Young Simba expounds upon a wide range of intimate content, shining light on a mature mindset beyond his years.  ‘Never Told’ continues No I.D.’s string of excellent compositions as Cole takes an alternate route in examining every young man’s rite of passage, passed down from a father to a son, in the form of infidelity.  Recalling being pulled over after inking his deal to Roc Nation, the album seeps into ‘Sideline Story’, a jazzy ditty that offers a sincere perspective of the game of life from the bench. Hip-hop welcomes Missy Elliott back with open arms as her soulful vocals unite with Cole’s uncharismatic serenades on the superb duet, ‘Nobody’s Perfect.’  Album closer ‘Breakdown’ yanks at the heart strings as “Light-skinned” Jermaine sheds alligator-tough skin in bearing all regarding his absentee father and his mother’s bout with drug addiction.

It’s not all serious, of course.  Trey Songz adds very little to the island workings of ‘Can’t Get Enough,’ which serves as a record that could make noise on Billboard charts and a fine nod to Jay-Z’s ‘Big Pimpin’ single.  The much-ballyhooed collaboration ‘Mr. Nice Watch’ with label boss Jay-Z incorporates the “dubstep” movement for a tempered number of braggadocio, which fails to live up to billing with a subliminal-laden showing from Jay-Z and corny, commercial rhymes from Cole.  Overall, Cole World sees Young Simba embark on his journey to be the king, conveying his story from unsigned to Roc Nation signee, with the bowels of the ‘Ville, coursing through his veins. 4.5 spins (out of 5)

‘Lonely Star’ introduces a striking young woman, full of unbridled potential yet weighed down by the fallacies that come along with celebrity. The disengaged crooner echoes these sentiments while seductively pulling her into his world, like a moth to a flame. The titular track, backed by tender kicks, is absolutely orgasmic. Tesfaye’s airy vocals unearth circumstances revolving the secluded relationship between the twosome: his devotion to her extends no further than beyond this particular day, the closest to the weekend *insert irony*. The dual narratives ‘The Birds’ foretells of the unavoidable transformation of their relationship, when the woman’s adoration turns to love for The Weeknd and eventually, addiction. He cautiously advises her “Don’t you fall in love / Don’t make me make you fall in love with a n—a like me”. The tribal drums on the initial chapter warn of the lifeless carcass to come on the Martina Topley-sampling sequel.

To accuse Thursday of being a diluted doppelganger of its predecessor would be foolish as music is created to be probed. While it does not feature polarizing records like ‘What You Need’ and ‘Coming Down’ as Balloons did,Thursday does offer a more focused illustration of The Weeknd’s mysterious undertones and increased experimentation production-wise. Take ‘Rolling Stone’, an expression for smoking marijuana whilst under the influence of ecstasy, which hazily chronicles the murky post-high and allows listeners entry into the darkest caverns of Tesfaye’s mind. He condemns the media’s infatuation with the unknown, foreseeing the descent of his star once the media gets hold of his true character and celebrity reigns supreme. Aligning himself with Drake, who offers a vibrant turn on the codeine- laced ‘The Zone,’ and October’s Very Own can only accelerate the process as Echoes of Silence, the conclusion piece of The Weeknd’s independent puzzle, rapidly approaches.

4 spins (out of 5)

A short jazz solo re-establishes the sophisticated sound that has engulfed Teedra Moses’ growing body of work. The sultry songstress examines the ruins of a collapsed relationship and yearns for new love, a love worthy of hers on ‘Another Luvr.’ The smooth bassline of A Tribe Called Quest’s ‘Excrusions’ propels Moses’ lyrics without overpowering her supple coos, showing that time has not at all affected her vocal talent. Written during sessions for her long delayed sophomore effort The Young Lioness, ‘To Hell With It’ finds a sassy Moses belting out the tone of a mature and hurt lover, exhausted with the shenanigans, yet she never comes across spiteful. A bookend record to R. Kelly’s ‘When a Woman’s Fed Up’, the fallout of her relationship with rapper Ras Kass made for one amazing record from the sassy singer.

Teedra Moses’ forte does not merely revolve around heartache, of course. Trackademicks’ “Champagne Soul” sound permits the 1st Lady of MMG to extend a warm welcome to new love on ‘Invitation,’ advising potential suitors to come correct or not at all. The fittingly titled gems ‘Falling 4 U’ and ‘The One’ intricately detail the back and forth tugging between the heartstrings and one’s conscious mind. ‘Missing U’ ends Luxurious on a somber note, offering an audio note to her late mother Shirley, expressing gratitude her for her strength yet longing to speak with her once again.

‘Get Free’ is the sole misfire on the tape, an overproduced record that overshadows Ms. Moses’ cozy vocals. Records like ‘Missing U’ and ‘The One’ showcase why I first fell in love with the songstress initially and why I wish for her to have my first child: her sultry voice and beautiful songwriting (not to mention she’s GORGEOUS). Clocking in at a shade under 33 minutes, Luxurious Undergrind unearths the evocative enchantress in am improved label situation with more resources at her disposal than at TVT Records. Guided by Rick Ross’ savvy business acumen and MMG’s ridiculous work ethic, Teedra Moses’ star has only just begun to shine as the sky makes a place for Shirley’s daughter to excel.

4.5 spins (out of 5)

Kendrick Lamar kicks the door off the hinges of Section.80 with the politically charged banger ‘F—k Your Ethnicity’, a cinematic introduction where the Compton-born emcee embraces any and every racial background with his effortless flows over a soulful, piano-driven backdrop. Compared to his self-titled EP and 2010’s O(verly) D(edicated) projects, Lamar takes a backseat to the environment around him on this heavily jazz influenced body of work. The Sounwave-produced ‘Hol’Up’ acts as a smooth change of pace record, whose jazzy, triumphant horns would have held more impact later on the album. The feel-good jam interrupts the momentum Lamar gathered during his fiery testimony of an introduction.

The Colin Munroe-assisted ‘No Make-Up (Her Vice)’ offers an illustration of how image conscious society has become, with the second verse providing the point of view of a superficial young woman, pertinent to the Section.80 backstory. Despite its dull, repetitive hook, ‘Ronald Reagan Era’ invites listeners inside a graphic memory of Lamar’s childhood during the crack infested era named after the conservative 40th president. Comprised of vivid and braggadocio rhymes, ‘Era’ is the blueprint upon which Section.80 is designed. ‘Tammy’s Song (Her Evils)’ offers a tale of dual young ladies who explore their sexuality together, a subject still considered taboo nowadays to some just as it was during the 1980s, after discovering their male significant others to be cheating.

‘Keisha’s Song (Her Pain)’ initiates a trilogy of records among the best run of the year. Written and recorded for his younger sister to take heed to, Kendrick crafts an evocatively gorgeous record where he envisions the life of a prostitute, exploiting her body to get ahead and the only path that life can lead to. Kendrick Lamar delivers his best lyrical performance on the aptly titled ‘Rigamortis.’ Backed by royal horns and a hypnotic New York Golden Era-influenced instrumental, K. Dot wreaks havoc on the studio, leaving broken microphones, shattered production boards and the bodies of mangled rappers in his wake. Discussing his own take on religion and morality, ‘Kush & Corinthians (His Pain)’ works double as a laidback joint to ride out to on the darkest of nights. Lamar questions whether he has lived a Christian life well enough to be allowed entrance into God’s sanctum before flipping to an alternate outlook straight out of the hood flick Menace II Society.

The rhyme slinger made a bold declaration in placing the J.Cole-helmed ‘HiiPoWeR’ last: “Stand for something or die in the morning.” Armed with the blessings of Malcolm X, Marcus Garvey and Fred Hampton, K. Dot screams for rebellion on ‘HiiiPoWeR.’ He takes a stand as a man unafraid, foreseeing his eventual assassination, delivered prophetically on the final verse of the album. Due to the consistent, overall sound of the album, Lamar’s latest offering can appear fairly overlong (‘Poe Mans Dream’ feels out of place and fails to help matters in this respect). The included “chapters” assist in ushering the back-story, but ultimately make for unneeded filler. Section.80 puts forward a fine assortment of colorful narratives and raw frankness into the life of an Compton-born 80’s baby, while remaining relevant to today’s environment.

4 spins (out of 5)

Over the course of the project, the beats begin to become redundant, halting any progress made. Strong reliance on street anthems like ‘Ridin’ On Dat Pole’ and ‘Ima Boss’ largely suggests Ross selected nearly every beat on the album, which is sad when he boasts one of the best ears when it comes to beat selection. Pill’s guttural tone does nothing to assist the generic bars on his street-aimed cut ‘Pacman’ while Ross continues his unconscionable identity crisis on the carbon copy ‘John Doe.’  The project also could have used a solo record from songstress Teedra Moses, the 1st lady of of MMG, potentially with a guest feature solely coming from Stalley to bridge the monotonous street foundation.

The legendary Just Blaze supplies a moving backdrop for the opening cut as lead signees Wale and Meek Mill weave over the stellar canvas like Maseratis down a deserted highway. Rick Ross fails to present a verse, content to look on and bask in the fruits of his labor as his Dream Team flaunts their gifts to the world. Wale enlists Jadakiss’s raspy flow for the trunk rattling single ‘600 Benz’, where the D.C.-based emcee drops quotable after quotable such as “Tinted out, you ain’t seeing through / All black er’thang, this s— like a HBCU” and “If I get pulled over, I know they gon be on it / Cause it’s hot in here and I got no ‘L’ like the ’72 Dolphins.” Signed well after the bulk of the project was complete, Moses offers a morsel of her nostalgic sound on hook duty for ‘Running Rebels’ while Stalley bombards the horn-led instrumental alongside Wale and Mill on the cinematic album closer.

