U.S.T.I.C.E. League, the production is dreamy and smooth, supporting “Here I Am”’s hookman, Avery Storm with a lush hook of being on top of the world. Ross sounds in his element on the track, delivering some stories, boasting of his wealth and speaking about his past. 4/5

Lay Back: Decent hook by Robin Thicke, the production is decent and Ross brags about his lady and his typical boss style. Decent track. 2.5/5

Murda Mami: Track comes off as a bland attempt at a gangsta ’09 Bonnie & Clyde collab between Foxy Brown and Ross. The track is average, but forgettable. 2.5/5

Gunplay: Production is nice and Ross comes with an energized flow, however Triple C member Gunplay sounds awkward on the hook and in his verse. 3/5

Bossy Lady: Ne-Yo drops a decent hook and the production isn’t bad, but the track just seems too cliched and bland. 3/5

Face: Drumma Boy’s knocking 808s and heavy horns make for a club banger. The production is on point, however the hook is uncreative and weak, however Trina adds her gangsta baddest chick attitude that helps the track. 3/5

Valley Of Death: Toomp’s soul sample and Ross’ reflection of life and some controversial issues. Ross speaks on fellow 305 native, Trick Daddy’s lupus, “very first line he called Trick Daddy stupid, say he got AIDS tellin people that its lupus, not the one just to jump to conclusions, I’m gettin money small talk could be a nuisance” and while everybody says he says C.O. as correctional officer, he spits “I’ll shovel s***, I C.E.O., so we can bow and pray over the meatloaf”. 3.5/5

In Cold Blood: The album finishes with a burner, as The Runners menacing horns and heavy percussion proclaim a menacing Ross attacking 50. 3.5/5

Ross’ third offering is his best so far, lyrically he has stepped it up and while he isn’t any lyrical genius and has a fairly short amount of topics, guest shots and J.U.S.T.I.C.E. League productions help things work. While the album isn’t “deep”, Ross blazes the heart thumping “Mafia Music”, while the extravagant yet relaxed sequel of “Maybach Music II” has the collaboration succeeding. The album never truly takes it to the streets, spare the puzzling “Face”, but the album flows considerably well and smooth. The latter half is a bit weaker than the early highlights of “Magnificent” which has the boss coasting with a decent Legend hook, as the Nas assisted “Usual Suspects” is decent and the smooth production groove of “Rich Off Cocaine” works remarkably well, while Storm croons smoothly. Where the album falters is when the boss becomes too smooth, the glitzy “All I Really Want” has some mediocre Stewart & Dream performances and Ross sounds out of place, the uptempo “Lay Back” fails to impress, as well as the cliched “Bossy Lady” with Ne-Yo. “Murda Mami” is a bit bland, but the menacing “In Cold Blood” and reflective “Valley Of Death” finish things nicely. Frequent sayings of “p****’s don’t get p****” seem aimed at 50 and while many will not listen and judge this album based off the officer incident, the music is Ross at his best. Respectable release by Ross that shows he steps up the lyrics and continues to understand his role of when to use a guest, as he becomes limited sometimes. The excellent productions help things flow and forgive some mistakes made, solid album from the Boss.

Rating: 8 out of 10

Album Review: Asher Roth-Asleep In The Bread Aisle

Featured as one of the top 10 freshman to blow up in ’09 by XXL magazine, suburban white kid Asher Roth brings his chilled out feel good lyrics to album. Adding a new flavor, here’s how Asleep In The Bread Aisle fairs.

Lark On My Go Cart: The boom bap production and humorous lyrics explain Roth perfectly and really give you an insight to who he is and what he’s about. A college boy looking for hot girls, while smoking and partying. Boasting hot moms and describing himself as a “dork” with “hair like a troll doll”, it’s a fitting start. 3.5/5

Blunt Cruisin’: A chilled out bassline and sing a long hook make for a relaxed ride around the town stoned. The track has some funny lines, however falters and is ultimately forgettable. 2.5/5

I Love College: Ben Allen & Mike Caren truly craft an irresistible college party starter, as relaxed guitars rock and Roth delivers a smooth hook about “college, beer, smoking, women and partying”. A catchy number that becomes a bit cliched in the chanting, it serves its purpose as a party track and resembling Roth as a fun college rapper. 4/5

La Di Da: Another sing songy hook, Roth spits about life’s struggles and frustration that comes. He plays it off like “La di da da da da”, while the lyrics are for the most part solid, the track remains decent. 3/5

Be By Myself: Cee-Lo drops his soulful vocals to the hook, while the uptempo number has Roth wanting to be alone, while groupies surround. It’s a likeable number that has potential but doesn’t seem to possess the hit qualities of “I Love College”. 3.5/5

She Don’t Wanna Man: Based on women who just want to party and have fun, not looking for a man, Roth plays the drunk college partyer, while Keri croons on the chorus as the ladies perspective. The repetitive emphasis on the last word fits with the perpetual synths, but the track doesn’t appeal as well as it should. Decent. 3/5

Sour Patch Kids: Delivering some social consciousness, Roth shows he’s more than the college act, as Oren Yoel cooks up another grooving production of guitars. Shows some versatility and Roth proves he has some lyrical fire.

As I Em: Suffering from the comparisons to Eminem, the witty titled and concept of “As I Em”, has Roth facing the topic head on. Boiling down to the beginning as a kid, Roth spits “I was in 7^th grade when I heard the Slim Shady LP, my mom brought it down when I was ironing, irony”. Chester French nails the hook and Roth shines on this one. 4/5

Lion’s Roar: Sparse production that focuses mainly on a drum based beat, while scratchy guitars join along with a cooing hook. Roth raps at a fast paced, boasting of his bed abilities and willing to fight for his pride. Busta Rhymes’ rapid flow is likeable and fitting, however he isn’t saying anything new. 3/5

Bad Day: The slightly humorous storytelling of Roth of a day gone bad, is entertaining at times, however tends to fall flat. Jazze Pha puts on a Cee-Lo impression but the track is overall mundane. 2.5/5

His Dream: Unknown Miguel croons softly on the hook, as pondering strings unravel and a serious Roth speaks on his father’s influence on him. The most heartwarming track of the album, it shows that when Roth gets serious, he’s one to be reckoned with, as he delivers an excellent lyrical piece here. 4/5

Fallin’: Feel good vibed beat and flow from Roth, has him reminiscing on the good old days. Fitting his ordinary white kid persona, Roth sounds at home and in element with this number. 4.5/5

Perfectionist: Philadelphia native Beanie Sigel assists Roth, while the reggae tinged Rock City add island flavor to pop ready production. Worthy bonus that has Roth rippin it up with Beans. 3/5

The Lounge: The dim lit club vibe and supporting piano keys are nice, as Roth questions what rappers are supposed to look like and offers some intriguing lyrics. Solid bonus. 3.5/5

Roth proves to be a promising young emcee, however he doesn’t fully show it here. Expressing himself as a fun going college kid who mainly parties with girls, he also shows other personas of sincere son and socially conscious minded youth. His mixture of humor and fun are likeable and completely appealing to his audience of college dorms and MTV, who should be satisfied to his debut. However, some topics become tiresome and ultimately forgettable, as the sing a long hook of “Blunt Cruisin’” is nice, but the track overall is dull. Other times, he sounds alright, but the track ends up being bland and nothing notable. “She Don’t Wanna Man” is brightened up by Keri, but then falls into boredom, the dull backdrop on “Bad Day” and mundane flow can be entertaining, but also a bit irritating, especially Pha’s hook. When Roth really hits home is numbers like the infectious “I Love College”, the balanced mix of humor and lyricism of “Lark On My Go Kart”, and witty “As I Em”. The heartwarming “His Dream” and feel good “Fallin’” also shine, showing Asher’s ordinary guy persona well. It’s a decent debut that will satisfy his fanbase, but little more than that.

Rating: 7 out of 10

First Listen: Rick Ross/Deeper Than Rap

Mafia Music: Heavy bass knocks while Ross delivers a no hook introduction with boasts and speaks on the latest issues that have occurred. 

Maybach Music II: Grand synths and celebratory hook by T-Pain are enjoyable, while Kanye and Weezy drop appearances.

