Reviewably Incorrect - The Ill Community http://community.allhiphop.com/categories/reviewably-incorrect/feed.rss Sun, 26 May 2013 06:07:24 +0000 Reviewably Incorrect - The Ill Community en-CA Diddy - Last Train to Paris http://community.allhiphop.com/discussion/92566/diddy-last-train-to-paris Sat, 01 Jan 2011 04:06:34 +0000 Reviewably Incorrect MacOne 92566@/discussions While Last Train to Paris will inevitably be compared to modern hip hop classics like So Far Gone, Thank Me Later, 808s, and Man on the Moon, Diddy’s “brand new sound” - as proclaimed in the opening track “Yeah You Would” -finds its beginnings in his last wildly successful album, Press Play. The efforts to replicate the hit single “Last Night” into an entire album are obvious even without the sequel (only included in the deluxe edition, which I recommend and will be reviewed here). Other underappreciated songs from the second half of Press Play, such as “Thought You Said” and “Special Feeling”, blurred the lines between pop, hip hop and RnB long before Kanye’s mom passed away or anyone had heard of Aubrey Graham.

It’s no secret that hip hop has changed in the last few years, with emotion-based rap becoming the most successful. Whether it’s Eminem’s Recovery from irrelevance thanks to his new, loud, angry flow and emotional singles like Not Afraid and Love the Way You Lie; or Kanye West’s latest 13-track adventure fraught with pain, self-criticism, and arrogance ensuring him a handful of Grammy’s and a place in not only hip hop history, but musical history as well; or Drake’s run of success crowning him as the future king of rap, long gone are the days when anyone cares about whether or not a rapper used to wear a badge. Now hip hop fans are looking for a connection with artists that goes beyond street credibility and realness. On this album, Diddy tries to provide this connection and goes deeper into the topics of love and relationships than any other hip hop artist would dare try. Armed with autotune, his two new sidekicks, Dawn and Kaleena, an array of star guests, and a diverse team of talented producers, the grandfather of modern-day commercial hip hop sets out once more to redefine the genre.

One of those producers, Danja, shines on the three tracks he produces: “Yeah You Would”, “Hate You Now”, and “Hello Good Morning”. The latter combines a slick T.I. verse with a catchy chorus from Dirty Money over a stadium club beat, making it an easy choice for a hit single. The other two songs offer more substance and stronger vocals from the two girls, but don’t shy away from the dancefloor. “Ass on the Floor” and “Looking for Love” featuring Swizz Beatz and Usher respectively, are two other club anthems near the beginning of the album which are already slated as singles. In fact, nearly every song on this album, no matter the content, is club-worthy, another testament to the talents of Diddy and his production team.

A notable exception is “Angels”, the first single from the project featuring Rick Ross and the late Biggie Smalls. This song was the beginning of the Bugatti Boyz and Ross’s relationship with Diddy, and one can easily see why Diddy was so impressed when hearing the Boss’s verse. Ross drops a powerful, introspective verse reminiscent of his now-infamous “Mafia Music” bars:

I’m a photographers dream
counting cream as my chain swing
Mack 11 for the things that the days bring
I’m after chedder deadin money yeah I chase cream
patent leather like Im Puffy in my Saline
I rock jewels like my n-ggas in the A-Team
I’m out in space can’t you seem I am a Alien
my wrist A-List, Audemar’s ageless,
bezel lit up like a billboard out in Vegas

After Ross outshines Biggie on the same track, it’s hard not to make the comparison between the two rappers and wonder if the Boss has surpassed Biggie already. But outside of these two hip hop legends trading bars, Diddy and Dirty Money provide a strong chorus to make this a highlight of the album, though perhaps not the wisest choice for a single.
Even Justin Timberlake drops a jewel towards the end of the haunting “Shades”. Though perhaps not lyrically complex, JT swagger and quiet flow add the perfect touch to another strong point on the album:

I can read your mind, read your mind, Professor X
We can press rewind, press rewind, VHS
Speaking of the past, its so futuristic behind ya
Let me fill up your plate and dish it out, dish it out, China
I’mma bend yo body, bend yo body, Magneto
Let me have my way, I’mma have my way, Carlito

The last few tracks on the album sees our hero Diddy begin to approach a catharsis of self-realization, starting with the beautifully composed “I Know”. A choked up chorus from Seven of Richgirl and heart-wrenching verses from Diddy and Wiz Khalifa make this odd combination seem wise in hindsight. “Loving You No More” features a clever verse from the aforementioned Drake, and more painful lyrics from Diddy this time penned by hitmaker Sean Garrett. “Change” – the other track only included on the deluxe edition – was once proudly dubbed by its writer The-Dream as the best song he’s ever written. It’s a lofty claim for the genius behind “Single Ladies”, “Umbrella”, and “Touch My Body”, and unfortunately it may have been too bold. Nevertheless, the decision to leave this song off the standard edition is puzzling, as it may be the most genuine song Diddy’s ever done… if not for the next and final track. “Coming Home” sees Diddy teaming up with Jay-Z and the latest hotshot beatmaker Alex Da Kid for what might be the best song the latter’s produced so far, and will surely be the next big hit single off the project.

Traditional rap fans may view this album as “soft” or too “pop”, and they aren’t wrong with those descriptions. But they are quickly becoming oblivious to the changing landscape of hip hop – and with this album Diddy’s taken the train right off the tracks and into a whole new world. Dawn and Kaleena wouldn’t be able to carry their own solo careers, but they provide the perfect backdrop – always to assist Diddy as if they were instruments, never to be seen. Only Diddy’s money can pay for the lush Euro-influenced pop-dance production on this album, and only he can have the influence and respect in this industry to have such a star-studded guest lineup. This album is the perfect storm of everything that has made Diddy successful for the past 15 years, and if he continues to push boundaries like this, he could remain a force in hip hop for another 15.

Lyrics: 5/5 Beats: 5/5 Vibe/Concept: 5/5

Overall: 5 Mics out of 5
]]> Rah Digga – Classic [Review] http://community.allhiphop.com/discussion/68074/rah-digga-classic-review Thu, 16 Sep 2010 18:07:14 +0000 Reviewably Incorrect carterazoo 68074@/discussions http://www.nappyafro.com/2010/09/16/rah-digga-classic-review/)

If you thought female MC’s not named Minaj were dead, you better not tell Rah Digga. Yea, her last album Dirty Harriet may have been 10 years ago but don’t let that fool you; Digga’s flow is still as rowdy as ever.

For her sophomore set, not only did she craft one of the cutest and coolest album covers I’ve seen in a minute, she also ditched the features and has only one producer behind the boards (Nottz). But does the album deserve the title Classic?