Features outside of the MMG camp were few, but Curren$y (‘Rise’), J.Cole (‘Fitted Cap’) and Jeremih (‘That Way’) more than held their own. At times, however, the album feels congested due to so many cameos on certain records, the uninspiring posse record ‘Big Bank’ for example. Self-Made showcases Ross’ vision for the future of his untouchable Maybach Music Empire: flexibility, whether it be Meek Mill’s infectious charisma (‘Tupac Back’), Teedra Moses’ silky vocals as the 1st Lady of MMG (‘Running Rebels’), Wale’s range as an artist, etc. Speaking of Wale Folarin, his star illuminated the bulk of the compilation, boasting among the best selections on the album in cuts like ‘By Any Means’ and the aforementioned ‘Rise.’ With as talented a roster as they come, Rozay’s prospects look superb, their growth only to be stunted by lackluster effort in pursuit of the good life.

3.5 (out of 5 spins)

It’s amazing how quickly one’s fortunes can change. At his breaking point, Big K.R.I.T./ released his street album K.R.I.T. Wuz Here on May 4th, 2010 in hopes that the stars would at last align in his favor and the music industry would recognize his abilities, both as an emcee and producer. Fast forward to March 28th, 2011. He’s been deemed one of XXL’s 11 Freshman, inked a deal with Sha Money XL and Def Jam and has readied a second street album titled Return Of 4Eva to prove his first masterpiece was no lightning in a bottle.

From the organic onset of ‘Rise & Shine’, it is clear that K.R.I.T. is a true music historian and well aware of his Southern roots. ‘Shine’ sounds as if he recorded alongside OutKast in the studio recording sessions for ATLiens as he seeks to wake up those still sleeping on his immense talents. ‘Another Naïve Individual Glorifying Greed & Encouraging Racism’ sees the emcee address the stereotypical Black male and the actions that follow his footsteps daily down his path of self-destruction. It is the closing records ‘Free My Soul’ and ‘The Vent’, however, that show the Southern emcee at his peak as the former sees him recognizing his increasing success while being wary of potential fallacies and the latter sees him spill some of his most sincere rhymes on wax:

“I saw love in the eyes of a perfect stranger /
She overlooked my caring heart in search of a gangster /
Will we ever be together? Only time will tell /
She called my phone and talked to me as her eyes would swell /
I put my problems, in a box, beside my tightest rhymes /
Under lock and key, buried off up in my mind /
And when it gets too full and I can’t close the lid /
I spazz on my family and my closest friends /
Trade my materials for a piece of mind /
I’m so close to heaven. Hell, I just need some time /
Who cares about life and the highs and lows? /
Maybe I should write another song about pimps and hoes /
Cars and clothes, idle gods, golden calves, Louis scarves”

Return of 4Eva’s not all serious, of course. ‘Rotation’ is a groovy number, perfect for gliding around the city in a caddy car while ‘My Sub’ finds K.R.I.T. exercising the stop-and-start flow in an ode to subwoofers before closing the record with an utterly gorgeous breakdown of a Regina Belle sample. K.R.I.T. also demonstrates his ability to reach the female audience, dropping seductive rhymes on ‘Highs & Lows’. The cinematic trunk–thumping ‘Amtrak’, on the other hand, sounds like a B-Side to Curtis Mayfield’s ‘Pusherman’ as K.R.I.T. ushers a young lady into the pimp game ever so subtly that it would make Max Julien stop and shed a tear.

Guest appearances are few, but each manages to compliment the Meridian, Mississippi native quite well. Chamillionaire offers a rewind-worthy cameo on the retrograde reflective known as ‘Time Machine’ while fellow Mississippi brethren David Banner hops on the country fried anthem ‘Sookie Now’. Big Sant offers a show stealing bombast of confidence and braggadocios on ‘Made Alot’, which answers whether Sant and K.R.I.T. have changed since their newfound success.

On ‘King’s Blues’, K.R.I.T. poignantly asks “what’s a king without no crown”? Despite being unrecognizable, he remains a king. K.R.I.T. makes honest, personable art, and it is this ability to “make you feel him like Braille”, which makes him so adored by an ever-growing fanbase. With Return Of 4Eva, K.R.I.T. embeds yet another precious stone into his crown in his never-ending quest to ensure he remains a king remembered in time. Constructing a masterpiece on his forthcoming Def Jam debut (his third overall album, alongside K.R.I.T. Wuz Here and Return) would complete the hat trick and go a long way in paving his growing legacy as the premier voice of the South.

5 spins (out of 5)

Anarchy. The symbol that takes the presence of the letter ‘A’ in the title of Lupe Fiasco’s latest studio album. Instead of anarchy, this project incited a fan-crafted revolution, after the Chi-Town bred lyrical savant was wrongfully forced to sit in label purgatory because of a decision to exercise full creative control during the creation of Lasers. After the release of the overproduced single ‘The Show Goes On’ and the triumphant stadium sound that echoes on ‘Words I Never Said’, Fiasco finally delivers his third studio release, and though nowhere the caliber of his first two multi-layered records, an fun piece of music.

With as difficult a process as Lupe Fiasco suffered during recording for Lasers, the toll it took on him is extremely noticeable. From the onset of the album on ‘Letting Go’, Fiasco confesses how draining the creative process became (“As the old me I predicted all my recent plights/ Exhausted, trying to fall asleep, losses at my recent fights/ Burdens on my shoulders now, burnin’ all my motives down/ Inspiration drying up, motivation slowing down”). Formerly known as frequent collaborator Pooh Bear, MDMA offers an autotune-infused chorus three years late on the jewel of the album ‘Beautiful Lasers, 2Ways’, where Lupe offers a reflection of the suicidal thoughts that engulfed his mind state during his struggle with the label.

Despite Atlantic Records’ influence on the album’s sound, he was allowed the inclusion of part of his vision for Lasers. ‘State Run Radio’ visualizes a world where Fiasco acts as “The Voice” of government-controlled radio as he pens three verses, acknowledging the repetitive nature of records thrust upon the public. Fiasco proclaimed the concept ‘All Black Everything’ “one of his all-time favorites” and it fails to disappoint as the wordsmith envisions a world, devoid of racism and where slavery never occurred, where “the Rat Pack was a cool group of black men that inspired the five white guys called the Jacksons.”

Unfortunately, there’s a fair share of lowlights that encompass Fiasco’s most inconsistent effort to date. Fiasco misses the target with misplaced boxer-based rhymes on the dreary ‘Till I Get There’. A Sonic The Hedgehog-esque casino record, the up-tempo ‘I Don’t Wanna Care Right Now’ has Lupe’s double time flow on full display, veiling easily some of the most generic bars of his career:

“Got the game in the clutch like I am G
You ball, little boy but I N-B-A
With a hand full of world
You a boy band with a dance and a twirl
I’m a rockstar with a band so thorough
Big ass tour bus that’s jammed full of girls”

The features on the album are heavy on crooners with sing-songy choruses, the exception being Sway’s turn on ‘Break The Chain’, but Lasers sees more of Fiasco’s personal thoughts shine through instead of the sage perspective that graced his initial two classic works. He delivers a lackluster release (for his elevated standards) yet a triumph for mainstream radio. Much of the early criticism imposed on Lupe by those who previewed the early leak comes from an outlook that he did not lyrically exercise his frustrations on wax as few can do better than him. A retort: he couldn’t. He was specifically told “Don’t rap too deep on this record. You’re rapping too fast or too slow, or it’s too complex”. He mailed it in and delivered an Atlantic album by Lupe Fiasco, rather than a Lupe Fiasco album and stands another step away from Atlantic Records, but (more importantly) towards creative freedom.

3 spins (out of 5)

Hidden amongst an interlude on his immaculate debut opus, Kanye West’s plans to end his college-themed series of studio albums with the comically billed Good Ass Job have been evident prior to his arrival of the forefront of the music scene. Fast forward six years and gone is the humble up and coming beatmaker from Chicago, replaced by a polarizing pop superstar, draped in Dior Homme, attempting to resurrect his career from its ashes.

West’s latest audio presentation, lengthly titled My Beautiful Dark Twisted Fantasy, takes Graduation’s format to new, grandiose heights, billed as “soulful stadium rock”. ‘Dark Fantasy’ sees the “Chi-town n*gga with a Nas flow” stroke his ego over the RZA-produced gritty album opener. The guitar riffs of ‘Gorgeous’ echo against cameos from GOOD Music’s Kid Cudi and N.Y. stalwart Raekwon as well as some of Kanye West’s best rhyming to date, chockful of his clever wit, brash nature and effortless honesty:

“Penitentiary chances,
The devil dances & eventually answers
To the call of autumn, all them falling
For the love of ballin’
Got caught with 30 rocks, the cop looked like Alec Baldwin
[…]
Face it: Jerome get more time than Brandon
And at the airport, they check all through my bag
And tell me that it’s random”

‘Devil In a New Dress’ reveals veiled recollections of West’s past high profile relationships (Alexis Phifer on the initial verse and Amber Rose on the latter) before giving way to Rick Ross’ robust turn after an exquisite breakdown of Bink’s soulful loops. The piano key-driven ‘Blame Game’ is easily the melancholic centerpiece of West’s exhibition. Accompanied by the graceful John Legend, Kanye West narrates his own confessional of a broken relationship from his past (Hello, Amber Rose?).