Magnificent: Relaxed mood, a more toned down "Here I Am", but similar in feel. Legend croons smoothly on the hook, while Ross' plays ladies man and lavish boss. 

Yacht Club: Reggae hook by Magazeen, bouncy rhythm, the track is decent.

Usual Suspects: Similar in vein to "Maybach Music II", Nas assists on this soulful feel good joint.

All I Really Want: Not one of The-Dream's best hooks, and the beat isn't as impressive as previous work by Tricky Stewart, but its an understandable move for the second single.

Rich Off Cocaine: Avery Storm, "Here I Am"'s hook singer, returns for this reflective track about the past and rise to fame.

Lay Back: Robin Thicke delivers a more uptempo and less airy smooth vocals than usual, feel good production make for a summery number.

Murda Mami: Decent collab between Foxy Brown and Ross, don't know what I think. Seems a bit cliched and the hook isn't too catchy.

Gunplay: Average track, the production isn't bad, but the hook is tiresome and Ross' group, Triple C, has member Gunplay joining for less than stellar results.

Bossy Lady: Ne-Yo delivers a worthy hook, while Ross raps about his lady. 

Face: Serving as the albums "Money Make Me Come", who else than baddest chick Trina to join for this unusual hook of "I'm gettin' face". Horn heavy beat, mediocre club joint.

Valley Of Death: Soul sample and reflective track for Ross about his past.

In Cold Blood: Menacing loop, Ross' diss track at 50.

A worthy third release from Ross, what you'd expect from a Miami release, synths, bass and especially celebratory boss status from Ross. Most tracks are summery, shiny numbers that rarely differ from past work, Ross has never been regarded as a gangsta music maker, he speaks about the lavish life here and the light hearted party productions help this even more.

First Listen: Asher Roth/Asleep In The Bread Aisle

Lark On My Go Kart: Boom bap production intro that has Roth setting the tone for the album. Humorous lyrics and free flowing subjects of "egging houses, hot chicks, blunts, Mario Kart", good starter.

Blunt Cruisin': Stoner anthem that has a likeable chorus, but pretty poor production and overall feel.

I Love College: Feel good party anthem whose smooth rolling chorus and relaxed melody make it a college dorm favorite.

La Di Da: Don Cannon produced, Roth spits about life's stress and releasing his emotions. Nice track.

Be By Myself: Selected to be the second single, Cee-Lo offers soulfulness on the hook, while Roth talks about dealing with groupies.

She Don't Wanna Man: Roth takes the perspective of a party boy looking for the sexy ladies, while Keri croons on the hook about not looking for a man. 

Sour Patch Kids: Continuing boom bap productions, Roth speaks about the upcoming generation and future.

As I Em: Reggae tempo with guitar and melodic basslines, Roth puts the comparisons to Eminem to rest here. 

Lion's Roar: Fast paced track with heavy drums and a crooning hook. Busta Rhymes delivers his charismatic rapid flow.

Bad Day: Roth tells a humorous story of a bad day. Jazze Pha sings with more attitude on the hook than usual.

His Dream: The most heartfelt track on the album, little known Miguel croons softly on the hook, while Roth speaks about a son's dream becoming a father's.

Fallin': Another personal number which Roth appreciates his success and is so high that he can't fall. 

Nice debut for Roth, sounds promising. Production was on point and fitting for the audience he is aiming for and he proves that he's more than "I Love College" that he can spit. Each guest plays their role and the topics are deeper than originally thought. 

The Lowdown (4/20-4/21)

With stoner's holiday coming up, XXL freshman cover emcee, Asher Roth drops his debut, Asleep In The Bread Aisle. Fitting day for this suburban white kid who keeps it real as a dorky college boy all about having a good time. Production partner Oren Yoel helms most of the tracks, while guest appearances come from Keri Hilson, Cee-Lo, Busta Rhymes and Chester French. Lead Single: "I Love College"

The other release is M-I-Yayo's big boss, Rick Ross who prepares his third album, Deeper Than Rap. Having burst onto the scene with his Port Of Miami and its respectable follow up, Trilla, Ross promises a more lyrical album in his upcoming release. Usual production collaborators include The Runners, J.U.S.T.I.C.E. League and hot up comers The Inkredibles. With all star guests, Kanye West, T-Pain, Lil' Wayne, John Legend, Ne-Yo and many others, Ross hopes to continue his boss reign in the south. Lead Single: "Magnificent (feat. John Legend)"

Album Review: Day26-Forever In A Day

Following a solid debut that proved the boys to be no fluke, Diddy gets them back with their new album, Forever In A Day. With a fight heavy and emotional Making The Band series, do the boys pull it together for a quality product?

Just Getting Started: Decent intro that builds nicely, mainly due to the hook. At times a bit overly repetitive, but it sets the tone for the album. Signifies the difference for this album compared to last, as heavy bass knocks and synths dance over. 3/5

Imma Put It On Her: The lead single, I was a bit skeptical but the track grows well on listeners. While it doesn’t show their vocals, it fits as a fun summer club banger. Diddy & Joc are unnecessary, but the production from Blaze The Champ is absolutely banging, the highlight of the track. 4/5

Shawty Wats Up: It’s obvious the boys wanted more of a mainstream and commercial sound, as they team up with master hook man, T-Pain. Buzzing synth and bass production is predictable, as Pain plays a more reserved role. Decent track, but a bit of a stretch for commercial appeal and seems they are trying too hard, also the autotune isn’t that great. 2.5/5

Think Of Me: What really damages the track is the production. Tim & Bob create a solid drum pattern, however the descending synths become annoyingly repetitive. This distracts from the harmonizing of the guys. 3/5

Stadium Music: The jamming guitars are nicely done and the atmosphere definitely what its title indicates, however something misses. Vocally it isn’t bad, but the vocals do tend to get lost in the production and it doesn’t quite connect as well as it should. 3.5/5

Bipolar: Piano laden production, its a pretty busy track. Harmonizing, runs, production, it all seems pretty busy, but the track works because of the melodies that each sing. The hook seems a bit overpowering, but works. 3/5

Perfectly Blind: Written by MTB couple, Dawn & Que, the track would seem better for a duet between the two, but nonetheless it’s a real sexy ballad. Soft pillowy falsettos croon softly over the light tapping of drums, as Mike steals the show with his verse. 3/5

So Good: Bryan Michael Cox delivers as usual and the guys sound nice on this. The hook is catchy and blends smoothly with the production of synths and piano. 3.5/5

Girlfriend: Synth heavy, the track features an echo driven hook that is merely mediocre. The over dramatic production takes away from the track, but its decent. 2.5/5

Babymaker: Smooth track, but lacks something. Sounds nice, as the boys create a bedroom number, but the track falters at a dull hook. 3/5

Then There’s You: Seems most likely for crossover success, Mario Winans does it again. The last album he had two productions that were both memorable (Got Me Going & Co-Star), now he delivers his only production and it ends up being one of the best tracks. The songwriting isn’t the best, but the melodies and vocals are on point. 4/5

Need That: While it’s a nice change in the album and a distinct track on the album, it seems a bit out of place. Also, the editing on JD’s vocals is irritating, he should have just come up with some cleaner lyrics. 3.5/5

Reminds Me Of You: Reflective track about a relationship, the boys sing about their special someone, comparing them to various things that remind them of their girl. Smooth track, the hook can be a little over repetitive, but the track is fitting. 3/5

Your Heels: Jazze Pha incorporates twinkling bells and strings for this uptempo feel good number. Each of the guys let the vocals go on this fun fast paced track that the ladies should enjoy. 3.5/5

Truth Is A Lie: Robotic keys circulate, as Robert knocks out the second to last verse with some beautiful singing, while Q croons smoothly and even adds some attitude filled vocals. 3.5/5

One Night Only: Decent bonus that is a bit cliche, but likeable. 3/5

Honest: Robert’s run is a little over the top, but Stargate deliver another solid production. Not quite the radio smash intended, but it works and the hook is perfect for radio. 3.5/5

Forever In A Day showcases a newer Day26 that is more modern and commercial in sound. This leads to bittersweet results, as at times it seems they are stretching for commercial appeal (“Shawty Wats Up”), but for the most part they keep things Day26. The lead club banger “Imma Put It On Her” shines from Blaze’s production, while the energized jamming of “Stadium Music” serves its purpose and soulfully smooth “Then There’s You” work well. Stylistically things have changed a bit, where the debut became slightly dull in the latter half, the albums seems focused on not having the listener fall off. Throughout the album, there are uptempo tracks and only a few ballads. B. Cox’s work on “So Good” is just as hypnotic and acts like a slowed up “Come With Me”, while Q shines on the stylish 808 knock of “Need That”. Some tracks falter, such as the tepid “Think Of Me” and over busy “Bipolar”. Overall the product is slight improvement from their past, but they need to back from the commercialism and focus more on their own smooth R&B sound.