It definitely seems like Digga hasn’t lost a step since her 2000’s debut; the Brick City flow is still there. On the provoking and The Real Housewives Of Atlanta inspired “Who Gonna Check Me Boo”, Rashia shows she is still a problem:

“All these chicks geeks/In lest that six weeks/I shut ‘em all down like Taylor Swift speech (Shut up bitch)/Dipping off, change clothes and switch seats/Back on the stage, might let that bitch speak/Singing all on they hook like Swizz Beatz”

She has more for listeners on tracks like the soulful “Soldified” (My favorite track off Classic), the album’s first single “This Ain’t No Lil’ Kid Rap” (She basically invents Grown Woman Rap here), and the name dropping “You Got It”. On the production side, Nottz gives Rah a lot of fuel for her flow and the chemistry comes through very well. On the rumor stomping “Viral”, Nottz flips a TV News inspired beat to initially awkward sound but it eventually works. On tracks like “Straight Spittin IV” & “Classic”, he goes back to basic to also good results and gives Digga room to do her thing. The album is only 10 tracks long, but it’s honestly not a terrible beat in the bunch.

The fact that Rah Digga lyrically holds down the album by herself with no features should be applauded but that may be Classic’s main flaw. With her and Nottz being the only participants here, you have cohesiveness but it’s still a pretty straightforward album that only has one speed. It’s not an album for everybody (Which I’m sure Rah could care less about). If you don’t like track 1 or 2, it’s pretty safe to assume you probably won’t like most of the album.

Bottom Line:
A few times on the album, Rah Digga speaks about bringing back the “boom bap” style of rap. That’s basically what you get with Classic. Digga rhyming over Nottz’s beats may sound like a throwback but it’s a welcome alternative to today’s upcoming female MC… or most male MC’s. Rah can still hold down the mic and Nottz proves further that he has beats. All in all, this duos bring a solid album that will sure make fans of both happy. No lil’ kids rap included.

Rating: 3.5 out of 5]]> Keyshia Cole - Calling all hearts http://community.allhiphop.com/discussion/239688/keyshia-cole-calling-all-hearts Wed, 03 Aug 2011 01:08:22 +0000 Reviewably Incorrect AfroPuff985 239688@/discussions Illmatic http://community.allhiphop.com/discussion/24869/illmatic Wed, 07 Apr 2010 13:19:57 +0000 Reviewably Incorrect Age187 24869@/discussions
In 1994, gangsta rap had firmly established its grip on mainstream hip hop. The b-boy freestyle raps of Rakim, A Tribe Called Quest, and CL Smooth, among others, was dying out. Rap music was knee-deep in gangsta mentality and materialism, and that mentality only sinking deeper into the genre. The music also started to change - specifically, the emphasis moved from the rhythm of the vocals (the flow), to the beats and hooks.

Illmatic was released right at the end of that transition, and you can hear it in the music. In a lot of ways, Illmatic is the perfect bridge between those two eras. It's the last great 90's freestyle album - the focus is clearly on how Nas approaches the music, not so much the music itself. But thematically, Illmatic was a 90's gangsta album through and through: Nas was mainly concerned with money, drugs, prison and the struggle to get ahead. It's easy to see how the diferrent creative influences in hip hop affected Nas' musical mindset, and Illmatic is the perfect bridge between two completely separate eras in rap music.

Read more >>>]]> Album Review: Nas & Damian Marley - Distant Relatives http://community.allhiphop.com/discussion/37034/album-review-nas-damian-marley-distant-relatives Fri, 21 May 2010 00:58:24 +0000 Reviewably Incorrect Truth Writer 37034@/discussions

OK, so I got this album today off iTunes ($9.99). And it's been on the Pod pretty much all day. Having seen these two in concert not too long ago in Atlantic City, I'm sure I was ready to hear some great stuff. But even I was impressed.

Why this album just....excels: Well, first off, you got one of Hip-Hop greatest emcees, and the heir to the Reggae throne for 13 tracks. But, too be more specfic, they collab very well together. The album's intro "As We Enter" is a fast-paced start that has Nas & Jr. Gong finishing each other bars a la Styles & Jada. However, being this is mostly a Reggae album, the beat stay constant when Damian sings his soul and even slow down as they convey their message of empowerment, survival, struggle, and redemption. The track "Leaders" is a classic Reggae song, sounding like it's from the spirit of Bob himself. This album is very well produced (by Damian & Stephen), and you get nothing but good vibes listening to it. And, as always, Nas brings his A+ game to the album, displaying that thought-provoking flow that made him one Hip-Hop's all-time greats. Hell, they even managed to get Lil' Wayne to snap a bit on "My Generation".

The flaw that holds this back from "Classic" status: To be honest, I was expecting this to be more of a "Rap/Reggae" album. This came off moreso as a Reggae album featuring a rap artist. Not saying this was neccessarily a bad thing, but a little more diversity would've put the album over the top. Even still, these two blend VERY well, and bring back some feel-good vibes.

Scores:
Lyricism - 10/10

Production - 9.25/10

Album Cohesiveness - 9.5/10

Replay Value - 9.25/10

Overall - 9.5/10

Final Synopsis: This thing is a great piece of work. No bias, no bull, but this album has the potential to make you seriously appreciate good music. Like I said, what makes this album stand out is the fact that you just feel good vibes as the tracks play. It's almost like a concert from start to finish. And I know Reggae has the ability to do that, but adding Nas to that mix tickles your Hip-Hop fancy even more. Honestly, this has "Album of the Year" written all over it. Trust me, GET this. You won't be dissappointed. Plus, part of the proceeds are going to African relief, with the hopes of building a school in the Congo.

Favorite Tracks: As We Enter, In His Own Words, My Generation]]> Meth, Ghost and Rae - Wu-Massacre Review http://community.allhiphop.com/discussion/22562/meth-ghost-and-rae-wu-massacre-review Mon, 29 Mar 2010 13:53:31 +0000 Reviewably Incorrect Age187 22562@/discussions
From the beginning, Wu-Massacre impresses with the sheer talent of the rappers involved. As soon as Ghostface Killah opens on "Criminology 2.5," it's clear no punches are being held back. Meth, Ghost and Rae are all in top form, tossing threats, insults and boasts around like it was still 1995. Method Man easily stands out; he finds his comfort zone in group efforts, and Wu-Massacre is no exception. He raps with the same effortless energy and vitality that's made him a superstar, never off-beat and always mastering the tempo of the song.