From the onset of the orchestral chants on ‘Power’ to the tribal drums and autotune-infested closer ‘Lost In The World’, it is evident that each record is designed to be a work of art, a sample of West’s vision of grandeur. One gripe would be the autotune being abused in spots, specifically the three minute-plus portion to close the Pusha T-assisted ‘Runaway’. High profile posse cuts ‘Monster’ and ‘So Appalled’ feel strangely out of place on the album of a man who once boasted “Least he still poppin’ in Japan, shoppin’ in Milan”, despite turning in vintage quotables from cocaine cowboys Jay-Z and Pusha T respectively. There are traces of each of the trendsetter’s previous albums throughout the album, but Kanye West’s drive to grow as an artist while evolving his sound is still at the heart of his music. No one man should have all that power, indeed.

4.5 spins (out of 5)

No truer words have been spoken then by Joe Budden on album opener ‘Hiatus’, then presented on Mood Muzik 3. Merely music for some, Regular Joe has taken the concept of a song and presented life lessons through his own past experiences while also exercising demons via his very own catharsis. His latest therapy session begins with the intro ‘Pray For Them’, painting a melancholy canvas with his trademark, self-reflective lyrics as the self-proclaimed “man without a care, roommate to heartache, neighbor to despair” (‘Intro’). Producer Fliccs offers a hard hitting, Rocky-sampling instrumental for ‘Aftermath’ as Budden offers a lyrical spar session, pummeling the track with punchline after punchline.

What makes Joe Budden’s Mood Muzik releases the premier “mixtape” projects is the brutal honesty and emotion shared as well as the introspective viewpoints of real life issues. Take ‘Role Reversal’, for example: an in-depth account of the back-and-forth conflict Joe faces as a stepfather playing father to another man’s child. The rock-tinged ‘1,000 Faces’ echoes the tale of ruined relationships due to personality changes in our surroundings, thrust by an absolutely epic Creed sample. True to form, Mouse touches on broken, past relationships with ‘No Idea’ as well as ‘Inseparable’, but it is MeLa Machinko who takes the latter to enormous heights with a gorgeous turn on the chorus:

“We will never be apart
It’s like two bodies, living with one heart
Together like a lock and key
Without you, there is no me
Days will never be the same
If you weren’t here with me, I couldn’t see
Living another day, wherever you’re gone
You know that I’m going with you…”

Slaughterhouse, Budden’s lyrical group-mates, also accompany the Jersey lyricist on the last installment of MM, albeit on separate tracks. Joell Ortiz delivers arguably the premier verse of the project as he and Joe each have their own conversation with God on ‘Follow Your Lead’. Crooked I joins Joe Budden to cripple a Cardim instrumental on ‘Sober Up’ while Royce Da 5’9” crashes the underwhelming posse cut ‘Remember The Titans’ with Lloyd Banks and Fabolous. With four featured lyrical wordsmiths, only Budden and Royce show up to effectively toe tag the record with Fabolous easily turning in the corniest verse.

As “hip hop’s version of Mary J. Blige”, fans take pleasure in seeing the hardships of Joe Budden as they know it will make for more of his brutally, heartfelt lyrics. Outside of a weak hook here and there (‘Come Along’ comes to mind), MM4 makes for an incredibly intense listen and throughout, it is simple to notice the parallels between him and the late Tupac Shakur (who heavily influenced the project). From self-examination on the exceptionally thematic ‘Black Cloud’ to acceptance on ‘Follow My Lead’, Budden allows a glance into the life of one of hip hop’s tortured artists through a collection of records, his very own brand of audio heroin and proof he’s pound for pound, the most gifted lyricist out there.

4.5 spins (out of 5)

Today… was a weird one. I sat and watched one of, if not my favorite, rappers transform into Fabolous: e-banging over Twitter. For those that do not know where this whole situation began, click here to catch yourself up.  I recall a similar incident when Lupe Fiasco was bashed for flubbing a lyric during a tribute performance to A Tribe Called Quest  (“Fiascogate”) in which he went on to touch bases with DJ Hyphen on Phonte’s (of Little Brother fame) response to that overly blown incident:

“It’ll never get there. I wouldn’t allow it to go that far [beef]. I would come out and kill it before I let it get there, but I’m like… dude, you could call me.”

Fast forward two years and things have certainly changed… and not for the better. Exactly happened to one of the more humble and promising musicians of his generation? Arguably, the standard for a microphone wrecking? He already laid out his view of Prolyfic over “Building Minds Faster” so what was the point of a Twitter vent session? Gemstones has kept his silence, Prolyfic has spoken out at times… it seems like all the artists who had a hand in the early parts of Lupe Fiasco’s career have disappeared and with the foundation in absolute ruins, there is no balance, no opposing voice.  This is where Charles “Chilly” Patton is sorely missed. He was Derek Fisher to Lupe’s Kobe Bryant. When all others failed, he kept the balance. (SN: Someone please get this guy a competent publicist because as a public figure, he most certainly has diarrhea of the mouth and while his stans continue to eat up the bullshit he’s spewing out of it, he also further opens himself to just criticism with these type of actions).

To quote Kazeem Famuyide, for the past two years, Lupe has been known more for having internet hissyfits then dropping heat and still he continues. Need I remind you of the “Shining Down” leak or better yet, the outcry after Friend Of The People was cancelled because of his charity climb (understandable) as well as prematurely leaked records. I mean really, dude? Let’s sit down and compare (for argument’s sake):

Lupe Fiasco: 1 Grammy, 9 Grammy Nods, 2 Gold Albums, 1 platinum single, 10+ World Tours, a WORLDWIDE Fanbase of ALL AGES…

Lil’ Wayne: 4 Grammys, 10 Grammy nods, 3 platinum albums, 4 gold albums, 6 platinum singles, a WORLDWIDE fanbase of ALL AGES…

I remember a time when a Lil’ Wayne verse, record, etc. leaked every other day for a couple of months. Did Wayne take to the internets and launch a bitchfit? No, he continued on in the studio, making music and with that, his success continued to grow. THAT is where your fans want you to be. They relate to your music in even the simplest of ways and wish for you to have as much success, but you cannot do that when you continue to sabotage yourself by 1) withholding music and 2) with these senseless rants.  Your fans (Prolyfic, included) gave you and Atlantic this buzz, this marketing tool. There is no reason, as an artist, that your fans should have to keep your name out there. That is your own job as an artist to build your buzz and maintain it. The fans helping out is merely icing on the cake. Before this whole petition thing came about, did anyone even remember Lupe Fiasco outside of his diehard fans? Not. at. all.

At the end of the day, everything (even Pro’s rant) goes back to the music. You don’t want your records leaked? Keep them to yourself and allow no one to hear them until it hits stores or you decide to leak it yourself. As for all the fans that champion Lupe, I commend you, but as I’ve said countless times, if you feel he is above reproach for his actions, you are being truly ignorant. Lastly, to Lupe himself, cut the shit. As a musician, all the masses want from you is the great music they know that you are capable of. If you don’t want to put it out, that is fine as well; simply go away and don’t come back. While your stans are literally spamming artists and people alike with your “petition”, to quote Big Sean, what exactly are you doing? Yep… bullshittin’. There is one thing the world learned today however: Lupe Fiasco’s Achilles’ heel…

“My greatest enemy is my inner-me” © Lupe Fiasco

~Juice.

Rick Ross
Teflon Don
Producers: Kanye West; No I.D.; Danja; J.U.S.T.I.C.E. League; The Inkredibles; Clark Kent & The Remedy; Lex Luger; The Olympicks

Akin to a Hollywood blockbuster in the center of the summertime, Rick Ross’ latest release begs more of a Michael Bay comparison rather than one to infamous crime lords such as John Gotti, Big Meech and Larry Hoover. With Teflon Don, Miami’s biggest boss is aiming to release the most complete project in his growing catalogue and he largely succeeds in some aspects. Producer-on-the-rise Lex Luger (Waka’s “Hard In Da Paint”) continues to provide music for the streets on the epic, yet similarly produced jingles “B.M.F. (Blowing Money Fast)” and “MC Hammer”. The former finds Ricky seizing his cocaine dreams by the throat (with an assist from Styles P.) while the latter’s ode to the former entertainer depreciates in value, courtesy of an unnecessary cameo from Gucci Mane.

Rick Ross continues to thrive as his chemistry with the J.U.S.T.I.C.E. League is put on full display, putting the industry on notice with “I’m Not a Star”, “Aston Martin Music” and of course, the final installment in the “Maybach Music” trilogy. The production crew provides cinematic film scores in the sonically urgent opener “I’m Not a Star” as well as the lush soundscapes on “Aston Martin Music”, which finds the self-proclaimed “bawse” cruising along with the likes of by Drake and Chrisette Michele. Furthermore, the former correctional officer is afforded an absolutely majestic canvas and it’s only right he bring along an all-star cluster of passengers for the ride: T.I., Jadakiss and Erykah Badu. Southern king T.I. turns in a silky, smooth verse while Jadakiss follows suit before a cinematic transition sets the stage for Rick Ross to bat cleanup, all as Badu mesmerizes as chauffeur of the luxury vehicle.