Rating: 7.5 out of 10

First Listen: Day26/Forever In A Day

Just Getting Started: There's a significant difference from their debut, as clubby synths and bass pound. Ad-libbing starts off the album, as autotuned vocals sing "we winnin'". 

Imma Put It On Her: The production here is pretty dope, I think the vocals are a little lacking, partially because Yung Joc and Diddy both drop verses. Track grows on you though.

Shawty Wats Up: The track seems like an autotune mess, T-Pain lightly croons, while the boys use the autotune and busy synths pluck around.

Think Of Me: Pretty mediocre, repetitive production and mediocre vocals.

Stadium Music: B. Cox definitely knocked out the production, but something doesn't quite connect here. The voices seem to almost get lost in the production......

Bipolar: Uptempo beat, harmonizing is interesting, will have to give this another listen.

Perfectly Blind: Midtempo ballad that has soft pillowy vocals. 

So Good: Nice production and vocally it sounds on point.

Girlfriend: Overpowering production, its gonna take another listen to drop an opinion.

Babymaker: Another midtempo ballad dedicated to the bedroom. The boys' singing blends pretty well.

Then There's You: Seems merely decent and the songwriting isn't too good, production is good...we'll see.

Need That: Bass heavy beat with guitar strum stabs, really uptempo, has a unique sound. Kind of a throwback joint in style with modern instrumentation.

Reminds Me Of You: Repetitive hook, smooth production, however the percussion is a bit distracting. 

Your Heels: String laden beat with sparkling bells, fast paced singing here.

Truth Is A Lie: Mediocre effort with robotic production.

Interesting move for Day26, the albums is heavy synths and club production. There aren't really any specific ballads, more midtempo-ballad numbers. I'll have to pay attention more to the harmonizing and runs, but its decent. 

The Lowdown (4/14)

This tuesday seems to be fairly quiet as far as hip hop releases go, but there is the R&B quintet of Day26 that release their sophomore album, Forever In A Day. The Making The Band stars of Diddy's Bad Boy label, have mainly been seen arguing and fighting throughout the latest series, but what seems out of nowhere, does their second release pop up. Their self titled debut was a decent album that introduced the group and showed they did have talent, however failed to go gold compared to their fellow Danity Kane co-stars. Recently the club single, "Imma Put It On Her" has been getting plenty of video play on MTV, we'll see how the album does. Lead singles: "Imma Put It On Her (feat. P. Diddy & Yung Joc)" & "Stadium Music"

Album Review: Jim Jones-Pray IV Reign

While Dipset hasn’t been as relevant as it used to, members Juelz Santana and Jim Jones have continued to build their own movements of Byrdgang and Skull Gang. Delivering his fourth album, Jones continues to establish his presence in hip hop with Pray IV Reign.

Album Intro: Jazzy horns start off the album, as Jones reflects on the past and his upbringing in the game. Jones spits, “we was young, we was reckless, the nighttime would come, we was restless, some got arrested, made me some money how I wanted to get the necklace”. Decent intro that has a solid beat. 3/5

Pulling Me Back: Thumping production with light piano keys, Jones sounds good over the TrackSlayerz beat. Lyrically Jones is on point, Chink’s hook is decent, but overall Jones does well with the beat. 3.5/5

Let It Out: Strumming acoustic guitars with uptempo percussion keep the track from being too relaxed. With a calming hook, Jones rhymes about the lavish life and luxury of the good life by “letting it out” through material things. 3.5/5

How To Be A Boss: Decent horn and synth filled band marching beat, that features yet another impressive guest appearance from Ludacris. Jay-Z sound alike and fellow Byrdgang member, NOE is featured on the hook and drops a decent verse, but the track doesn’t fit with Jones, evident in Ludacris’ presence dominating the track. 3/5

Medicine: Merely a poor remake of “Jigga What, Jigga Who”, the beat isn’t nearly as effective and Jones falters lyrically. The hook is terribly done and the track is a skipper. 1.5/5

Frenemies: Jones spits about friends that turn to enemies. The track particularly addresses former Byrdgang member, Max B. Decent production and a mediocre hook, Jones lyrically sounds good, but the track is somehow only decent. 3/5

Precious: Ryan Leslie delivers some incredibly smooth production and singing, however the track seems mismatched with Jones. Jones’ smooth guy persona here doesn’t cut it, while Leslie dominates the track and it seems more like Leslie featuring Jones, as Jones drops cliches of the good life. Likeable track that doesn’t quite mash as well as it should. 3/5

Blow The Bank: Synths buzz and electronic effects join, while Oshy croons on the hook of “blowing the bank”. The track is a relaxed banger, however it is just a decent album track. 3/5

This Is For My B****es: Bluntly stating, “this is for my b****es”, Oshy’s whiny croon is bittersweet, while Jones uses his charming tough guy act towards the ladies. The production is a bit repetitive, as the synths interject going up and down. 3/5

Girlfriend: Lively Chink Santana production is really enjoyable, as he implements various instruments into a band styled beat. Oshy delivers a worthy performance, but its Juelz verse that ultimately impresses. 3.5/5

This Is The Life: Similar in style to “Blow The Bank”, Starr’s decent hook and the light thumping production is another reflective structured track. Loving the lavish life, the track isn’t bad. 3/5

My My My: Soulful hook and piano keys make for a solid tribute to Stack Bundles. Jones really expresses some pain and the reflection on the past is a truly heartfelt track. 3.5/5

Pop Off: Byrdgang members NOE and Mel Matrix join Jones for a street joint. Hard hitting beat and the repetitiveness of “pop, pop off” make for a decent street track. It is Jones’ partners in crime that sound good, as Jones’ verse is forgettable, but NOE goes in. 3/5

Pop Champagne: What is really appealing about this track is the unique beat from Ron Browz. While his autotune singing is bearable (more in the hook rather than the verse), Jones and Juelz capture the mood of the track. The knocking bass joins in and makes the track catchy, while raising horns uplift the track from its mainly rhythmic style. 4/5

Rain: Former Roc A Fella artist, Rell sings a soulful hook, as Jones and NOE speak about the struggle in coming up. Jones speaks about looking out for his son and keeping him “gun free”, while NOE describes his upbringing. 3.5/5

Na Na Nana Na Na: Mediocre club beat that is fairly hollow, twinkling synth keys and strings back Jones’ boasts. The track isn’t nearly as catchy as his past hit, and the elementary hook is completely corny. Bree Beauty adds the woman perspective, but overall the track is a very mediocre effort. 3/5

Pray IV Reign is ultimately a sign of growth for Jones. Lyrically he has come into his own and developed a better persona than the past, however this comes with experience in the industry. Recognition should be given to Jones for this, however, the overall product is really lacking for Jones. While Hustler’s P.O.M.E. wasn’t too impressive, it did showcase a few club bangers and hot tracks (particularly the club killing “We Fly High”), however with Pray IV Reign, there isn’t any track as good or with the potential of achieving earlier success. Harlem: Diary Of A Summer showed a solid album that flowed well, but didn’t have as good of lyrics. Anyhow, Pray IV Reign shows better lyricism, despite Jones not being that great of a rapper. Jones spends a great amount of time boasting of the lavish life, which is decent (“Blow The Bank”), but gets a bit dull (“This Is For My B****es”, “This Is The Life”) after a while. Acoustic “Let It Out” and “Pulling Me Back” are solid moments, while the mismatched “Precious” is more of a Ryan Leslie track than Jones one. “Pop Champagne” is a unique club banger, “My My My” is a worthy Stack Bundles tribute and “Rain” is a decent reflective track. Decent album, but still doesn’t move Jones into that next echelon of rappers. Something for any Dipset listeners, but other than that, leave it to the East Coast.