You see the dear head on the living room wall? Like his neck fell off?
That can be yours - sculptured and glazed with gloss (Ghosface, "Criminology 2.5")

Of course, Raekwon and Ghostface aren't to be outdone; all three of them turn in great performances. Of the three, Raekwon seems the most out of place here, as if the album is a little too fast for him. Otherwise, it's standard Wu-Tang fare; the raps are both hard and creative, and the album drips with personality and wit. Even the skits are funny, with "Ya Moms Skit" being the highlight.

There aren't any star guests (Inspectah Deck is the only other Wu member that shows up), but that's not really a flaw with this group. Meth, Ghost and Rae are a show all on there own, and while they don't have as much chemistry as you might expect ("Meth Vs. Chef 2" notwithstanding), they contrast each other really well. They spit some of the most entertaining raps you'll ever hear, and Ghostface's decapitation punchlines alone are worth the price of admission.

Read more>>>>]]> Album Review: Lupe Fiasco - Lasers http://community.allhiphop.com/discussion/110704/album-review-lupe-fiasco-lasers Wed, 09 Mar 2011 22:36:18 +0000 Reviewably Incorrect Truth Writer 110704@/discussions

After the controversy, the disgruntled comments, the fan-based protests, Lupe's long-awaited third album, Lasers, has come to the forefront. There have been tons of reviews on it, and by the looks of them, none held the album in high regard when you compare it to the outright awesomeness of his two previous offerings, Food and Liquor and The Cool. This time around, though it seems as though all the in-house fighting with Atlantic Records is very evident on the album.

Does Lupe still have 'it?': Yes. Most definately. Starting off nice however, with "Letting Go" was a great jump-off point. Let's get something straight; Lupe is still head-to-toe THE most talented lyricist in the game right now, as the next track "Words I Never Said" illustrates as he speaks upon the evils on today's world. "All Black Everything" is a very promising tune as well, as he dreams what could be and what should have been. And I LOVE "State Run Radio" with the rock-infused rage against the politics out today, almost like a rebel's new "psyche-me-up" theme. Bar for bar, homeboy is STILL nice. Don't sleep on that, regardless of what the tracks sound like.

So, what...HAPPENED??: If he is as mentally withdrawn as he claimed this album made him, then my guess is the production and creative control - or lack, thereof - drove him to it. Listening to this album, while put together pretty well, doesn't lead me to believe this came from Lupe. Rather this sounds like Atlantic had a little more sayso of what made the cutting room floor. All of the futurish-sounding tunes, "I Don't Wanna Care Right Now" sounds rather uber-popish (tho I admit, that could be an arranger's special) and that it would belong more on a TRL countdown. "Out of My Head" with Trey Songz probably never should've made the final cut, or at least put on Trey's next album. And I will NEVER be a fan of Lupe singing Autotune like on "Beautiful Lasers". To me, the production of this album sounds like leftovers of a Kanye joint than Fiasco's work. This effects the balance that Lupe had with the ability to just murder tracks.

My scores:
Lyricism - 9.25/10

Production - 8/10

Album Cohesiveness - 7/10

Replay Value - 7/10

Overall - 7.5/10

Look, Lasers isn't a bad album to the masses. Not by any means. But it DOES pale in comparison to the rest of his catalogue. I guess this album can serve as the quintessential cautionary tale for all you up-and-coming emcees/rappers of be careful what you sign, cause what YOU vision for your art and what will be presented to the masses after running though all the red tape can be extremely different. I have no doubt that's what happened to Lupe here. It's like he still wants to be the rebellious hip-hop persona that brought him to the head of the table, but someone took that rebellion and blended it with a Jersey Shore episode in hopes it would sell. I just hope this isn't the end of his journey (I've heard rumors that a Food & Liquor 2 may be on the way, so I'm crossing my fingers), but for now, I'll have to do nothing more that call this album the equivalent of Nastradamus, Encore, and 808s & Heartbreaks - the symbolization of an artists low point in their professional career.

Personal Favorite Tracks: State Run Radio, Letting Go, Words I Never Said]]> NAS - LIFE IS GOOD REVIEW http://community.allhiphop.com/discussion/474396/nas-life-is-good-review Wed, 18 Jul 2012 04:11:45 +0000 Reviewably Incorrect Mdizzle9000 474396@/discussions image]]> Jay-z and kanye west - watch the throne review http://community.allhiphop.com/discussion/247741/jay-z-and-kanye-west-watch-the-throne-review Thu, 18 Aug 2011 14:02:40 +0000 Reviewably Incorrect Mdizzle9000 247741@/discussions
]]> J Cole - Cole World: The Sideline Story http://community.allhiphop.com/discussion/309188/j-cole-cole-world-the-sideline-story Wed, 28 Sep 2011 02:00:01 +0000 Reviewably Incorrect Mdizzle9000 309188@/discussions
]]> Album Review: Lupe Fiasco - Food & Liquor II http://community.allhiphop.com/discussion/482427/album-review-lupe-fiasco-food-liquor-ii Mon, 29 Oct 2012 22:49:55 +0000 Reviewably Incorrect Truth Writer 482427@/discussions
OK, so after the internal fighting with his Atlantic label, the mental stress and pressures, and finally massive musical letdown that was L.A.S.E.R.S., Lupe Fiasco has come back to make amends with a return-to-form offering aptly titled Food & Liquor II: The Great American Rap Album, Part 1 (seems elongated, but whatever.) What I first I first noticed is that Lupe pulls no punches on this one; he's back. Back to serve notice that he is Hip-Hop's social-political leader for the new era, and that he's still one of the most talented emcees in the game today.

Cool points: First and foremost, the production is 20 times better than LA.S.E.R.S.. Now, the beats - for the most part - don't sound Kanye or B.o.B. leftovers anymore. With tracks produced by 1500 or Nothin' ("ITAL (Roses)", Put 'Em Up, Cold War, and Hood Now), Soundtrakk (Strange Fruition), Mr. Inkredible (Lamborghini Angels), Lupe gets freed up to go after the system the best way he knows how. And he comes out firing on all cylinders with "Strange Fruition", about America's past and our present. This also continues in a different way on ITAL (Roses), albeit with him trying to flow on a more trap-style beat. Lupe excels when he goes on fast flows, yes, and "Lamborghini Angels" is the perfect example followed by "Put 'Em Up", but it's seem to me that even as beats get slowed down, his rebellion still stays up to par on tracks like "Bitch Bad", "Heart Donor", and "Brave Heart", which goes crazy hard for a military background-like song.

A MAJOR plus in the album - NO GUEST RAPPERS. I always felt that some people are just better going totally solo on their albums. Lupe is one of them. (Nas is another, as well as Joe Budden)

Take-aways: OK, for a Lupe album, there was one too many slowed-down tracks. And around "How Dare You", the furiousness of the album slacks off. I will admit that one B.o.B.-type track "Battle Scars" probably sticks out more than it should.