Accompanied by No I.D.’s spiritual production (and augmented by Cee-Lo’s sermon-like chorus), Ricky Rozay has delusions of grandeur (“Biggie Smalls in the flesh/ Living life after my death”) on the reflective “Tears Of Joy”. Even Kanye West hops on the Teflon Don’s latest release, continuing his gradual return from a self-imposed hiatus with more multi-faceted production on the club scene-aimed “Live Fast, Die Young”, a sample of the new direction in which he is headed production-wise. He and Ross are certainly in celebratory mode, but lyrically ‘Ye pillages like a looter in the center of chaos with his trademark wit: “And we bout to hit Jacob the Jeweler/ So I can be like Slick Rick and rule ya/ Dr. Martin Louis The King, Jr./ And I’ma never let the dream turn to Kreuger/ My outfit so disrespectful/ You can gon head sneeze cause my presence blessed you“.

Jay-Z arguably highlights the album, playing closer on the controversial “Free Mason” in delivering a masterful verse and quieting Hov-Illuminati rumors (at least for the near future) with a litany of Bible references: “Bitch, I said I was amazing…. not that I’m a Mason. It’s amazin’ that I made it through the maze that I was in/ Lord forgive me, I never woulda made it without sin/ Holy water, my face in the basin/ Diamonds in my rosary shows he forgave him”. At only eleven cuts, the album is wonderfully constructed, almost methodical at times, but still Ross is plagued by filler, unable to “cut the fat” so to speak.   His newly hired manager Diddy as well as Trey Songz crash the party on the braggadocio cut “No. 1”, disrupting the album’s cohesiveness while the aforementioned Gucci Mane guest appearance on “MC Hammer” is a whimper in comparison to the original that found Ross rhyming solo on The Albert Anastasia EP. While his content remains repetitive and lacks little to no depth, the soulful production and Hollywood box office guest list will alone make for a number of repeated spins for Sergeant Murtaugh’s latest opus.

3.5 spins (out of 5)

Written by Rakeem Johnson (“Mr. Genius”)

It’s a comparison akin to that of the legendary basketball duo Michael Jordan and Scottie Pippen. Pippen was an all-time great in his own right, but with Michael Jordan, they were untouchable and in that scenario, he was always overshadowed by the greatest of Michael Jordan and not fully appreciated until long after his career was done. As one half of hip hop’s greatest duo (and arguably, group) OutKast, Big Boi knows that underappreciated feeling well when compared to his highly revered, spaced out other half Andre “3000″ Benjamin, but Antwan Patton is more than capable of holding his own as a solo musician as he showcases on his official solo debut, Sir Lucious Left Foot: The Son Of Chico Dusty.

After a brief feel-good intro, Big Boi provides a verbal tongue lashing on subwoofers with “Daddy Fat Sax”, a fantastic trunk rattler in which he firmly establishes his return while providing his savvy brand of social commentary and reminding listeners who may not be aware of his stature as part of Atlanta’s Dungeon Family royalty. Patton also takes listeners to church on the downright spiritual “General Patton”, mercilessly assaulting J. Beats’ anthemic production and leaving nothing but ruins in his wake. Organized Noize allows the veteran emcee to showcases his nimble, double-time flow in addressing the South’s (New Orleans, in particular) plight with George Clinton and Too Short in tow, turning in rock-solid cameos (“Fo Yo Sorrows”) while slowing it down for Sleepy Brown and Joi on the syrupy “Turns Me On”.

Daddy Fat Sax also manages to craft versatile records that are radio-friendly without sacrificing lyrical substance, which is evident on offerings such as the lead single “Shutterbugg” as well as the Vonnegutt-assisted “Follow Us” in which he reveals his hitlist and spits that “vicious, pitbull attack sh*t” to silence naysayers, critics and flat out wack emcees. B.o.B contributes a crooning hook on the militant “Night Night” while Andre’s female doppelganger, christened “Andrea 3000″, Janelle Monae serenades listeners on the absolutely gorgeous “Be Still” respectively; both turn in ideal performances and play perfectly complimentary pieces in General Patton’s stratagem . Tip offers his trademark playboy confidence for the strip club-ready “Tangerine” and the duo’s chemistry is undeniable as Tip’s Southern drawl blends so effortlessly in with the bongo drums-driven cut that it is nearly impossible to tell the distinction between Big Boi and T.I.’s respective rhymes.

While technically a solo project, Sir Lucious Left Foot comes off as a compilation album with such a lengthy cast of characters ranging from the utterly brilliant Janelle Monae to… Gucci Mane (“Shine Blockas”). While some are executed masterfully (Janelle Monae, George Clinton, Vonnegutt), others are met with mixed and/or questionable results (Jamie Foxx, Yelawolf). Missing in action (due to Jive’s f*ckery) is Big Boi’s flamboyant partner in rhyme, whose two contributions on “Royal Flush” and “Lookin’ For Ya” would have undoubtedly strengthened Big Boi’s album of the year candidacy, but ultimately Benjamin’s absence (outside of production on “You Ain’t No DJ”) assisted Big Boi in standing out as a viable solo artist. As such, Big Boi still provides that signature ‘Kast sound while also adding a bit more to the pot in providing something all audiences can enjoy as proof that “the South STILL got something to say”.

4.5 (out of 5 spins)

Written by: Rakeem Johnson (“Mr. Genius”)

Eminem
Recovery
Producers: Alex da Kid, Boi-1da, Emile, DJ Khalil, Dr. Dre, Havoc, Jim Jonsin, Just Blaze, Denaun Porter, Supa Dups, Script Sherpherd

In the case of a writer, there is no such thing as his own worst critic other than the conscience that lies within and it appears Eminem was not satisfied with 2009’s comeback album, Relapse, his first official release after years in seclusion. Scrapping what was initially deemed a double disc concept album, Eminem headed back into the studio and began crafting an entirely new opus in the place of Relapse 2 titled Recovery in which he proclaims “the new me’s back to the old me”. Eminem’s newest project operates as his first “real” studio album, the first album he’s crafted in sobriety and it certainly shows from the onset. The guitar-riddled “Talkin’ 2 Myself” finds a brutally honest Marshall Mathers recalling a time where he questioned everything, even his own rhyming abilities as he contemplated recording a diss record against mainstream superstars Kanye West and Lil’ Wayne (who even makes an appearance on Recovery) simply out of jealousy of their success:

“I almost made a song dissing Lil’ Wayne
It’s like I was jealous of him, cause of the attention he was getting
I feel horrible about myself, he was spitting and I wasn’t
Anyone who was buzzing back then could of got it
Almost went at Kanye too

I’d of had my ass handed to me, and I knew it
But Proof isn’t here to see me through it
I’m in the booth popping another pill, tryna talk myself into it
Are you stupid? You gon’ start dissing people for no reason
Especially when you can’t even write a decent punchline even”

Black Sabbath’s “Changes” contributes to a jewel on Recovery as well: the somber “Going Through Changes”, which finds a self-loathing Eminem berating himself while in the darkest bowels of his depression, enhanced both by his prescription pill addiction and the loss of his best friend, DeShaun “Proof” Holton; in turn, Eminem comes to terms with his issues and apologizes to his fanbase for the lengthy hiatus on the uplifting Boi-1da-conceived lead single “Not Afraid”. A great deal of the album is evidence Eminem had regained his competitive fire including the album’s hard-hitting opener “Cold Wind Blows”, which shows remnants of Mathers not seen since the days of The Slim Shady and The Marshall Mathers LPs.

Lil’ Wayne links up with Eminem on yet another collaboration and is eviscerated once again by another of Fire Marshall’s potent multisyllabic quotables (including a hilarious reference to the Kanye West-Taylor Swift incident) on the Haddaway-sampling “No Love”. From his touching tribute to his best friend Proof (“You’re Not Over”) to chronicling his ascendancy through the underground on up to working with Dr. Dre on “Almost Famous”, Eminem tackles each track with a passionate display of ferocity that has lay dormant in him for some time. He even goes as far to experiment with a wider spectrum of content and concepts including a paranoid and destructive love (“Space Bound”, “Love The Way You Lie”), seducing the opposite sex with razor sharp rhymes on “Seduction” as well as the oft-used “hip hop as a metaphor” concept as he seizes control of his career and relationship with hip hop on “25 To Live”.

Eminem largely abandons the tired flatulence noises that watered down Encore and the horrorcore tactics that engulfed much of Relapse to purge himself of demons through his very own catharsis in Recovery. There are moments where Eminem seems to be rapping for the sake of rapping, motivated by his desire himself worthy of reclaiming the crown he once held so firmly; it certainly does not harm his case as he is still vastly ahead of a great deal of the competition and ultimately, proves therapeutic for the veteran emcee. Amazingly, the good Doctor contributes only one track (the dry and fittingly titled “So Bad”), but this aids Eminem rather than hindering him as he is allowed to run rampant over canvass of a lighter tone. Eminem is more confident, more assertive on Recovery and that focus allows for his finest rhyming exhibition since 2002’s The Eminem Show. Ultimately, there’s still a long road to go to recovery, but for now, King Mathers has returned and the future of hip hop music gleams just a little brighter.