Rating: 7 out of 10

Album Review: Slim Thug-Boss Of All Bosses

The Houston rap scene has been fairly quiet, compared to their explosive presence in 2005. However, the Houston Boss is back with his sophomore album and a shift from Geffen Records to independent.

Boss Of All Bosses: Epic choral voices back the hard hitting knock of bass and snares, while perpetual keys start things off right. A decent intro that doesn’t have Thugga spitting anything new, but works. 3/5

I’m Back: Smooth keyboards revolve around synth stabs, while Devin The Dude’s chilled out flow fits the song well. Slim speaks on his return and reflects on the past with “I’ma gon keep it one hundred for the public, I dropped Already Platinum but it only sold gold, and n****as lookin at me like I sold my soul, cause I’m rappin with P and not Mr. Lee, but when you on your grind, sometimes you can see”. True lyricism from Thugga that reflects the response of his past album. 3.5/5 

I Run: Jim Jonsin continues his use of synthy club bangers and heavily samples A Flock Of Seagulls “I Ran”, it was definitely a smart single for Slim to return with. Although it depends too heavily on the hook, it solidifies Thugga’s presence in the streets and a solid anthem for the hoods. 4/5

Show Me Love: The track is mainly mediocre and the over explicit hook from Mannie Fresh doesn’t help things. Slim is in cruise mode, speaking on his cars and materialism, however the track is just decent. 2.5/5

Smile: Sing songy hook that is a bit repetitive, however Jim Jonsin’s production makes the track from being average to decent. Meant for the clubs, it shines as well as Jonsin’s keys that twinkle throughout. 3.5/5

Top Drop: A solid H-Town banger that is appropriately titled, as a chopped and screwed hook repeats over soulful samples. Fellow Houstonian Paul Wall assists Slim for this ode to cars and also drops his creative lines like “comin down clean, marchin like a freedom fighter”. 3.5/5

Thug: Bleeding Houston synth and light string plucking back an old “Eazy Duz It” sample. Solid representation of Houston rap that is done well by Slim. 3/5

Leanin’: Legendary duo, UGK drop some great verses and bring back the Pimp C spirit (R.I.P.), as the chopped and screwed hook and light string plucking resemble some knocking H-Town production. 3.5/5

My B****: Slim continues to shine on the soulful smooth tracks, despite the overly repetitive sample in the production. Thanking the woman riding by his side through the grind, Slim presents another solid track for the ladies like “Miss Mary” off Already Platinum, yet maintaining the boss attitude. 3.5/5

Associates: The crooning on the hook sounds a bit off, but the ripping guitar riffs and Slim’s bass vocals fit well together. Explaining the difference between friends and associates (acquaintances), Z-Ro’s verse fits and J-Dawg hops on as well. 3/5

Hard: Knocking bass rattles, as Scarface starts things off with some excellent lyricism and starts the track off right. J-Dawg joins once again, as the sample and production are well done by Bigg Tyme and J-Moses. 3.5/5

She Like That: Slow rolling flow by Slim that sounds as if it was mixed in some of the codeine cough syrup they drink H-Town, the track doesn’t quite do as well as it should. Real chill track, but its a bit too slow and the singing on the hook is a bit irritating. Boss Hogg Outlaw, Killa Kyleon uses some autotune for his verse. 2.5/5

Welcome 2 Houston: Rising string plucks and sunny bleeding synth by H-Town known Mr. Lee set the tone for a perfect re-introduction of H-Town’s finest. Chamillionaire’s syrupy croon fits, as Mike Jones, Paul Wall, S.U.C. members Lil’ Keke, Big Pokey, and Z-Ro join. Trae, Lil’ O, Mike D and Yung Redd are the lesser known, but up and coming H-Townians, while Bun B and fittingly Pimp C as the final verse, make this an excellent H-Town representation of being united. Pimp spits “Now I’m from Port Arthur Texas, ninety miles away, for the last fifteen years I’ve been repping my state, I knew the real DJ Screw sip grape by the case, eights over ice straight product of the H”. 4/5

Perfect 10: Mediocre bonus that has Slim running through the star R&B singers and explaining his perfect dime. 2.5/5

Gotta Get It: Horn filled beat, Slim spits well over this and its a solid bonus. 3/5

Four years after his debut on the rap scene, Slim Thug brings us his sophomore release, Boss Of All Bosses. What has changed in these past years? For one thing, Slim is independent and with Koch, but musically he goes back to his Houston roots. Mixed reactions by fans of his debut because of his work with Pharrell Williams and The Neptunes (explained in “I’m Back”), Slim presents some straight down south H-Town music. The proclaiming “Boss Of All Bosses” is a fitting start which goes into a relaxed guest appearance by Devin The Dude and overall mood, as Slim reflects on the past. Jim Jonsin helmed “I Run” and “Smile” are solid club bangers with a bit more pop appeal that works better on the “I Run” joint than “Smile, but both are worthy of listens. The rest of the album is mainly handled by Mr. Lee who offers his signature Houston synths, bass and plucking strings. Soulful “Top Drop” with Paul Wall is all about slab riding, “Leanin’” is a solid UGK feature and “Associates” shows disgust for the back stabbing friends. Scarface drops a great verse on “Hard” and the Houston gem is “Welcome 2 Houston”, an all star lineup of Houston’s finest united together. There are a few mediocre moments (“Show Me Love” and “She Like That”), but overall Slim delivers a sophomore album resembling his roots and showing he hasn’t lost a step since the experimentive Already Platinum. H-Town listeners this is a must have, as well as others in the south that love to something to bump in the slab.

Rating: 8 out of 10

Album Review: Keri Hilson-In A Perfect World...

Suffering several push backs due to budgeting, songwriter and singer, Keri Hilson brings us here debut, In A Perfect World....

Turnin’ Me On: Street swaggering club banger from “Ms. Keri baby”, has a great beat from Polow Da Don. Lil’ Wayne’s typical unique and unusual metaphors are amusing, while Keri shows her Atlanta roots with her own diva style. An ode for the “dime divas” to ensure that the men are showing the correct manor to turn them on. 4/5

Set Your Money Up: Ladies anthem that shows how they can party it up and stack money as well. Keyshia Cole delivers a decent performance, a bit toned down than usual, while Trina brings her typical bada** swagger and boasts of Louis Vuitton and trips to Paris. 3/5

Return The Flavor: Worthy pop single that features some solid production on behalf of Timbaland, the call and response lyricism is fairly catchy. Not quite the big single that it was expected to be, but it’s decent. 3.5/5

Knock You Down: Extremely pop single and the perfect introduction for Keri, as far as mainstream. The hook is really catchy, as she croons about love knocking people down and staying strong to overcome these obstacles. Ne-Yo adds more pop presence with a cruise mode styled verse and Kanye comes back to normal form with no autotune and a good rap that incorporates some humor within the metaphors. 4.5/5

Slow Dance: While the track is seductive and a tad sexy, it ultimately falls into dullness. Its a nice track that has nice harmonizing, however the beat and her voice, just make the track a bit too sleepy, despite good vocals. 3/5

Make Love: The track fairs better as a ballad than the previous track and Keri’s vocals are more confident. Moments like this, show the singer having true talent and the track achieves its goal as a light ballad that shines from Hilson’s singing, which is also one of the first tracks on the album to allow her range. 4/5

Intuition: Reminds me a bit of Christina Millian’s “Dip It Low”, not in terms of lyrics, but more production and sound. Hilson sings about her feelings of her man messing up and leaving her single. Lyrically it is relatable to women, nice track here that features Hilson’s talented songwriting. 3.5/5

How Does It Feel: Decent club track that has some anthemic horns and confident vocals, but it just decent. The attitude and horns make the track, but it is just a mediocre effort. 3/5

Alienated: Decent midtempo here that has some buzzing synths and atmospheric vibe to it. Keri sings about needing to get rid of her man because she feels alienated. Decent track with airy vocals. 3/5

Tell Him The Truth: Knocking bass and semi-epic vibe, Keri ponders whether she should tell her man the truth. The track isn’t bad, but it becomes a bit dull. She slightly breaks out with some vocals and feeling towards the end, however it isn’t enough from the overall impact. Falls a bit short of expectations, but it’s passable. 3/5