Scores:

Lyricism - 9.25/10

Production - 8.75/10

Album Cohesiveness - 9/10

Replay Value - 8/10

Overall - 8.75/10

Final Synopsis: I honestly like this one. Lupe bounced back quite nicely with F&L II, slept-on joints like "Form Follows Function" and "Cold War" may keep this on in rotation for a while, but this falls short of reaching that greatness of the first Food & Liquor or The Cool.

Here's my problem with everyone's criticism of this guy: why are so many people complaining about "he's too preachy", "he uses too many big words" etc etc?

First off, if you're one of the people that get irked over the fact that he uses words like "acquiescent" in his rhymes, Lupe is the least of your problems. Step your gatdamn vocabulary up. Second, in this current Hip-Hop state where the balance is horribly skewered to nothing but "trap" rap, "swag" rap, and "party" rap, it's ALWAYS cool to see a few artists willing to step outside those boxes to bring us some ill streams of consciousness, especially when it's someone as talented as a Lupe Fiasco.

Fuck that: Lupe still excels. And this album proves it. I, for one am glad the pressure of the rap game didn't get to him and force him to early retirement like he was threatening through the making of L.A.S.E.R.S.. Food & Liquor II was needed in 2012, point blank.

Personal Favorite Tracks: Lamborghini Angels, Put 'Em Up, Cold War, Hood Now

Lupe-Fiasco-Food-and-Liquor-2-Album-Review.jpg]]> Bad Meets Evil - Hell the Sequel review http://community.allhiphop.com/discussion/243267/bad-meets-evil-hell-the-sequel-review Wed, 10 Aug 2011 18:44:54 +0000 Reviewably Incorrect Mdizzle9000 243267@/discussions
]]> The Source & good kid, m.A.A.d city http://community.allhiphop.com/discussion/487199/the-source-good-kid-m-a-a-d-city Sat, 05 Jan 2013 18:50:06 +0000 Reviewably Incorrect chiyosuke 487199@/discussions undeserving 5 mics), but something's been bothering me. Did they pass on reviewing GKMC altogether or what? ]]> A.Tone Da Priest - October Sky (Track By Track Review) http://community.allhiphop.com/discussion/485914/a-tone-da-priest-october-sky-track-by-track-review Sat, 15 Dec 2012 20:42:40 +0000 Reviewably Incorrect 32DaysOfInfiniti 485914@/discussions

Overview: This is A.Tone's third full length album and is drastically different sonic-ally from any of his previous works. Synthesizers and 808's traditional in most hip hop are traded for live guitar and bass licks over programmed drum beats giving it a less polished sound then most popular music these days.

1. A is for anarchy: 3/5
The message here is clear, the world is drastically changing for the worse and A.Tone refuses to be a by standard. This theme is driven home by brash atonal and sporadic instrumentation and is best served short and sweet.
2. Shadow: 4/5
A creepy song which uses the same power chord progression from the previous song providing some continuity. It features rapper O.S. who opens the song with a conversation with the devil. This track also features coolest guitar solo of the album after A.Tone's verse.
3. Three weeks a habit: 4/5
This is a very heavy and disorienting song with an exciting time change in the hook portion. Its content involves the act of making new habits after negative situations end. He slowly transitions from singing to rapping as if he is indicating getting back to normal. Unique is an understatement for this song.
4. Blue sky: 5/5
Sets the tone for the album, utilizing beautiful imagery to paint a bleak picture of a misunderstanding. Soft spinning guitars fill the verse portions leading to the screaming rock style hook. Very deliberate song with chilling lyricism.
5. Disguise: 4/5
Very creepy heavy song dealing with Satan, has a lot of character. Heavy guitars paint a very demented picture of frustration as few words are used on the verses leading to a quickly rapped hook. I could see this being really good live.
6. Rope: 3/5
Another creepy song, this one apparently about an abusive relationship with a selfish girl. There is a lot going on here, sort of a New Wave meets Hip Hop as the hook has Prince like inflections and the drums give have an 80's appeal. Nonetheless after a couple listens, these very awkward arrangements seem to fit this very awkward song quite well.
7. King of indecision: 3/5
An anthem for the indecisive, very cool song. Lyrically light, but fun to sing along.
8. Explain That: 5/5
A trap rap influenced style beat mixed with hard guitar and even harder lyrics. The most impressive part of this song is its simplicity and raw emotion captured thoughts tightly woven into intricate rhyme schemes. Its also ironic considering the style of beat and his stating in the hook "Its all been done before, there's nothing unique, but with out anything to say, we still speak, explain that". This song is one of my favorites on here.
9. Little Girl: 3/5
A whole lot of Caribbean flavor in this one... Electric guitars accompany salsa influenced piano and heavy bass making a full wall of competing sounds. No rapping on this track, thoughtful singing about young girls losing their innocence. Most different song on the album.
10. Technicolor: 5/5
Exciting, catchy and interesting computer age sounding song with fast drums and digital clicks and pops throughout. The only to not feature live instruments. The sung hook is extremely catchy as well as the choppy rapping which is completely open to interpretation as it is safely vague. This song with out a real topic is very easy to relate to, probably the most cross over-able song on here.
11. Normal: 5/5
Stand up and dance to this one, techno goth pop rap, I don’t know it sounds good. The lyrics involve the struggle of not being like anybody else and a sarcastic acceptance of giving into the pressure. Nicely done.
12. BlackDovesWhiteCrows: 5/5
The most hip hop cut on the album and some of the best lyricism and extraordinary bass guitar. Sean Spellz and A.Tone Da Priest show that chemistry just isnt a word. The airy whistling on the hook makes the song incredible.
13. Certainty: 3/5
Excellent rapping, cool guitars and progressing beat, but annoying hook.
14. You: 5/5
Catchy, pop punk tune with superb lyrics over distorted guitars. This is like the last song but good. The lyrics on here are quick and well placed together.
15. Gotta Love It: 5/5
This one is easy to get lost in, so much interesting stuff going on around you it’s hard to grasp. This is the happiest record on the album and the first time love is mentioned in a traditional sense. Borderlines pretentious poppyness, but is just benign enough for you to not realize it. Atmosphere is the word i would use here.
16. To A Place: 5/5
Feel good track, extremely prophetic lyrics here, cool warm vibe about getting back to your roots. More specifically though, judging by the lyrics, i think this song is about sex and procreation...
17. Shameful Pride: 4/5
The whining guitar solo on the hook makes this otherwise average track stand out. The lyrics are excellent however painting a picture of a desperate man begging for company.
18. Blaze Starr: 3/5
Good message for the kids, very avant garde take on reggae but nonetheless a decent song. Lyrics are very symbollic, so its really anybodies guess what this song is about.
19. Commune: 4/5
Awesome fun vibe with the drums and dance-able guitar riff, cool solo at the end. This song is about being trapped by societies oppression and giving into media pressures of ideal beauty.
20. Valiant Thor: 3/5
Strange guitar noise, bouncy beat, very fitting for the story of our visitor from Venus if you know it.
21. Awake: 4/5
Sleepy thought provoking track for insomniacs, very warm, slow and deliberate song. Reminds me of growing up.
22. Lullaby: 5/5
Great closer, very interesting, pretty introspective song with a big orchestral sound. The lyrics deal with facing your fears and not forgetting your dreams.
23. Burnout: 5/5
This hidden track is an acoustic performance of a song comparing life to the ashing of a blunt. Very creative, nice singing as well. No rap here. Perhaps this is an indicator of what the future holds as Fall In Line was on The Fi King.