4.5 mics (out of 5)

Written by Rakeem Johnson (“Mr. Genius”)

Earlier today, one of my respective writers/colleagues/etc wrote a piece addressing how much he supports Lupe Fiasco as an artist while also discussing the love/hate relationship he has with Lupe on some of his (for lack of a better term) false promises. While he did receive positive feedback as well as other opinions from those he disagreed with, he was slammed for speaking “ill” against the great Lupe.

Even if Lupe is my favorite artist, the emcee I feel is the greatest that I’ve ever seen do it, I’m still not going to be above calling him out on his shit. Anyone who knows me knows that I ride and represent Lupe above everything. I’ve supported him on both albums, been to seen him perform (which was brilliant), helped folks decipher his lyrics, etc. I want him to be as successful and as recognized as he can possibly be, but at the same time, I’m not going to let him skate over broken promises without speaking my mind even though he’s not perfect. Lupe has a habit of talking up things that end up causing anger and resentment among his fans when they are canceled or fail to come into fruition.

Friend Of The People? Canceled, but because it was for a good cause, it was understandable. CRS album or even new CRS material? Didn’t happen. The Coolest video? Was never released. The Justice remix album of The Cool? The Halloween-themed radio show to tell the story of The Cool? Never came into fruition. Lasers? Supposedly finished last June, set for release in December 2009. Was rejected then turned in AGAIN near the end of January 2010 and he’s still unable to receive a release date because the time is not right? Just when will the time be right? In July? Nope, too soon with not a single in sight. August? Nope, T.I. has priority with Atlantic Records. September, maybe? Nope, Kanye West is due to shake up the game once again. Late 4^th quarter, perhaps? As crowded as it will be, if Dr. Dre has his way, every release will be overshadowed by the release of his almost mythical album Detox.

Jay Electronica is the exact same way. Act II: Patents Of Nobility was supposed to have dropped how many months ago? Exactly… but because we love these artists, we continue to support them. Briefly, I also want to touch on Lupe and the way he handles leaked records. He did an interview sometime back about how when his debut was leaked weeks before its release date, he was cost the opportunity to go platinum. If B.o.B will not be on track to do platinum numbers for some time with the #1 record in the country and another single right on its heels, what makes him think Food & Liquor would have done platinum numbers off the strength of Kick Push?  Also, imagine how Drake feels to have his actual entire album leaked weeks ahead of schedule? Did he bitch & moan? No, he told his fans to enjoy it, knowing that his true fans would support him regardless.

When it comes to leaked records and/or unfinished records, keep the records close to your chest if you don’t want them to be leaked because in this day and age, if they get into the wrong hands, they will eventually hit the internet. Plain and simple. Your fans understand the reasoning behind being upset about it not being “perfected”, but what’s done is done and when they are starved of your music so much, it is hard to see why they will go on to download the leaked records. I’d go as far as to say as I agree with Rhymestyle’s idea to tag the record you send out to be finished with the person’s name you gave it to so that if it leaks, you’ll know exactly where the record came from.

One of the things that I respect SO much about Andre 3000 is he doesn’t build up hope, just to have to snatch it away later. No matter how much folks ask for his return, he hasn’t spoken one word about the solo rap album that he’s working on. He’s gotten no one’s hopes up; he simply goes into the lab and works. When it’s finished, I suspect he’ll speak on it and it’ll eventually be released. Kanye West has maintained the same work ethic when it comes to his HIGHLY anticipated album.

Don’t act like Lupe Fiasco is a saint, is perfect or is beyond reproach. You can be a Lupe Fiasco fan, a Laser or what have you and even still, maintain your integrity. For many of Lupe’s fans, the line in the sand has been drawn. We tire of the false promises and while we enjoy his music, we are not going sit around waiting on our toes for him to officially release something especially if it leaks ahead of time. We’re going to move on to other artists who do find time to show SOME appreciation for their fans. At the end of the day, he’s an artist. He doesn’t owe any of us anything, but unless it’s set in stone, don’t get anyone’s hopes up. You make yourself look bad in the long run. To many fans, critics, etc., your word is your bond. If you can’t call your favorite artist on their shit and maintain some lack of bias, whose REALLY the Fiasco?

~Genius

“It’s funny how money can change everything” © Drake: “Fear”

This was what Aubrey “Drake” Graham foreshadowed; the drastic change monetary gain has on one’s art and lifestyle. For many artists, making millions of dollars is the source of a drastic change in lyrics, subject content as well as thought process. With every premature release from his highly anticipated debut, fans of Toronto’s latest superstar were ultimately conflicted, torn between his rhyming capabilities, his ability to harmonize on his own records and finally, the effect his Young Money family was hindering the vulnerability in his music that made him internationally known.

While So Far Gone was Drake’s introduction to the mainstream, Thank Me Later is his official solo debut and the red carpet is certainly rolled out for hip hop’s latest attempt at “Neo”, boasting high profile cameos from the likes of Alicia Keys, Jeezy, Jay-Z and of course, Lil’ Wayne. “Fireworks” picks up where So Far Gone left off as OVO’s in-house producer 40 crafts a somber yet epic backdrop for the album opener as the young emcee leaves his feelings on his shoulder, alluding to his fear of change in his relationship with mentor Lil’ Wayne as his success grows as well on his brief tryst with Rihanna before giving way to Alicia Keys’ creamy vocals on the chorus. Even Jay-Z stops in to trade verses with Young Angel, playing elder statesman and offering sage advice to Drake as well as grumpy old man to old comrades as he continues to toss salts into old wounds on the high-profile collaboration “Light Up”.

With numerous collaborations comes plenty of opportunity for singles that radio will eat up. Aided by an “unforgettable” Aaliyah sample, Drake crafts a drum-heavy summer anthem that, whether an official single or not, will circle the airwaves with Jeezy along for the ride as he continues his rising momentum prior to Thug Motivation 103’s summer release. Another potential single arrives in the heavy club record “Fancy”, a grandiose anthem for the ladies that is driven by the charisma of both Swizz Beatz and newly released T.I.

Despite all the collaborations, Drake does manage to find time to reflect and showcase his trademark vulnerability on solo cuts “The Resistance” and “Karaoke”. The latter, provided by Francis & The Lights (and likely the track Drake had in mind for a Sade guest appearance), features sparse breaks reminiscent of those on Kanye West’s “Robocop”. Drake uses the eerie R&B number to touch on dealing with a former lover in his past that was not fond of the glitz and glamour that the entertainment industry entails, something Drake achieved at an early age.

With Thank Me Later, Drake delivers what exactly? A heavily mainstream-aimed debut that is cohesive and balanced with equal parts rhyming and crooning. Simultaneously, he fails to live up to the nearly impossible standards placed upon his shoulders due to the success of TML’s critically acclaimed predecessor (he is also easily crippled by the poor arrangement of the tracks). Most will continue write Drake off due to his debut album not being as amazing or consistent as his famed mixtape, but frankly that matters little. He already delivered arguably a classic album as So Far Gone was a mixtape only in name. Garnering Grammy awards from mixtape records is far from the norm so why should he be expected to follow it? He will have plenty of time to garner more accolades and success as well as deliver that traditional “classic album” to the critics, so for now? To his detractors: thank him later.

3.5 mics (out of 5)

“Don’t Let Me Fall” initiates B.o.B’s journey and is a testament of what the album itself will consist of: half crooning, half rhyming over beats not so hip hop-savvy.  After all, though Bobby Ray is classified as a rapper, he is an artist first and foremost and his debut is concrete proof of his refusal to conform.  Most will easily recognize his sincere (and instant classic) first single “Nothin’ On You” as he seeks to reassure the insecurity of the female gender with his trademark charm and wit while Bruno Mars belts out the popular hook in support.

The highly anticipated collaboration between Lupe Fiasco and Bobby Ray results in “Past My Shades”, a lukewarm score hindered by a repetitive hook and featuring only a braggadocio verse from each respective artist.  Many would imagine a track boasting the creative genius of both Janelle Monae and B.o.B would be nothing short of amazing yet the pair phone it home on the uninspiring “The Kids” while Bobby Ray’s crooning on “Lovelier Than You” slows his momentum and hinders the album itself.

Bobby Ray’s musical capabilities glow brightest on the Hayley Williams-assisted “Airplanes”, which has already begun its ascension up the Billboard charts as another potential #1 hit while Eminem provides an introspective tour de force on the sequel, pressing it into “Song of The Year” contention.  Even label boss T.I. stops by, fresh off his prison release, to show he has yet to lose a step on the Atlanta-based anthem “Bet I” as Bobby Ray tries his own spin at “something for the hood”.  B.o.B receives support from Weezer’s Rivers Cumo on “Magic” as the twosome embrace their ability to step outside the box and still make great records, another song that will likely serve as a monster hit while “Fame” sees the resident ATLien touches on the fallacies of fame in the entertainment industry from being labeled role models to the paparazzi.

Adventures will be well-received by consumers that possess an open mind (or ear?) in the case of music, but those looking for pure hip hop will likely skip the B.o.B express.  While the length is definitely questionable at best with only twelve cuts, sometimes less is more and while it left him with little room for error, B.o.B shows he is definitely up to the challenge.  The vast majority of emcees have begun the transformation into strategists when it comes to their artistry, overlooking the bottom line: just making great music.  Had B.o.B subbed some of his bonus tracks in place of album cuts (“Lovelier Than You” comes to mind), he may potentially have been looking at an “Album of the Year” candidate.  In conclusion, Bobby Ray delivers a fresh, unique offering in The Adventures Of Bobby Ray and proves that he can go against the grain of emo-rap that is slowly enveloping the music industry and still reside among shooting stars.