Change Me: The track has all the soundings of a pop smash, however it can’t get out of mediocrity. Akon’s underwhelming performance is a bit disappointing, as he tries to express some soul, but it ends up sounding like a strained rock singer. The hook isn’t too catchy and the whole track ends up being a stylish mess. While the bridge smoothens things out a bit, the track has too much going on and in it, Keri and Akon can’t save the track. 2.5/5

Energy: A strong single that despite the good production and singing, somehow is lacking something and doesn’t fully capture your ear. Singing of heartbreak and how tiring the effort of a relationship is, Keri laments on this ballad midtempo well. 4/5

Where Did He Go: Decent finisher about Keri wondering where her man went. Calm and light crooning, however its just decent. 3/5

Do It: Good bonus here that has a catchy club style. 3.5/5

Suffering several setbacks, Keri delivers with her debut, as the producer trio of Danja, Timbaland and Polow Da Don helm most of the tracks. The album establishes Hilson’s skill in creating club bangers, as dirty south banger “Turnin’ Me On” with Lil’ Wayne works off unique production and some attitude in her singing. She proceeds with ladies anthem “Get Your Money Up” and the call response pop of “Return The Favor”, before bumping into the extremely catchy “Knock You Down” with a good Kanye verse and solid Ne-Yo verse. From here, the album goes into a much slower pace, some decent tracks and some that shine. While the overly smooth “Slow Dance” becomes a bit too soft, “Make Love” fairs much better and shows Hilson’s vocal talent, allowing her to let it out over pondering balladry twinkles. The ballad midtempo “Energy” is a solid single, but lacks something from being “that hit”, whereas the cluttered, overly busy and disappointing Akon performance of “Change Me” results in the album’s weakest track. Throughout the album, Hilson shows signs of superstar potential, however it is evident that she is still searching for her sound. With several other established divas in the game, she definitely has the talent and looks to join the elite few of Beyonce, Keyshia Cole, Ciara and Rihanna among others. You’d wish that she would let the vocals go more often, but a little misstep is to be expected with a debut. Nonetheless it is a strong pop album with an R&B touch that shows great potential and will satisfy fans that have been waiting.

Rating: 8 out of 10

Album Review: UGK-UGK 4 Life (R.I.P. Pimp C)

Finally breaking through in 2007 with Underground Kingz, their first release since the Pimp’s release from prison, Houston culture and the rap game suffered a great loss in the passing of Pimp C on December 4, 2007. Bun kept things moving with II Trill in ’08 and delivers the final release, UGK 4 Life.

Still On The Grind: Totally out of the box, Bun promised the album would be true to their UGK style, however this shows some experimentation. Its no surprise that it works, as the jamming rock production and Raheem DeVaughn’s soulful hook and celebratory horns are welcoming. Bun and Pimp lyrically are on point deliver some aggressive flows. 3.5/5

Everybody Wanna Ball: Organs and some knocking production, certainly suite the track, as Pimp and Bun celebrate their recent success. Decent track that has a relaxed vibe and is a worthy album track. 3.5/5

Feelin’ You: Pimp croons on the hook, as Bun and Pimp talk about their perfect chick. The track smoothly rides, reminiscent of older UGK work, as the soulful vibe represents the mastery that Pimp possessed. 3/5

The Pimp & The Bun: Some classic UGK here, as Ron Isley’s hook and the whole vibe of the track is throwback old school R&B mixed with hip hop. Pimp and Bun sound good on this, as they simply proclaim their return. Bun is on point with the flow spitting “the game need a hero, not another fake a** Pacino, or wannabe Deniro, a real pistolero, bandito”. 4/5 

She Luv It: While the track is nothing new, the typical strip club joint for the ladies to dance on the pole to, somehow, UGK is able to creative a seductive and intimate track. The moaning is a bit annoying, but Pimp’s hook is on point, while the intimate production creates the imagery of a late night strip club dancer. Really smooth track for the strip clubs. 3/5

Swishas & Erb: An ode to the swishas and erb, Sleepy Brown adds some soft crooning in addition to Pimp’s hook. Chill track that has only one verse and is mainly crooning. The track is nice, despite its lack of verses, it has a good enough vibe to surpass the lack of verses. 3/5

Purse Comes First: Goodie Mob member Big Gipp joins UGK for a down south collab. Bun offers some social commentary with “war profiteerin’, with Cheney on the board is you muthaf***a’s hearin’, they send us off to war, kill our kids and got paid too, America open your eyes, these n****s played you”. Country flowed Gipp drops “see the purse came first, the love came later, the p**** got wet and captain D came greater, do it for the Bun and I do it for the Pimp, for the hustlers and the gangsters doing time behind the fence”. 3.5/5 

Harry A**hole: Trill affiliates Lil’ Boosie and Webbie drop solid verses about a woman’s genitalia, as Pimp drops “you can shave off your p****, wack your s*** smooth, but if you do b**** my d*** will never move” and later solidifying his status as the pimp “I’m the real you a muthaf***in fake cuz, I got these b****es on the track selling tricks they money make cuz”. A little raunchy for some, but if you like that strip club music, this is a bit more uptempo. 3/5

Used To Be: The group cut of the album, west coast rappers E-40 and B-Legit along with fellow legendary southern duo 8Ball & MJG join this guitar rocking synth bouncy production. Pimp’s hook works well, while E-40 drops his unique flow and fire flow, B-Legit speaks about slangin rocks, relevant to Pimp’s hook of “I use to be the smallest n***a, now I’m the big ballin’ n***a, comin down grippin wood, keepin these muthaf***in b****es callin’ n***a”. All-star track here that is one of the best. 4/5

Steel Your Mind: Hard hitting guitars jam, while Pimp, Bun, Too Short and Snoop speak on the art of pimpin’. Swaggered out Snoop drops his smooth advice, while Bun reflects about a past girl he pimps, and Too Short drops some humorous pimpin. 3.5/5

Hard As Hell: The obvious misstep of the album, Akon seems a bit out of place, but the track is listenable and forgiveable. Bun and Pimp deliver on this one, as uptempo production with smooth bass and guitar work well. The track goes into some international flavor “if boys we men they on bended knee, make it disappear you want the Texas tea, girls in France like Texas d, they say oooh-la-la ahh-wee-wee, well mercee voku, baby girl you know you, got the hot butter that my knife gotta go through”. 3/5

Da Game Been Good To Me: The final track that is also the lead single, it’s a worthy finisher and definitely the best track on the album. Country twanging strings strum behind, while Pimp is on point and talking trash, getting at the lames with “ya shoe fit n***a, get the f*** up out the game, lil’ b****”. Bun gets at those criticizing the south for their music. Pimp’s hook is smooth and classic, as this track resembles essential UGK, their legacy and influence on the south. 5/5

UGK’s final release, UGK 4 Life is appropriately titled and created. Bun must be credited for his persistence to achieve the UGK sound and follow Pimp’s blueprints that he left behind. In house producers Steve Below and Cory Mo contribute some production, while Pimp offers the rest. Smooth riding bangers by the duo are evident in the middle section, while the beginning and latter, tend to have more knock and bump. “Da Game Been Good To Me” is a fitting single and ender, representing the essentials of the UGK legacy. “Hard As Hell” is the only forced track, but is forgiven, as the straight pimp affair “Steal Your Mind”, has the vets dropping knowledge. Soulful “The Pimp & The Bun”, celebratory “Everybody Wanna Ball” and street burner “Still On The Grind” are all top notch UGK. The album flows exceptionally well and matches their past release, by leaving a fitting end to an era, as Houston’s legendary duo retires. Rest In Peace to Pimp C, one of the best to ever do it.

Rating: 8 out of 10 

Album Review: Bow Wow-New Jack City II

Bow’s seventh release sees him reuniting with Jermaine Dupri whom they separated for a brief time after the Face Off album. New Jack City resembles their relationship but has nothing to do with the album content.