In Closing: It is refreshing to here a rapper that does not talk about hoes, money or drugs. Not once throughout this album did A.Tone revert to cliches and I have to give him three thumbs up for some of the most thought provoking bars I've heard in years. There are no bad ideas on here. With that being said, some more polished production could have made some of these ideas clearer at some points, but nonetheless i think this is a great step towards what Hip Hop can become. I am starting to see A.Tone Da Priest as sort of a anti-celebrity for these modern times. The best way to describe this would be if Andre 3000 would have joined a punk band in the late 80s.

Overall: 4/5]]> Michael Buble- haven't met you yet http://community.allhiphop.com/discussion/93939/michael-buble-havent-met-you-yet Wed, 05 Jan 2011 22:40:50 +0000 Reviewably Incorrect Jpjacocks 93939@/discussions Rick Ross: God Forgives, I don't Review [Jono] http://community.allhiphop.com/discussion/475583/rick-ross-god-forgives-i-dont-review-jono Fri, 03 Aug 2012 00:44:14 +0000 Reviewably Incorrect jono 475583@/discussions (arguably) brings his newest offering God Forgives, I
Don’t.
The traditional MMG sound is in full effect, complete
with street records and radio friendly girly songs.
Bringing some big name features to the table is
another staple in the “Ross” formula, however it
only works for him twice on this album. 3 Kings
feature Dr. Dre & Jay-Z falls flat due to an uninspired
Hov verse. It has plenty of redeeming qualities but
one can’t help but say its a let down.
Sixteen featuring Andre 3000 is an absolute gem.
Everything comes together on that record and A3K
brings more of his abstract lyrical musings and adds
some singing on the hook. Andre ultimately
becomes the album’s MVP to the chagrin of the
album’s star.
When it comes to content “Ross” doesn’t vary at all,
its the same topics from beginning to end and after
awhile (bout 10 songs in) I kinda clocked out and it
became background music. The street records were
welcome wake up songs but after that it goes into
the girly records and its sleepytime again.
It failed to engage me all the way through. “Hold Me
Back”, “So Sophisticated” & “911″ was a nice change
of pace in the middle but then it goes right back into
his more formulaic sound. The street records were
blocked here and maybe they shouldn’t have.
It doesn’t have high replay value to me but its not a
bad album, I see how hardcore fans would love it,
because its on par with the rest of his material but
maybe that is a problem because us casual fans are
pretty much “meh” on it altogether. It has what you
would expect from “Ross” but adds nothing new to
his oft-storied career.
Standouts:
**Sixteen:
A3K was a blessing to this album. He managed to
bring something new, it was a more engaging verse
than “Ross” himself spit. I also like the premise of
the song and the hook was interesting.
**Maybach Music IV:
Smooth as usual and “Ross” is in his zone on this
one as he usually does on his “Maybach Music”
song series. Ne-Yo plays co-pilot but its almost a
complete retread of the other ones however.
**3 Kings:
Only really a standout because of Dre & Hov but
neither really bring the heat. Dre just isn’t that good
a rapper and Jay-Z seemed aloof in his verse. Its a
track you get “up” for (as in you look forward to it)
but the execution lacks a bit.
**Street Records:
So Sophisticated, 911 & Hold Me Back are all
thumpers that will, as Mannie Fresh once bragged
“Knock pictures off the wall”…if your sound system
is strong enough. They are high energy, shit talking,
bangers in the same vein as BMF from his earlier
album Teflon Don.
Weaknesses:
Like I said it fails to engage all the way through, its
zone out music but I’m not exactly sure you want
the audience to zone out as much as a casual fan
would for this album.
“Ross” lyricism is the same ol same. Not much
variation on his voice or flows with the exception of
the street singles. On those tracks he’s not as laid
back but more aggressive and forceful perhaps
more of that was necessary on other records.
Content is also the same old same. Luxury rap is
fine because its what he does best but it got boring
after awhile. It seems like some of his verses could
be interchanged in other songs and not lose the
integrity of either song.
Final weakness is structure. The blocking of songs
like the “girly”/trickin songs near the end was a bit of
a turn off. This may be a personal slight because I
can’t stand trickin/girly records with RNB singers
and stuff like that but it takes away from the album
to me.
He also blocked the street records in the middle
which gives you able 15 minutes of energetic rap
but then it goes back to being smooth and non-
threatening. By spreading all these out he could
have made an album that breaks up monotony in
certain places.
All in all I gave it a 71% (regular; 75% deluxe) so its
an enjoyable album from a casual standpoint but
replay value isn’t there and playing it all the way
through more than twice is not likely. Some tracks
you will find yourself playing all the time, others are
just white noise. A casual fan should find plenty to
enjoy and a hardcore fan should be happy with the
overall project.
http://www.shobizcentral.wordpress.com]]> BET HIP HOP AWARDS CYPHER REVIEW http://community.allhiphop.com/discussion/480735/bet-hip-hop-awards-cypher-review Wed, 10 Oct 2012 13:45:18 +0000 Reviewably Incorrect Mdizzle9000 480735@/discussions image]]> Fabolous – There Is No Competition 2: The Grieving Music EP [Review] http://community.allhiphop.com/discussion/64145/fabolous-there-is-no-competition-2-the-grieving-music-ep-review Fri, 03 Sep 2010 05:50:49 +0000 Reviewably Incorrect carterazoo 64145@/discussions http://www.nappyafro.com/2010/09/02/fabolous-there-is-no-competition-2-the-grieving-music-ep-review/

It seems like Fabolous has been in a conceptual mood lately. Last year he released the Carlito’s Way themed album Loso’s Way and then earlier this year Fab unleashed There Is No Competition 2: The Funeral Service complete with a death motif. The DJ Drama hosted Funeral Service mixtape was so well received by the streets internets, the suits up at Def Jam decided to give it the So Far Gone treatment (Translation: Repackage it in EP form for profit). This move actually makes sense Fabolous went on to promote the mixtape like it was an actual album anyway (Six songs off The Funeral Service have already received music video treatments). And even though the tracklist has been trimmed from 20 to 10, the EP does include three new songs and a remix. Does There Is No Competition 2: The Grieving Music EP still bring death to competitors? Is it worth your $7.99 when a “No DJ Version” of the mixtape is out for free? What’s up with Fabolous’ left hand on the cover? Let find the answers to most of these questions…

1. The Eulogy (Intro)
Featuring DJ Drama
Drama talks gives a eulogy to wack MC’s and does so for over a minute. It’s nice that Fab gave him the look but even though it fits the theme, this intro is kinda lazy.