4 (out of 5 mics)

Produced by 9th Wonder, the jazzy undertones of “20 Feet Tall” pick up where Part One‘s “Honey” culminated, altering the tone of that album while shifting to a new radio frequency and providing a taste of what was to come on Ankh. The piano-driven “Window Seat” oozes Badu’s distinctive vulnerability and acts as the official single from the project. Erykah Badu is immersed in her love and constant pursuit of commerce on “Turn Me Away (Get Money)”, an absolute gem that contains an interpolation of the familiar “You Can’t Turn Me Away” by Sylvia Striplin. After paying tribute to the late J Dilla on Part One (“Telephone”), Erykah Badu revisits some of his funky production for “Love” where her harmonies echo the fine line between fear and love, reflecting on a lover she thought to be the superman she had always fantasized about.

“Fall In Love (“Your Funeral”) issues another glimpse within Badu’s emotional state, providing fair warning to buyers (also paying tribute to the late Notorious B.I.G.) while portraying the danger in falling in love with the controlling neo-soul seductress. Part Two provides the New Amerykah saga with a crowning conclusion in the epic three-part siege “Out My Mind, Just In Time”, a melancholy ballad that explores the fragile mindstate and insecurities that can intoxicate a lovestruck woman, a “recovering undercover over-lover” as Erykah Badu describes it. As the ten minute piece forges along, Erykah endures constant breaks with reality, first into a state of madness before eventually arriving into a state of acceptance in the closing portion.

While not a complete carbon copy of Baduizm, the organic sounds of Return Of The Ankh recapture the emotional state Erykah Badu echoed on her timeless 1997 masterpiece albeit with slightly futuristic soundscapes. Utilizing (nearly) the same stable of producers for both pieces, the vision of both The 4th World War and Return Of The Ankh was a depiction of the two as equal counterparts, neither outweighing the other nor as separate entities. The beautiful album artwork (provided by Emek) is foreboding, depicting Erykah’s liberation from the robotic casing she created as a safeguard and freeing the woman music fell in love with: “a singer with some thing on her head, similar to the turban that I covered up my dreads with (at the time)”.

4.5 spins (out of 5)

Written by Rakeem “Mr. Genius” Johnson

While DeVaughn’s niche lie in his penchant for love melodies, The Love & War Masterpeace additionally sees him tackle subject matter of a political and social nature comparable to Marvin Gaye’s What’s Going On?. “Black & Blue” touches on a dark side of affection; a volatile love in which he pens a letter to a female companion, consistently a victim of domestic abuse. He colorfully paints the intricate details from late night 911 calls to a constant constant fear of her life. Wale joins his DMV brethren for a groovy, uplifting number dedicated to the ladies on “The Greatness”. Even his foreboding lead single “Bulletproof” sees the soulful crooner touching on the world’s misfortunes on all fronts, both “here, overseas and across the waters” before giving way to an aggressive Ludacris, who delivers another show-stealing feature from his vast catalog.

For a project over an hour in length, feature-laden tracks are few and far between yet stand out nonetheless. The epic “Nobody Wins a War” sees DeVaughn accompanied by a bevy of neo-soul cornerstones like Jill Scott, Bilal, Anthony Hamilton and Dwele as well as relative newcomers like Algebra Blessett and Chrisette Michele for an optimistic reflection of the violence occurring worldwide. DeVaughn remains political as he enlists Dr. Cornel West to guide the album while Damien Marley arrives to wax apocalyptic visions with Raheem over the Issac Hayes-sampled “Revelations 2010?. G.O.O.D. Music’s Malik Yusef supplies spoken word pieces to open and close the ethereal ballad “Fragile” as Raheem’s supple vocals glide over the rising soundscape, echoing a request for complete trust and the most “fragile” part of a woman’s being: her heart.

Of course, Raheem DeVaughn stays true to his craft, supplying beautiful love compositions for behind closed doors. “Mr. Right” and “My Wife” are nearly companion pieces; the former, an expression of DeVaughn’s desire to practice monogamy while the latter sees him recounting past experiences before taking the ultimate step in his commitment to his partner for life. Masterpeace also features no shortage of sincere babymakers including the steamy sessions of “Bedroom” in addition to the oral sex innuendos of “Microphone” without becoming excessively raunchy. Reminiscent of Quincy Jones’ “Secret Garden”, Raheem DeVaughn reaches the climax of a lovemaking session on the stellar “Garden Of Love” and even manages to playfully compare and contrast the difference in intimate lovemaking and female one-on-one action with her favorite toy (“B.O.B.”).

An infusion of the blueprints of his predecessors combined with his own trademark sound and style have led Raheem DeVaughn to unimaginable heights on his latest opus. Outside of a few somewhat lengthy interludes and a choice questionable track (“The Greatness”), The Love & War Masterpeace is nearly flawlessly in its execution. Borrowing heavily from the template set by Marvin Gaye with What’s Going On?, the self-proclaimed “R&B Hippie Neo-Soul Rockstar” contributes a masterpiece of his own to the genre, securing his place with one comprised of both sincere love and socio-political awareness. This is his Baduizm, his Urban Hang Suite, his Words & Sounds Vol. 1, his Voodoo; unfortunately, it is this once-in-a-lifetime listening experience that will be nearly impossible for him to match for the remainder of his career.

5 spins (out of 5)

An opener exuding Rae’s trademark charm, “Are You Here” exhibits an intimacy not seen on records in today’s music scene. The rising and falling tempo molds perfectly with the songbird’s silky vocals as her heart calls out to her late husband in remembrance of their tragically, short-lived time spent together. The Sea coolly advances into the lead single “I’d Do It All Again”, a soaring yet heartbreaking record that was penned a few months before her husband’s untimely passing. It beautifully chronicles the definition of marriage: a lifetime commitment to the vows one takes in front of God as well as practicing the art of loving and forgiving. The jazzy sounds of “Feels Like The First Time” are amplified by tinkling piano keys that echo a dreamy Corinne, recalling the innocence of falling in love; simpler times like late night phone calls into the wee hours of the night or the first kiss shared between two aspiring lovers.

The closest example of an R&B record, “Closer” sees Rae pursuing an epic love (one almost mythical) while “Love’s On Its Way” features the artist patiently wandering through endless thoughts of aspiring love behind an eerie, nearly nonexistent backdrop that beats from within the darkest recesses of her soul. The final two records, “Diving For Hearts” and “The Sea”, bring this opus to a fitting close as “Diving” finds Rae metaphorically diving to the darkest depths of her emotions, in search of her gentle yet still beating heart. Corinne Bailey Rae comes full circle at the close of the album as she willingly cedes herself to “The Sea”, due for a thorough cleansing as the grief is washed away. Closure is found in a fitting goodbye to the love of her life.

The simplest approach of critiquing this record would be a likening of it to her adventurous debut (the closest instance of such comparison being “Paris Nights/New York), but this work stems from an artist at their most emotional peak; unwilling to conform and dealing with their loss. The Sea is a therapeutic piece of self-expression as Corinne Bailey Rae echoes a sea of emotions over lush soundscapes, which unpredictably shift from titanic heights of happiness to unimaginable depths of heart-shaking grief. Yet her heart whispers to her to press onward. Like Picasso at the peak of his abilities, Mrs. Bailey Rae produces another enchanting mural of the power that everlasting love can have over one, stroke by delicate stroke.

4.5 out of 5 spins

Edited by Kingsley “Young Kingz” Osei

The aptly titled “Triumph” sees the quick witted emcee flexing his lyrical prowess over Dave Sitek’s probing, horn-infused beatbreak. Southern veteran Bun B joins Wale on “Mirrors” as the twosome wax poetics on those individuals who choose to “fake it ’till they make it”. The emo record that appears to be prerequisite for hip hop albums nowadays comes in the form of “90210″ as Wale touches on females with cocaine addictions and those that suffer from eating disorders such as bulimia. Great idea, but flawed execution bring down the record, however.

“Diary” comes as a refreshing opposing viewpoint of women from “90210″ as Wale pens a heartfelt letter to his lady, a woman having a hard time opening up her heart after many failed relationships while the refreshing Marsha Ambrosius glides over The Sleepwalkers’ dreamy backdrop. “TV in The Radio” sees Wale teaming up with K’naan for a quick lyrical blitzkrieg with the latter effortlessly delivering arguably “the” verse of the entire album as well as providing hook duties. The haunting “Contemplate” sees Wale at his darkest aided by Rihanna’s echoing coos contemplating what exactly is his “place” in hip hop before uniting with Roc Nation signees Melanie Fiona & J.Cole on the soulful “Beautiful Bliss”, the smooth, feel good jam of the album.

Producer Best Kept Secret contributes two gems to the project in the form of “Shades” and “Prescription”. The former sees Wale aided by arguably the premier go-to songstress for hook duties as Chrisette Michele provides her nostalgic croons while Wale sincerely recounts issues with colorism he suffered during his childhood, jealous of those with skin lighter than his. The mellow “Prescription” brings Wale’s hyperactive debut to a firm conclusion as the DMV’s frontman searches for just the right “medicine” that hip hop has desperately been in search of.