Get That Paper: Mediocre Nitti beat and a mundane flow from Bow Wow make for an uneventful intro of boasts and average metaphors (“all the girls say he got game like Ray Allen”, “I’m a champ like Kanye”). 2/5

What They Call Me (Big Time): With a fairly celebratory styled production, Ron Browz fails to impress with his autotuned repetitiveness of “big time, big time”. Saving the track is Nelly who drops a charismatic and energetic verse that fits the song, while Bow seems to get lost in the production. 2.5/5

Roc The Mic: JD drops a great beat here that thumps, while lightly twinkling bells ponder and the Slick Rick sample of “La Di Da Di” are cleverly used. Bow and JD show their excellent chemistry, rapping side by side, as student and teacher. One of the best tracks on the album, the reunion between the two is evident here, as JD spits “its just some thangs that ain’t never supposed to change, like when Nicky Barnes switched the name on the blue magic for no reason when it f***ed up a good package”. 4/5

Been Doin’ This: T.I. plays hypeman for Bow, as Bow speaks on how he’s “been doing his thing for years”. Bow sounds all right on the beat composed by DJ Toomp and T.I. 3/5

You Can Get It All: Classy piano keys and synth interjections make for a smooth rolling lady record. JD and Bryan Michael Cox create a solid track, however Bow’s singing isn’t that great and seems a bit strained at times. However, it does show maturity and is another single to add to Bow’s lady numbers. Johnta Austin adds a lot of soul to the track by crooning in the bridge with a more fitting voice. 3.5/5

Sunshine: Bow experiments with a sunny country guitar strumming behind and an awkward hook that goes “I got girls around the world, but I ain’t got one that got, all that, all that, something that’ll make me call home, tell my girl that I love her, but I’m never coming back, what we call that? Sunshine, sunshine”. Attempts a different sound but is out of place. 1.5/5

Like This: Light and smooth track that has Bow pleasing his female audience once again. Newly signed So So Def artist, Dondria and Johnta Austin croon on the hook of never having a girl “like this”. The hook sounds faintly similar to Bow’s ’05 hit “Like You”. 2.5/5

She’s My: T-Pain and Bow collaborate again in hopes of creating another hit like “Outta My System” off the last album. Pain drops his usual chilled out vibe production that allows him to autotune it up with a smooth croon. Bow double times his verse and sounds energized for once on the album, which is mostly mundane. 3/5

I Ain’t Playing: Trey’s vocals really help this track and make it work, as Bow drops some decent verses and boasts his rep with “album number seven, started at eleven, still the youngest n**** killin it, shawty you betta tell em”. The track’s production features some buzzing synths with a down south vibe and pop potential. 3.5/5

Pole In My Basement: With the rise of autotune, Bow joins in on the trend and croons about having a pole in his basement. Describing his perfect dime dropping it and stripping on the pole in his basement. This shows a great lack of creativity for a soft and tender track that is essentially a strip club joint, but instead it’s in his basement. 2.5/5

Shake It: Swizz creates a unique production that features a repetitive looping beat with knocking bass. The energy level never reaches what it should, but it’s a decent club joint. 3/5

Bow Wow’s seventh album suffers from the same curse that has hindered Bow, ever since he dropped the Lil’ off his name, an identity crisis. With Price Of Fame, Bow attempted to get edgy, but couldn’t balance it with his female audience, the album sold fairly well despite being an overall poor product. Here, Bow fans should be satisfied, as there are enough highlights that are good enough for them to like. “Roc The Mic” is the gem of the album, the reuniting of JD and Bow over a smooth beat with a classic Slick Rick sample. The classy and matured “You Can Get It All” features some nice production, but Bow isn’t that great of a singer, either way, females will be swooning, which is what it aims for. The unique concept of “Anything You Can Do” is welcomed, while “I Ain’t Playing” features a strong Trey Songz performance. Other than that, Lamborghini Moss goes through the regular cliches and aims to satisfy the female audience with filler and more filler. “Like This”, awkward “Sunshine”, chill “She’s My”, autotuned and uncreative “Pole In My Basement” and undercooked celebration track of “What They Call Me (Big Time)” are all examples of mediocrity and forgettable tracks. One would wish that Bow would find his lane, but he still struggles, even with his first parental advisory label, Bow isn’t sure if he wants to be loverboy rapper for the ladies or balled out stunner with cash and play into gangster cliches.

Rating: 6.5 out of 10 

Album Review: Flo Rida-R.O.O.T.S.

Delivering a massive hit with “Low” in ’08, Mail On Sunday was a rather mediocre album filled with hooks, beats and empty substance. Flo is back with R.O.O.T.S. (Routes Of Overcoming The Struggle), does he offer some substance or stick to his club formula?

Finally Here: Solemn and glorifying, the track reflects on Flo’s grind to the top. Flo isn’t nearly as tolerable as he is on his infectious club bangers. With a decent hook that leaves a bit to be desired “that day is finally here, new shoes, new clothes, new whip, new chain, new wrist, new this, new that” shows the materialism and boredom the track goes into. 2.5/5

Jump: The dance floor ready call and response strategy of “Jump” brings an autotuned Nelly Furtado and low synth line. The track seems perfect for the club and getting the crowd to be jumping, as Flo delivers his catchy and unique flows with little substance. Fits his persona and style as a rapper. 3.5/5

Gotta Get It (Dancer): Danja flips Tina Turner’s “Private Dancer” into an electronic pop club track for Flo who raps about strippers dancing on the pole. With atmospheric synths and an electronic voice matched with Flo’s sing songy voice, create a decent club number. 3/5

Shone: Former Pretty Ricky member, Pleasure P assists Flo for this track about his lady being his “ac-shone”. Stinging synths and thumping 808s back Flo’s typical unique flow and Pleasure smoothens things out for the ladies. 3.5/5

Right Round: Sampling Dead Or Alive’s “You Spin Me Round (Like A Record)”, Dr. Luke (Lil’ Mama, Katy Perry) creates brutally catchy club hit for Flo. Grand synthy production that has club smash written all over has a great uptempo vibe, sexy vocals by new singer, Kesha and Flo rides the track perfectly. Although it does work mainly because of the sample, there is no denying its catchiness and electronic club feel. 4/5

R.O.O.T.S.: Flo attempts to get introspective and speak about the personal issues he grew up with. The track somehow lacks that connection, with synths and bass knocking behind, while Flo sings about coming from the bottom and how his roots made him. Mediocre effort. 3/5

Be On You: Sounding more like a Ne-Yo track than Flo, Stargate deliver light keys and throbbing synths. Ne-Yo offers up a worthy hook, while Flo goes into a sing songy flow that becomes repetitive and forgettable. 3.5/5

Mind On My Money: Another get money number, Flo’s hook seems poorly engineered, but its moderately catchy. Otherwise the track is fairly forgettable, despite the smooth Eric Hudson beat. 2.5/5

Available: Decent performance from Akon, as will.i.am and Flo reunite after their success with “In The Ayer”. The track really isn’t that impressive, a mediocre guitar/synth jam with a cooing Akon, uncredited female vocal and forgettable Flo verse. 3/5

Touch Me: Yet another sample, as Timbaland uses Benny Benassi’s “Satisfaction” and some comical synth lines. The track isn’t bad and is also given more variety with sexy Kesha returning with some vocals at the hook. Decent track that features some better Flo lyricism and cadence. 3/5 

Never: Flo excessively uses “never” throughout the track which becomes mundane after the first verse, considering the hook incorporates it every few words. The beat isn’t lively enough either, and while the track tries to be introspective and inspirational, it ultimately fails and is dull. 2.5/5

Sugar: Sampling Eiffel 65’s “Blue (Da Ba Dee)”, DJ Montay does a nice job with the sample and the track is another satisfying club banger. Calming keys and Wynter Gordon’s vocals make the track more bearable, while the tempo is on point and Flo fits the track. Bound to be an infectious club banger, it is one of the better tracks of Flo’s electronic club banger mindset. 4/5

Rewind: Reflective strings and twinkling piano keys, mixed with an emotional Wyclef hook make for the ultimate pop track. Similar vein to T.I.’s “Dead And Gone”, it isn’t nearly as dynamic, but more toned down. So you could say that this is a poor man’s “Dead And Gone”, as Flo drops mediocre metaphors, “I wish life was TiVo and you could bring it back”. 3/5

Flo’s sophomore release does surpass the sophomore slump and was the album that he needed to make, after the similarly average Mail On Sunday. Lyrically he attempts at substance, but it can’t be taken seriously, especially when nobody follows him lyrically and it is more of the flows that he uses. Evidence of these tracks that suffer are “Finally Here”, “Rewind”, “R.O.O.T.S.”, which all have related conflicts. When Flo creates club smashes is when he succeeds, as in the infectious “Right Round” and “Sugar” which both rely on their samples, but stay in the electronic club mindset of the album. Nelly Furtado assisted “Jump” seems bound for club play as well, while other decent club tracks are satisfactory. Ne-Yo and Akon offer mediocre offerings, while the overly excessive use of “Never” ruins the track and “Shone” is a decent summery sexy track. Overall the album solidifies Flo’s position and identity as a pop rapper with an aim for club bangers. He largely depends on the production, which supply him pretty well here, however Danja spares things and makes it too obvious of Flo’s flaws, otherwise DJ Montay delivers, along with Dr. Luke and the numerous other contributors. If you enjoy MTV, the hooks and beats of this, then Flo succeeds, however if your looking for more substance, look elsewhere. R.O.O.T.S. means routs of overcoming the struggle, which Flo is saying to have fun and dance than worry about the current state of the U.S. Has a few solid bangers and decent club joints, but other than that, its a mediocre release.