2. The Wake
Produced by I.N.F.O.
With no hook in sight, here Fabolous shows why he is still greatly underrated. Over hard drums he shows why he buries the competition:

“My shorty tellin me, ‘Kill the competition boo’/And I be tellin her there is no competition to/There Is No Competition 2/It’s good to wake up look in the mirror and the only competition is you/And even that nigga ain’t seein’ me/My reflection have a hard time bein me”

My other favorite line is at the beginning: “I am logged on to fuck niggas dot com/And I am everything these fuck niggas not Dram”. The reason I point this out is because if that name was available when I was registering nappyafro.com…

3. I’m Raw
Produced by Amadeus
This track may remind you of “The Wake” mainly because it’s one long verse again instead of the usual chorus format. Yea, this track may sound like a mixtape material but it’s still a good song (Even with the odd Super Mario coin sound). Fab continues the burial…

“Bitch I’m raw/So hearing that any nigga out cook me/Is suspect as R. Kelly with girl scout cookies/When you talking to a pro watch ya mouth rookie/Go in ya shit have ya teeth playin’ mouth hookie”

4. Body Ya
Produced by Sonaro
Even though this is the first song on the EP that has orthodox arrangement, it’s an average song. It does have it’s high points: “Big up to you bum bitches and ya $10 dresses/Big up to the big girls y’all are so precious”. But the Michael Jackson like yelling in the background may get annoying to some.

5. Body Count
Produced by Sonaro
This is the first song on the EP not on the Funeral Service mixtape. It definitely fits in with the theme of the album. I probably would have sequenced it away from being sandwiched in between two other song that have “body” in the title. Over evil production Fab continues the killing spree:

“And if I go, make sure the family gets the cash/And at the funeral it’s only one wish I ask/Give the haters a chance to see me cause this they last/Turn me over one by one, let ‘em kiss my ass”

6. Body Bag (remix)
Featuring Cam’ron & Vado; Produced by I.N.F.O.
I would have bet money that araabMUZIK produced this track; I.N.F.O. does a great impersonating. I guess that’s the problem I have with this track, it’s sounds too much like a Cam or Vado track. It’s not bad but nothing special.

7. You Be Killin’ ‘Em
Produced by Ryan Leslie
Ryan Leslie lends his keyboard heavy production here to good results. The classic breakbeat make this one to check out. You also gotta give to Fab; dude can make a song for the ladies even on a funeral theme EP. It was hard to forgive him for that “Shoe-icide” line though.

8. Tonight
Featuring Red Cafe & Lore’l; Produced by Jahlil Beats
I know this track is doing good in some of the clubs, but to me it comes of monotonous (Especially with that boring hook). I guess they needed this kinda track on the project, but I’ll pass on this one.

9. Lights Out
Produced by Lex Luger
Funeral Fab hooks up with Waka Flocka’s favorite producer here. Fab sounds great with Lex Luger drums but this track reminds me of one off the first There Is No Competition called “I Don’t See Nobody”. It’s basically the same song actually. The one on this album does make good use of the Jay-Z “Jigga My Nigga” sample.

10. Closing Prayer (Outro)
Featuring DJ Drama
More talking from Drama.

Bottom Line:
Even though Fabolous did it once already with the mixtape, the concept behind this EP is still clever with almost all of the songs fitting and staying with the subject. Loso also shows why he still one lyricist not to overlook in the game. So is There Is No Competition 2: The Grieving Music EP worth your dollars? It depends. If you was caught the original mixtape and then downloaded the version without DJ Drama on it, probably not. Besides, if you wanna support Fab you can always grab the four new tracks off iTunes. Still, this EP is worth a listen and will hold Fabolus fan over until Loso’s Way 2 drops. Now, let us pray for the competition.

nappyPicks: “The Wake”, “I’m Raw”, “You Be Killin’ ‘Em”, “Lights Out”]]> Rick Ross - Teflon Don review by KillaCham. http://community.allhiphop.com/discussion/56046/rick-ross-teflon-don-review-by-killacham Wed, 04 Aug 2010 21:30:42 +0000 Reviewably Incorrect KillaCham 56046@/discussions

I am immune to a lot of things but self-doubt isn't one of them. Unsure of what to expect and/or how to ingest this piece, and hearing people go as far as to compare him to the late, great Notorious B.I.G., I delved into Rick Ross's latest effort to explore just why he's been hyped up enough to become our rapper du jour. Borrowing the nickname of Italian mobster John Gotti (or stealing, if you ask the Gotti family), the self-proclaimed biggest boss that we've seen thus far remains linguistically stationary on Teflon Don as he dishes out some of his best triumphant boasting and vainglorious prattle we've heard to date.

The laughably-titled opener "I'm Not a Star" is what first impacts the ear when throwing on the album. Laughable because he denies being a paramount figure - all the while, he spews irony all over the track with lines such as, "If I died today, remember me like John Lennon/ bury the Louise, I'm talkin' all brown linen/ Make all bitches tattoo my logo on they titty/ Put a statue of a nigga in the middle of the city." Warning to Ross: Actually think before you spit.

On the follow-up Jay-Z-assisted track, "Free Mason", where Jigga cleverly dodges possible ties to Freemasonry and Illuminati while reminding us that he's still one of the best to ever do it, Ross spits some of the most basic, Soulja Boy-esque couplets heard so far this year - "My top back like JFK/They wanna push my top back like JFK/So I JFK, joined forces with the kings and we ate all day", "I think I may need goggles/All my bottles sparkle", "I'm thinking money, every moment thinking money/I bust a nut and then i'm back to thinking money" - so basic that one could easily mistake them for the nonsensical rambling of Mr. Crank Dat himself. Not quite sure if its that he knows his lane lyrically and is staying in it, or if he just fails at putting forth any vigorously real effort to substantially impress listeners due his kingly indolence. Whatever the case may be - the result is him coming off as a lyrical amateur in the rap world throughout the album.