Critiquing this album can easily find reviewers between a rock and a hard place. It is commonly looked down upon to feature so many artists on an album (especially a debut) as it takes the attention off of the artist whose project it is in the first place. While many features work (Jazmine Sullivan, Bun B), some are out of place (Gucci Mane) and some even overshadow that of Wale’s, specifically J.Cole’s toe-tagging of “Beautiful Bliss” and the desolate wasteland K’naan leaves “TV in The Radio” in. Another issue that proves problematic is the inaccurate sequencing that Attention: Deficit suffers from. On the bright side, there is a little something sprinkled here for everyone: feel good joints, social commentary, potential singles and self-reflection for the man himself. There are alot of great records presented, but Attention Deficit (as a whole) appears to be a water-down carbon copy of the Wale that fans fell in love with, the MC talent who was once inspired by Seinfield to craft a mixtape about “nothing”.

“Jay-Z is not selling drugs anymore and has went from a Brooklyn boy who rapper to a business [...] Jay-Z closed the old book and started a new one while Nas has been stuck on the same book, same chapter since Illmatic damn near”.

I agree with the statement that Jay-Z is not selling drugs anymore and transformed himself into a business, but wasn’t Jay, not 2 years ago, rhyming about drug dealing/hustling on American Gangster? After the release of the critically panned Kingdom Come (an album of Jay’s that I enjoy), Jay-Z went right back to rhyming about drugs on the critically acclaimed American Gangster. Jay recently rhymed on BP3:

“I move onward, the only direction

Can’t be scared to fail, in search of perfection”

Why then, instead of rehashing familiar territory with American Gangster, did Jay not ignore critics and fans alike and proceed with an album in the vein of The Blueprint 3 after the “dud” that was Kingdom Come? A familar rhyme from Joe Budden comes to mind in this situation: “Are we hustling or are we grown up? Every time I hear you, you changing your tone up”(Joe Budden: “Talk To Em”).

Like Nas, Jay is an artist that will always be compared to his greatest work, his debut album. When it comes to Nas however, he has continued to grow as an artist since his debut. He went from the young visionary on Illmatic to painting the Mafioso lifestyle in his own image (i.e. the aptly-titled It Was Written) to a prophet on I Am… & Nastradamus. Stillmaticsaw a return to form for Nas while God’s Son saw him at his most naked emotionally. Street’s Disciple saw growth into a conscious emcee and a family man while Hip Hop is Deadsaw an elder statesmen concerned with the dying art-form and finally, Untitled saw him lyrically at his peak since Illmatic, a politically conscious emcee. It was also on Untitledthat Nas showed that he had firmly slammed the door on his magnum opus and the gift/curse of his career, Illmatic.

Jay’s career has seen great heights on a commercial scale, but his catalogue artistically has seen its share of duds. For an emcee to call themselves the greatest, should they not present their best effort on every album? When you look at both emcee’s catalogue, the odds are definitely in Nas’ favor as he has 5 arguable classic LPs (Illmatic, It Was Written, Stillmatic, The Lost Tapes & Untitled) while Jay has around 2-3 in Reasonable Doubt, The Blueprint and American Gangster.

“Jay began to think globally while Nas only saw things locally, as his circumstances so did Jay’s lyrical content. [....] Nas may very well be the best NY lyricist while Jay is the better lyricist in general. Both are deserving of the title but only one has stepped up to the challenge and put the crown on his head. This is not just my opinion: look at the numbers, Jay has beaten Elvis! Jay has retired and came back while Nas has almost given up on hip hop”.

I’d say this was the part in her argument, which irked me the most. When it comes to both emcees, I agree that they are both artists in their own right, but to say Jay is a better artist or lyricist than Nas is flat out wrong imo. Jay proved long ago that he cares more about how many zeroes are in his bank account than about the art-form that hip hop is while Nas continues to grow as an artist and push the boundaries into unfamiliar territory. Another example would be the two premier emcees of the new generation: Lil’ Wayne and Lupe Fiasco. Lil’ Wayne continues to attempt to force his way to rockstar status and sell millions of records while Lupe can rap over rock-type instrumentals while still creating great music and selling a fair amount of records himself. Lyrically, when you compare the two however, there is no competition as Lupe is light-years ahead of Wayne and still relatively young into his burgeoning career. Is Lupe less of an artist for remaining true to his true fans yet still trying new things and not selling out to sell records while Wayne continues to attempt and force himself onto everyone in an attempt to sell more records? I think not.

At the end of the day, Jay-Z will have better numbers than Nas and will have enjoyed a better career than Nas due to the amount of records sold and money made, but when it comes to the essence that hip hop is and consistency in their respective catalogues, there is no comparison: Nas stands tall. Fin.

~ Royce Da 5’9″: 8-11 (Freestyle)

As regarded a city as there is in America, Detroit has buit as big a name as they come, boasting hip hop acts such as Elzhi, Black Milk and of course, the technically enhanced veteran, Eminem. Almost forgotten amongst the cold confines of the “D” is one Ryan Montgomery, better known as Royce Da 5’9″. After a year long stint in prison for a DUI, Royce sought to reclaim his hold on the underground, unleashing the initial two installments of his famed Bar Exam series, patching up misunderstandings with longtime friend Eminem and forming a lyrical juggernaut with the likes of Crooked I, Joe Budden and Joell Ortiz in Slaughterhouse. Working under the radar with the legendary DJ Premier, Royce Da 5’9″ entered the studio diligently to finish up work on his long delayed, much anticipated Street Hop opus. With the Slaughterhouse project available for release and backing coming from some of hip hop’s greatest acts, Royce Da 5’9″ allows listeners to join him on his quest to be mentioned among hip hop’s elites and (in a way) escape the shadow of one Slim Shady.

Royce Da 5’9″ explodes out of the gate on the energetic opener, “Gun Harmonizing”. Backed by Emile’s melodic production, Royce likens his rhyming skills to that of an AK-47, even mimicing the gunfire with dramatic scatting on the hook before fellow Slaughterhouse mate Crooked I bats cleanup with a damn near show-stealing guest feature. Nickle enlists Phonte, one half of famed hip hop group Little Brother, for hook duties on the smooth “Something 2 Ride 2″, a slow burner produced by the legendary DJ Premier. Mimicing the execution of Premier’s use of a Public Enemy’s numerical sample on The Notorious B.I.G.’s “Ten Crack Commandments”, Royce delivers punchline after punchline on the blistering “Count For Nothing”.

“Dinner Time” shows Royce literally as hungry as they come as he spends a little over three minutes devouring wack emcees, with even cameo legend Busta Rhymes becoming a morsel for the Detroit Native as he absolutely “toe-tags” Quincey Tones’ militant backdrop. The self-proclaimed “Sergeant Slaughter” is joined by the rest of his Slaughterhouse conglomerate on “The Warriors”, another Emile-produced gem that features the fearsome foursome unleashing two verses a piece, wrecking a cinematic backdrop with numerous quotables and Royce emerging from the destruction triumphant with two absolutely stellar verses. “Shake This” is easily another classic addition into Royce’s belt as the famed rhyme spitter reflects on past problems with alcoholism and prison time and details his journey of redemption, aided by Premier’s lush production.

Street Hop also offers a musical epiphany for listeners as Royce Da 5’9″ allows listeners to partake in his twisted thoughts for a few of storytelling murals, easily painting himself among the underrated when it comes to cinematic narratives. Listeners enter Nickle’s version of The Twilight Zone (nicknamed the “5’9 Zone”) on “Part of Me” as he details a pecuilar night at the bar for a young man who enters a beautiful dream in the form of a threesome with two gorgeous women before awakening to an ugly nightmare as the vixens numbed his body before a vengeful act of castration takes place for the unlucky chap. “On The Run” sees Royce incased in a hotelroom, gripped by a state of paranoia as he goes over the past 24 hours in an attempt to figure out exactly what happened to him. The subsequent track, “Murder”, acts as a Nas-esque “Rewind” as he recounts the bloodbath he witnessed the day before from start to end (which ties into “On The Run”).

Lyrically, Royce is a force throughout the album, bombarding each beat with relative ease and calm. Executively produced by DJ Premier, Primo possesses an excellent ear for beats, selecting excellent backdrops for Nickle’s rhymes to run rampant over. Royce even manages to dip his feet into commercial waters on “Thing For Your Girlfriend” and the autotune-laden chorus on “Far Away”. The biggest detriments to Street Hop‘s case as a classic album are the lengthy tracklisting (clocking it at 19 cuts) and the inclusion of generic subject matter on obvious filler (“Gangsta”,”Bad Boy” and the useless skit, for example). With enough spins, the gangsta talk grows tired and its fire is eventually snuffed out. Noticeably missing (after the addition of the year old and previously leaked “Shake This” and “Part of Me”) is the classic “Taxi Driver”, an absolute gem of a record that was originally planned for Street Hop, but leaked as part of Royce’s The Revival LP and was thus, not included. With that being said, Royce Da 5’9″ presents another solid addition to his growing catalogue, but sees him still in search of that undeniable classic record that would elevate him into the company he thirsts to join: the likes of Jay-Z, Nas and his fellow Detroit friend/native, Eminem.