Rating: 7 out of 10

Album Review: Jadakiss-The Last Kiss

Originally titled Kiss My A**, Jada figured retail wouldn’t be down, so he finishes his Kiss trilogy with The Last Kiss. A deal with Def Jam and the resurgence of The Lox members, Jada starts things off with his third solo release.

Pain & Torture: Hard hitting beat and slicing strings play, as the epic background starts the album off right. Jada is on point firing on all cylinders and sounding fresh over the beat. 3.5/5

Can’t Stop Me: Neo Da Matrix absolutely knocks out the soulful production that is a fresh summer New York joint. Jada is in cruise mode and glides over the beat with his calm collective flow. 4.5/5

Who’s Real: Bouncy beat with a corny Swizz Beatz hook who exclaims, “if your real and you know it clap your hands”. Southern newcomer OJ Da Juiceman sounds largely out of place and the track is plain filler. 1.5/5

Grind Hard: Lavish synth track that has a grand celebratory feel courtesy of The Inkredibles. Mary J. Blige doesn’t deliver her best performance and the track comes off mediocre. 3/5

Something Else: Horn laden beat with tapping hi hats. Jeezy joins in on the southern sounding beat, resulting in a decent east-south collab. 3.5/5

One More Step: Festive production that has some uptempo yet feel good vibe. Jada and fellow Lox member Styles P trade bars. While it doesn’t quite flow as smoothly as you’d like, its a decent track. 3/5

Stress Ya: Jadakiss does what he can however The Neptunes production is one of the weakest in recent memory. A monotone synth goes throughout, while the knocking percussion saves the beat from being total disaster. 2.5/5

What If: Same formula as Kiss Of Death’s “Why”, except a bit more glossy than the soul filled and real talk of “Why”. If you’d like a glossier and smoother “Why”, you’ll like this, but the hook isn’t nearly as grabbing and the lyrics aren’t as memorable. 3/5

Things I’ve Been Through: Reflective track that sounds a bit cliched, intended to be deep reflection of the past. The track seems to merely scratch the surface rather than really get deep, but the sample and style make it forgivable. 3/5

I Tried: Nelly’s protege Avery Storm sings the hook, but the track is filler. From the overly glamorous production to the Storm hook, the track is forgettable, plus the sample or background vocal is repeated too many times. 2/5

Rocking With The Best: Attempting to create a smooth “two step” dance number, Jada comes off as dull, while the hook is dull and the track isn’t too memorable. 2.5/5

Smoking Gun: Jazmine Sullivan connects on the hook, delivering a soul filled hook that hints at Alicia Keys. Jada drops some storytelling throughout each verse and sounds comfortable on the fitting production from Denaun Porter. One of the better collaborations. 3.5/5

Cartel Gathering: With a decent beat, that’s all that’s needed, as Wu members Ghost and Rae join Jada for some straight up fire. They don’t necessarily murder the track, but its some good storytelling that is an east coast gem. 3.5/5

Come And Get Me: One of the three real street numbers, tension building strings and keys create a dark mood. S.I. sounds horrible on the hook, while Sheek and Jada do their part. 3/5

By My Side: Smooth bassline and hook by Ne-Yo, but the track comes off as a decent dance single. Satisfactory single, however it doesn’t impress, merely decent radio track. 3.5/5

Letter To B.I.G.: Real authentic tribute to B.I.G., Jada gets real here, as Faith Evans softly croons. Off the Notorious soundtrack, its one of the best tracks on the album, not to mention Needlz guitar riff and reflective state. 4/5

Something Else [Remix]: Fitting that they make a giant posse remix for this southern celebratory banger. However, Jada gets Jeezy and his CTE associate, Blood Raw, along with no names, Snyp Life, bully, AP and Boo Rossini. Original sounds better than the remix. 3/5

Death Wish: Alchemist continues to murder the dark grimy beats, as Jada completely devours the beat. A true street knocker that has a deathly coldness to it, while Wayne drops his typically off kilter metaphors. 4.5/5

Respect My Conglomerate: Focus samples an interesting british accented woman vocal, while the beat knocks and Busta knocks out the track. Jada and Jeezy do their thing as well and this is a solid bonus that will be featured on Busta’s album. 4/5

Jada’s always suffered when placed in the solo position and sadly his struggles continue. For one thing, there is an overly long list of guest appearances that are unnecessary for a rapper of Jadakiss’ caliber. A true New York vet, he seems to drop fire and consistent solid bars in guest appearances, however his solo albums have lacked. The album overall is fairly commercial and consists of a few southern bangers, mainly glossy and shiny beats, with a few gems. There is a number of filler, from the corny “Who’s Real”, tepid “Grind Hard”, mundane “Stress Ya”, misfiring lady number “I Tried” and out of place “Rocking With The Best”. There are a few gems, the soulful uptempo “Can’t Stop Me”, decent dance number “By My Side” and the street banger “Death Wish”. A fitting tribute on “Letter To B.I.G.”, intriguing storytelling on “Smoking Gun” are other bright points, but the overall album lacks from the production and lack of east coast bangers. A little less commercial appeal and trimming to the guest list and the album would have been okay, instead after a 5 year wait, we get an overly commercial album and guest list, that has filler and only a few true gems.

Rating: 7 out of 10

Album Review: Mims-Guilt

Exploding on the scene with his hit smash, “This Is Why I’m Hot”, Mims resembled some youth east coast rap with potential. Unfortunately his album didn’t fair as well and now Mims returns with his sophomore release of Guilt.

Guilt: Soothing organs and a smooth bassline backup Mims’ who spits about the music industry and its impact. Decent intro, however it tends to be a bit dull. 3/5

On & On: Synths explode at the hook, while a looming descending keyboard notes run throughout. The hook repeats “on and on”, becoming a bit tiresome, as Mims speaks about the haters who get at him. Lyrically Mims is on point, but the track can’t escape mediocrity. 3/5

Love Rollercoaster: Light and smooth production by new duo Da Internz, blends well with LeToya’s hook. While the track is a worthy lady number and Mims flow is something to note, the track seems to be a typical radio joint. Despite being a bit cliche, the track ultimately works. 4/5

Move (If You Wanna): Mims uses a similar rhyme pattern as “A Millie”, as he starts out relaxed then goes into a higher energized verse. The track is similar to “This Is Why I’m Hot” featuring corny metaphors and sounding silly, but it gets the job done, as knocking 808s and sped up vocals make for a catchy cub banger. 4/5

One Day: With a Jamaican descent, Mims reconnects to his inner roots to straight up croon on a track. Ky-Mani Marley definitely outshines Mims on this and controls the track. 2.5/5

Chasing Sunshine: Orchestral strings and guitar backing create an alternative ready production. Mims fits the track fairly well and KVN’s appearance is nicely done on the hook. The track seems aimed at the MTV listener and a more diverse listening group than the typical rap audience. 3.5/5

Rock ‘N Rollin’: Mims attempts a track like Wayne’s “Shoot Me Down” however the track comes off completely cliched. From Jim Jonsin’s rock oriented production, to Mims namedropping famous rock bands, it’s merely Mims recalling various bands into uncreative metaphors. Tech N9ne saves the track from complete disaster, dropping a more charismatic and speedy flow. 2/5