The album's third cut, "Tears of Joy", shows Ross squandering the most painfully clear opportunity to astound us with deep lyrical prowess and substantial content. After the 60 second Huey P. Newton sample and after Cee-Lo Brown, who caters to the song's chorus, appeases ears with his soulful aural assault, Ross then had a chance to put down the cigar and give us his point of view on some cartilaginous socio-political subjects -- nevertheless, surprise [heavy sarcasm], he transforms the song into a track full of him fucking hoes and swimmin' in ice, while subduing it around cheap name drops of Emmett Till and Bobby Seale, and his usual repetition of consecutive filler-lines; "But the way i'm getting this money niggas can't keep up/ You niggas can't keep up", "Ice skater a lil' later might let me fuck/ Damn, she might let me fuck". Redundancy of flow and 'content' becomes so much of a problem, that almost every one of his verses on every song is interchangeable and the aboveboard 'BOSS' gimmick, which seems to be his refuge from the foreseen debunked drug lord shtick, gets exhausting once the fifth track rolls in - only to be followed by the Ne-Yo-laced "Magnificent" rehash, "Super High". Are you yawning yet?

At this point in my first play-through, I'm scanning the remaining songs in the queue to calculate how much longer I'd be sitting through this album when I noticed something - every single one of the remaining tracks contains guest features. As I scroll to the top of the playlist on my T-Mobile Android Google MyTouch 3G Slide, I notice that aside from the album opener, every single track has Ross alongside a guest. Rick Ross proves, for the fourth album in a row, that he is unable to convene an album together if he isn't filling the brim with an all-star cast(which includes Erykah Badu, Trey Songz, Jadakiss and T.I. on the roster this time around) that overshadows its host - that is, until the second half of the album where the featured guest roles seemingly become as lazy and anemic as Ross' (à la Drake, where he refrains from rapping entirely), possibly either to match his molasses-type flowing style or to avoid outdoing him. The guest spots, though, are one of the main ingredients used to spice up the album. Without Kanye West and his notable throwback Late Registration-styled verse on the album's third single "Live Fast, Die Young", not even the busy production provided by No I.D. and Kanyeezy himself could save the track from the varying degrees of dullness that haunted each one of Mr. Ross' bars. Actually, the beat outshining Ross is probably what makes his contribution to the song so insignificant.

On a lighter note, one of Ross' strong spots is when he takes his overtly kingpin-ish braggadocio and memorable one-liners over a heavy-hitting instrumental such as the one heard in "MC Hammer"...or is to "B.M.F. (Blowin' Money Fast)"?? The production of both tracks, along with Ross' mundane flow, are too similar to tell apart - but Ross' witiness and uber-catchy phrases in the latter (as well as the absence of an uber-minimal Gucci Mane verse) makes up for where its predecessor lacks. You can't listen to the Styles P-assisted cut without the first set of bars getting stuck in your head - "I think i'm Big Meech; Larry Hoover!". Noticably, one of Ross's greatest tools is still his presence. Even when his lyrics can't get the job done, his persona is big enough to handle whichever(well, almost whichever) heavy beat is thrown his way. One his few saving graces throughout this album is his selection of cinematic production that makes each track feel like a power celebration - ones only a real boss can throw. The problem is - his presence overshadows his lyrics far too often.

Another area where Ross struggles is choruses - the part of a song in which Deputy Ross can never seem to successfully cuff to save his badge. Every time he does a hook, they're hard to differentiate from the verses, showing his dire lack of diversity. The one exception to this rule of thumb is in the chorus of the album closer, "All The Money In The World", where Ross has no business being. Here he sings - no, that wasn't a typo...he sings - line for line with Raphael Saadiq, lead vocalist of the 90's favorite new jack swing/R&B group, Tony! Toni! Toné!. NEWFLASH: If you can't sing - don't. But I guess he makes up for his eardrum-wrenching singing vocals when he steps away from his bossy vaunt and dishes out two full verses of substantive and meaningful lyrics. Congrats, Rozay. It only took you the entire album.

Now, the issue is no longer whether he may or may not have touched some white in his lifetime. The current issue is whether or not he can bring forth a good album without hiding his apparent lyrical impairment behind a DJ Khaled-esque track listing or without riding his signature(I guess) Tony Montana/Miami Vice dynamic almost into the realm of provocativeness. We'll see what happens in the future. But as far as now - Rick Ross is one of the many rappers trapped behind their stereotypical regional rap-stamped tropes, unable to develop themselves into progressively transforming manifestations. As far as the album - there is too much repetition present. Its too predictable. Has too little substance. No real direction. There was a concept, but its one we've seen Ross run into the ground for years now. There is nothing deep about this album but his voice. As far as the Biggie comparisons - nothing about Rick Ross can be compared to rap's lyrical messiah other than being black and obese.

I'm immune to a lot of things but self-doubt isn't one of them. Unsure of what to expect and/or how to ingest this piece, I can now safely say it was exceeded by its own hype machine currently in transit; not dissimilar to any number of rap albums in recent years. 2.6/5

I think i'm Big Meech,
-KillaCham.]]> Album Review: Styles P And DJ Green Lantern-The Green Ghost Project http://community.allhiphop.com/discussion/8066/album-review-styles-p-and-dj-green-lantern-the-green-ghost-project Tue, 02 Feb 2010 18:05:02 +0000 Reviewably Incorrect Malice Intended 8066@/discussions http://planetill.com/2010/02/album-review-styles-p-and-dj-green-lantern-the-green-ghost-project/
Album Review: Styles P And DJ Green Lantern-The Green Ghost Project

styles-p-green-lantern-green-ghost-project-300x296.jpg

By Odeisel

Styles P is one of the hardest spitting rappers out; a mixture of gangster/political/drug rapper with a bit of consciousness sprinkled on top. Green Lantern has served Hip-Hop wearing many hats including those of DJ and producer. Together they combine for the Green Ghost Project, awash in comic book imagery on the cover and packed with the promise of two industry vets in its DNA. With such promise you wonder whether they can deliver. For the most part, they certianly do.

The album opens with immediate fire on “Nothing To Lose.” The beat is well designed, with enough ambient noise over the hard drum to entertain while giving Styles enough room to rip. Styles P is determined to hold his title as the hardest spitter out and there is fire in his gut on this track.