The Wizard commences his latest project with the uptempo number, “Not Your Average Girl”, and while Shareefa does the cut justice as Ghost’s “down ass chick”, it begs to wonder whether or not this track was crafted with either Keyshia Cole or Mary J. Blige in mind. The self-proclaimed “R&B Neo-Soul Hippie Rockstar” Raheem DeVaughn joins Ghostface for two cuts including the reflective 1st single “Baby”, in which he belts out an autotune-riddled chorus as Ghostface rhymes about the beauty and rigors (hunger cravings, yikes!) of pregnancy. The remorse depicted in DeVaughn’s hook duties on the soulful “Do Over” allow the Shaolin soldier an effective foundation as he laments over past indiscretions after his infidelity leads to the loss of his good girl, his “crown jewel”.

The somber soundscape of “Lonely” echo a different aspect of Ghostface’s, down on his luck and making himself heartsick at the thought of another man curled up at night with his girl with even his son unknowingly feeding into his detached state of mind: “Most of the time we watch flicks, on your Surround Sound, he watch boxing/ You better go beg or something, before she go love him/ He’s taking your spot cause you was dissin Mommy, you buggin/ They don’t argue, he send her flowers for no reason/ She’s cheesing… I’m wishing you could come back and see this”. It is also on the nostalgia-inducing cuts “Stay” and “Forever” where the wizard is his most sincere especially on the latter in which he promises forever to his one and only, backed by a mesmerizing instrumental.

While this “R&B” album virtually stands as uncharted territory for the Wu-Gambino, it is his detailed storytelling that continues to shine brightest through his expansive catalogue. The raw and uncut “Stapleton Sex” features Ghost at his best, presenting as vivid a sexcapade on wax as possible between he and wifey (assisted by the lovely Milani Rose) that would make even the late great Pimp C shudder. The piano key-driven Paragraphs Of Love is a theatrical masterpiece as Ghostface enlists singer Vaughn Anthony and UK superstar Estelle to articulate on the age old tale of “love at first sight” as Starks encounters another man’s pregnant fiancee, “the most beautifulest queen I’ve ever seen” who brings forth the inner gentleman in him as he questions whether she is in need of help and offers her sustenance. While many will recognize the backdrop as Rick Ross’ “Yacht Music”, Ghostface flips the Justice League’s triumphant horn-driven composition into “Guest House”, a concise, paranoia-infused epic that features the masterful storyteller on a crusade in search of his significant other, who he subsequently finds cheating on him with cameo king Fabolous.

With Wizard of Poetry…, Ghostface further solidifies his stature among the greatest emcees to ever grace the microphone while also showing his willingness grow as an artist. Backed by incredible production throughout, Ghostface utilizes his stellar pen game and continues to paint as vivid a picture as they come, though instead of his vintage cocaine tales, he focuses on the various twists and turn that can occur in the art of love. The album tapers off near the end especially on the bland, Lloyd-assisted “Goner” and the questionable inclusion of the remix to 2006′s “Back Like That”, a record that appeared on More Fish, but the initial ten to eleven tracks are substantially worthwhile and more than make up for a small addition of filler. Sticking out like a sore thumb amongst other records in his extensive catalogue, Ghostdini, The Wizard of Poetry in Emerald City further validates Ghostface’s extensive range as an artist as well as his confidence to step outside of his lane, a feat that continues to shape among veteran emcees in the latter years of their established careers.

4 spins (out of 5)

“This is black emo rap”
~ @Illionaire

A fine-tuned combination of Kanye West’s charisma and personality and OutKast’s eclectic persona perfectly describes Cleveland native KiD CuDi. Apart of XXL’s 2009 Freshman Edition, CuDi was joined by the likes of West Coast emcee Blu (who released the critically acclaimed Below The Heavens with beatmaker extraordinaire, Exile), the prolific machine Charles Hamilton and the DMV’s lyrical mastermind, Wale. CuDi stands out and is arguably the best act of the group as he embodies and exudes one of the most important aspects of music: innovation. After just missing the Grammy Awards deadline, KiD CuDi is geared up to release his debut album as he allows listeners a safe passage into the mind of the man on the moon.

Man On The Moon begins on a high note with “In My Dreams”, a somber (yet concise) look into the mind of Scott Ramon Seguro Mescudi. “Dreams” comes to a dreamlike close with the legendary Common beginning narration duties as the dream and nightmare sequences that riddle this concept record begin. The album itself is divided into five acts (each narrated by Common) and acts as a space age, psuedo-biography of Mescudi’s life. Following Common’s initial duties is the heartfelt “Soundtrack 2 My Life”, a look into the adventures and trials that CuDi has faced including the death of his father, which he has yet to get over (“I’m super paranoid like a sixth sense/ Since my father died, I ain’t been right since / And I try to piece together the puzzle of the universe / Split an eighth of shrooms just so I could see the universe”).

Acting as an introduction and in-depth look into the mind of KiD CuDi (slightly influenced by with his weed-laced mindset), the initial act (The End of Day) concludes with “Simple As…” before Common steers the story into Act II: The Rise of The Night Tremors. The hauntingly piercing “Solo Dolo” sees CuDi’s versatile style taking over as he both raps and sings, relaying his self depreciation and self-pity before finding the inspiration to rise from amongst ruin on his very own theme music, “Heart of a Lion”. The conclusion of the Billy Craven-featured “My World” sees Common returning to lead the album into its third act, Taking a Trip. The “lonely stoner” follows up cult classic and initial single “Day ‘n’ Nite” with the epic sounds of “Sky Might Fall” as he continues to maintain the spacial theme through his debut, seeking to inspire listeners even when things are at their bleakest.

The fourth act, Stuck, consists of four cuts: “Alive”, “CuDi Zone” as well as followup singles “Make Her Say” and “Pursuit of Happiness”. The former two continue the spacial theme that takes place throughout the album, firmly entrenching the album with CuDi’s brilliant concept while the awe-inspiring “Pursuit of Happiness” concludes with a final narration from Common as we enter the final act of CuDi’s tale: A New Beginning. The album comes to an beautiful close with CuDi showcasing his rhyming abilities on “Hyyer” and bringing the album full circle with “Up Up & Away” as Scott Mescudi finally awakes from his dreamlike state of mind.

With Man On The Moon: The End of Day as his debut opus, CuDi has truly created a work of art and arguably, the best alternative album to be released for quite some time. “Make Her Say” may be the only misstep on the album. While it features Chicago’s own Kanye West and Common dropping some of their most deviant verses, CuDi’s hit single sticks out like a sore thumb. On the other hand, “Make Her Say” could be placed on the album intentionally so as to provide the album with a “break” so its eclectic soundscapes would not merge together and become redundant. Comparable to to the video game “Portal”, Man On The Moon: The End of Day is brilliant, nearly flawless and short enough to not overstay its welcome while also challenging enough to maintain interest. With his debut, KiD CuDi has released a near-classic piece of art while firmly establishing himself as a leader of the new school and building anticipation for the next ambitious installment in his Man On The Moon trilogy.

4.5 spins (out of 5)

For the complete and unabridged version of this review, click here

Picking up where the original left off, the sequel sees a return to the North Star as Papa Wu drops some of his age-old wisdom before being devoured by a soulful beat and the return of the Chef as he plots his return to the Cuban Linx formula. Familiar Kung Fu samples signal the return of the Wu-Gambinos as Rae, Ghost, Deck and Meth arrive perfectly on cue to decapitate “House of Flying Daggers”, a gem crafted by the late beatmaker J Dilla. The architects of the original Purple Tape, Ghostface Killah & Raekwon shine brightest throughout Cuban Linx II, contributing some of their detailed and grimy narratives to Raekwon’s latest release.

Unlike the original album, which was produced entirely by in-house producer RZA, Raekwon enlists a bevy of producers including Erick Sermon, Marley Marl, The Alchemist and even the perfectionist, Dr. Dre, who all offer masterful soundscapes while still remaining true to Raekwon’s vision and the Cuban Linx sound. Raekwon maintains his namesake as “The Chef” throughout the album, never directly leaves the topic of cooking up that white unless it’s to bear his soul on the “Ason Jones”, a touching tribute and memorial to the late Ol’ Dirty Bastard, arguably the crown gem of CL2.

On the few occasions in which Raekwon calls for help outside of the Wu conglomerate, they rarely fail. Jadakiss and Styles P grace “Broken Safety” appropriately, not quite reaching Rae’s level though standing as able compliments. Beanie Sigel stands toe-to-toe with the Chef on the Icewater composition, “Have Mercy” delivering a verse that only strengthens the argument that he’s a possible legend in the making. The album concludes similar to the original: with the fantastic “Mean Streets” and the inspiring Scram Jones-produced “Kiss The Ring”. From bagging up the cocaine to the introspection of a seasoned individual, the overall greatness of the original Purple Tape is apparent throughout the sequel.

While Cuban Linx II is definitely a spectacular follow-up to the original, the expanded tracklisting of the 2nd installment alone makes for unnecessary filler, however good it may be. The vast assortment of guests ultimately weighs down CL2 (the Wu members do not count as guest seeing as how the Wu act as a unit) and none of the appearances are those that would account for a musical orgasm (example: Nas’ appearance on “Verbal Intercourse”). At the end of the day, while not touching Rae’s cinematic masterpiece from 1995, he comes dangerously close. From the graphic interrogation scene on “Sonny’s Missing” to recounting the intimate details of cooking the finest cocaine on “Pyrex Visions” (in under a minute, no less), Raekwon lives up to his moniker as “The Chef” and though the album saw numerous delays, he proves that which a chef already knows: rushing greatness can only spoil the finest product.

4.5 (out of 5 spins)

*NOTE: For the full, unabridged album review, click here.