Be My Hustla: Decent midtempo that features a worthy J. Holiday appearance, as Mims handles the track better than others. Kaliphat’s production is solid and the track works. 3.5/5

Makin’ Money: Irritating beat, Mims falters and the track is complete filler. This is a miss and horridly cliched. 1/5

In My Life (Why Oh Why): Heavy percussion, similar sounding hook as “On & On”, the track is mediocre at best. 3/5

One Last Kiss: Mims continues to work with more diverse sounds, going with a rock oriented beat, similar in style to “Chasing Sunshine”. Soler Mesh drops a nice hook and Mims works well over the guitars revolving notes. 3/5

Heal Me: Nice outro that has Mesh crooning again, as Mims drops some heartfelt lyricism. 3.5/5

I Do: Sampling Nice & Smooth, piano keys plunk and Mims raps. The track is decent, but not too memorable. 3/5

Life Of A Star: Interesting production by Blackout Movement are unique, but the track is everything that resembles commercial rap. Cliched lyricism about the typical things and autotuned hook, the two main culprits of mainstream rap. Weak bonus. .5/5 

Mims sophomore release has him attempting to truly find his identity. While he’s getting better at finding what his niche will be, the album falters because it lacks the amount of bright spots his debut had. Both albums suffer the similar problems, except his first album had better gems, while this album showcases similar gems, just not quite as likeable. What’s wrong with Mims? He simply sounds cliched and the typical product of commercial mainstream. His identity crisis hurts him even more, as he doesn’t have street cred, and distances himself away from the persona, going towards a more diverse appeal evident in the likeable “Chasing Sunshine” and decent “One Last Kiss”. “Rock ‘N Rollin’” comes off completely cliched, with a mundane flow and emo mindstate that simply namedrops various rock bands, while Tech N9ne proceeds to murder the track. “One Day” can’t even be seen as a track, considering Ky-Mani Marley mainly sings and does a nice job, but the verse that Mims has is....let’s just say that’s not his calling. “Move (If You Wanna)” and “Love Rollercoaster” are the two singles and gems, but they don’t shine as well as his previous “This Is Why I’m Hot” and “Without You”. A shorter tracklist serves Mims well, as his debut was overlong, however there aren’t too many impressive numbers. He’s a likeable rapper who has his head in the right direction, but it’s going to need to be better executed next time around. Regardless Guilt showcases a young emcee struggling to find his audience and niche, while delivering lukewarm tracks.

Rating: 6 out of 10

First Listen: Mims/Guilt

Guilt: Thought provoking lyrics, Mims drops some reality. Nice start explaining the album's title.

The Skit: Unnecessary skit that has a hater talking down about Mims and a supporter of Mims. The hater drops some funny disses "This is why I'm room temperature......Mims? Mims stands for Malfunction In Music Seriously!" 

On & On: Aimed at the haters, the track has a smooth vibe and Mims sounds alright.

Love Rollercoaster: Fresh lady joint that has LeToya dropping a catchy hook. Mims flows well over the smooth beat.

Move (If You Wanna): Slowed hook and knocking percussion. Similar to "A Millie" in terms of rhyme style, a little corny, decent banger though.

One Day: Mims joins the group of rappers that croon and sings this whole song with a reggae tinge from his Jamaican roots. Ky-Mani Marley adds some real reggae touch, decent.

Chasing Sunshine: Nice track, Mims really has found his persona as a rapper. 

Rock 'N Rollin': Jim Jonsin produced, a bit disappointing. Mims name drops various rock bands and goes for a emo delivery similar to how Lil' Wayne did on "Shoot Me Down". Tech N9ne murders it.

Be My Hustla: Overly synthy and Holiday's hook is merely luke warm.

Makin' Money: Filler with poor production, skipper.

In My Life (Why Oh Why): Repetitive hook, decent so far.

One Last Kiss: Decent, similar sounding to "Chasing Sunshine".

Heal Me (Outro): Fitting outro that has some truth from Mims.

I Do: Nice & Smooth join Mims for a piano twinkling production.

So far it sounds alright. Mims first album was a bit of a mess for me and while he knocked out some tracks, he sounded out of place on others. Here he goes for less of a hard rap style and more of a pop or alternative style, collaborating with interesting guests and having rock hooks. Diversity is a good thing for Mims, he sounds better on these beats, but I'll have to listen more and see if there's any substance.

First Listen: Jadakiss/The Last Kiss

The First Listen will be brief thoughts of the first listen. It's kinda like the pre review which I will drop before Tuesday.

Pain & Torture: Epic, Jada's on point on this.

Can't Stop Me Now: Throwback feel that is perfect for the summer, Jada's chill and its a nice single.

Who's Real: Bouncy Swizzy production that is a east-south collab with OJ Da Juiceman (of all people). Corny hook.

Grind Hard: Radio ready hook by Mary J. Blige, synthy beat, a little out of place for Jada.

Something Else: High hat filled beat by Don Cannon. Jeezy joins, mediocre, more of a southern banger.

One More Step: Styles P & Jada trade lines, it gets a bit dull and doesn't flow too well. Mediocre beat.

Stress Ya: Neptunes beat has some good percussion but a boring synth line, forgettable.

What If: Nas assists, as Jada remakes "Why", except not as well.

Things I've Been Through: Decent reminiscing track that features some smooth production.

I Tried: Average.

Rocking With The Best: Mediocre synthy dance track that is midtempo.

Smoking Gun: Intriguing track that has some storytelling and a soulful Jazmine Sullivan hook.

Cartel Gathering: Ghost and Raekwon join Jada for a solid cut.

Come And Get Me: Eerie keys and intense production, Sheek and S.I. guest. Decent.

By My Side: Lead single with Ne-Yo that has a decent hook, but is only a decent dance record.

Letter To B.I.G.: Jada drops a worthy letter to Big with Faith crooning.

Something Else [Remix]: A few unknowns (Snyp Life, Bully, AP, Boo Rossini), Jeezy and his protege, Blood Raw are featured. Southern remix that is only decent.

Death Wish: Hard beat by Alchemist, Wayne drops his typically unique lyrics, track goes hard.

A lot more pop than I thought it would be. A lot of filler, too many guest appearances for Jada, I think he should have stayed to his street roots and dropped some fire. Sadly there are only a few tracks that show this, also lyrically there weren't any memorable metaphors. Decent, I'll have to take another listen, but surprising how pop and dance aimed the album is, along with southern appearances.....

The Lowdown (4/7)

The Lowdown will be the weekly update of releases for the next tuesday. This Tuesday's releases show two New York emcees dropping their newest in hopes of reviving the east coast, which as of late has been fairly quiet compared to the south.

The first of the releases is the New York vet, Jadakiss who drops his final album of the Kiss trilogy with, The Last Kiss. One third of the Lox, Jada brings us his long delayed solo release, which comes after the changing of label (Interscope to Def Jam) and the resurgence and talk of a new Lox album to come. The album features production from The Neptunes, Swizz Beatz, Neo Da Matrix and Don Cannon, as well as a variety of guest appearances, Mary J. Blige, Nas, Ne-Yo, Lil' Wayne, Young Jeezy and many others. Lead singles-"Can't Stop Me Now" & "By My Side (ft. Ne-Yo)"

The second release comes from the fairly new New York emcee, Mims. Two years back, he exploded onto the scene with "This Is Why I'm Hot".  The album wasn't nearly as good and showed some identity problems. His newest, Guilt, has Mims reuniting with his main producer, Blackout Movement, but also teaming up with new production duo, Da Internz, as well as established hit maker, Jim Jonsin. Lead singles-"Move (If You Wanna)" & "Love Rollercoaster (ft. LeToya Luckett)"

Welcome To Real Talk Hip Hop

This is a blog that I started because I simply love rap/hip hop music and R&B. I've loved the genre from a young age and started writing reviews about albums a couple years ago. With this blog, suggested by my friend, I decided to share it with a broader audience. I'm going to post random discussions for readers to respond to, post reviews for recently released cds, post news/rumors about the latest and also download links for albums. So welcome and enjoy getting current updates on the latest of rap and r&b music.

Peace

-btaznpride