Sheek Louch drops by to lend a hand on “Double Trouble,” a Green Lantern masterpiece powered by one of the illest Chuck D vocal samples we’ve heard in a minute. The distortion adds just the right amount of chaos.

The aggression is dialed back a bit for a slicker kind of sinister on “Calling Me” which features the crooning of Tre Williams. Scram Jones dials in a helter skelter number which changes the pace properly, intermittently dropping the bassline from the composition for mood change.

Come visit us at Planet Ill to read the rest: http://planetill.com/2010/02/album-review-styles-p-and-dj-green-lantern-the-green-ghost-project/]]> The Rap Critic (Video Reviews): "O Let's Do It" by Waka Flocka Flame http://community.allhiphop.com/discussion/472661/the-rap-critic-video-reviews-o-lets-do-it-by-waka-flocka-flame Sat, 23 Jun 2012 21:23:04 +0000 Reviewably Incorrect Rap Critic 472661@/discussions blip.tv/rapcritic/rap-critic-o-let-s-do-it-by-waka-flocka-flame-6201784
]]> Lil’ Wayne - Rebirth [Review] http://community.allhiphop.com/discussion/9340/lil-wayne-rebirth-review Mon, 08 Feb 2010 15:58:38 +0000 Reviewably Incorrect carterazoo 9340@/discussions http://www.nappyafro.com/2010/02/08/lil-waynerebirth/

I didn’t think we’d end up reviewing this one since it’s not technically Hip-Hop; Plus most of you have had this album for the past couple of months anyway (Shout out to Amazon!). But we all love Weezy over here, so we figured why not. Lil’ Wayne has been pulling out the guitar like crazy right around the time C3 came out; now he’s here to prove that he can actually play it. Well, kind of. Most of the instrumentals on the album come from other producers with Weezy playing on a few songs. Let’s see if Rebirth was really worth waiting for.

American Star
Featuring Shanell; Produced by DJ Infamous
Lil’ Wayne jumps on an epic guitar intro, Auto-Tuning as usual. I don’t know how I feel about this one: Part of me thinks he’d sound a lot better if he left the Auto-Tune alone and actually tried to sing a little bit. The Auto-Tune/guitar combo doesn’t really work too well to me. Shanell makes the hook really hot (“Dope-boy with a guitar!”) and the track works very well, courtesy of DJ Infamous. The track kind of falters towards the end where Weezy pretty much loses control and starts yelling with the Auto-Tune. Overall, OK song.

Prom Queen
Featuring Shanell, Produced by DJ Infamous & Drew Correa
This was the first single off the album. This was the song that had even King Jerm questioning what the fuck Weezy was thinking. It must have aged well, because I kind of dig it now. I said KIND OF. Tt still has some of the stupidest lines I have ever heard (“I love her fancy underwear…”), but overall I think it’s an OK song. This is an example of a song where Auto-Tune actually works with rock, which makes it a notable song on the album.

Ground Zero
Produced by Patrick Stump
This is one of those songs that I really wanted to like, but it got good way too late into the song. The lyrics don’t mean much until the end of the song; Where society is going and how it seems like we’ve reached ground zero. It sounds really good, except for the hook which sounds like it was thrown together at the very last minute. Other than that, another OK song; nothing too notable.

Da Da Da
Produced by Cool & Dre
I gotta give Weezy props on this one; he did it here. The first of the song had me scratching my head, mainly because he cranked the Auto-Tune up so damn much I couldn’t hear anything he was saying. The hook seems lazy at first, but it gets to be catchy when combined with yet another flawless Cool and Dre production. Check for Weezy’s last verse on the song and you can’t tell me you can’t wait for C4. Plus, he actually plays an instrument on this song: the bass, which has its own solo in this song. First song off the album I co-sign fully.

Paradice
Produced by Kevin Rudolf
Kevin Rudolf of “Let it Rock” fame made the beat behind this one. I like the message of this one (Live your life, the price of fame, etc.). Still, can’t get behind this musically. SKIP!

Get A Life
Produced by Tha Bizness
This sounds like Jonas Brothers…I’m not lying. Well, Jonas Brothers with f-bombs. I feel like they locked Weezy in a room full of syrup, weed, and various other drugs with Auto-Tune, and this song came out of it. SKIP!!

On Fire
Produced by Cool & Dre
Alright, I’m not gonna lie and say this song isn’t hot when it is. Cool & Dre production on this one sounds right at home. Wayne sounds a lot better on this track just straight up spittin’ rather than the auto-tune tracks he was trying to put together previously. Also gotta give Weezy props for the guitar solo at the end of the song, despite the fact that it was 2, maybe 3 chords at most. I’m surprised this didn’t make more of a splash on the Hot 100. Good track.

Drop The World
Featuring Eminem; Produced by Hit-Boy & Chase N. Cashe
I don’t think I have to say much here. Only thing I wish is that he would’ve saved this track for Tha Carter 4. The obvious stand-out track from the album, nothing else on here compares. Eminem blazes his 16 on this one:

“I came up from behind and pretty much snuck up
And butt fucked this game up
Better be careful when you bring my name up
Fuck this fame, that ain’t what/I came to claim
But the game ain’t gonna be the same on the day that I leave it
But I swear one way or another I’m a make these fuckin’ haters believe it”

This will be in my Top 5 songs of 2010, believe that.

Runnin’
Featuring Shanell; Produced by J.U.S.T.I.C.E. League
This another song I really liked off this album. It proves that Weezy needs to leave the singing to singers and just keep on rapping. Shanell does an excellent job with the hook on this song, providing some much needed emotion that was lacking on a couple of the previous tracks. J.U.S.T.I.C.E. League is great here and gives something Weezy can actually flow pretty well over.

One Way Trip
Featuring Kevin Rudolf; Produced by Travis Barker
Travis Barker brought the drums with him on this one and Kevin Rudolf with the guitar definitely completed the song. The drums allow Weezy to let loose lyrically and let Rudolf take care of the chorus, which makes the song one of the highlights of the album. It sounds like at the point in the album Weezy realized he’s a better rapper than he is a guitarist.

Knockout
Featuring Nicki Minaj; Produced by J.U.S.T.I.C.E. League
Another great 90’s sounding guitar riff courtesy of J.U.S.T.I.C.E. League. Nicki Minaj isn’t as much singing as she is talking, but her voice sounds nice over the slower riff the song goes into for the hook. She also gets to spit a little bit with the Auto-Tune, which sounds lil’ fucked up, but it goes with the whole punk-rock thing that the song’s got going on. This sounds really similar to Jonas Brothers/Nickelodeon but it works here for some reason. Good song.

The Price is Wrong
Produced by Chase N. Cashe
Yeah, I’m not feeling this one at all…SKIP!!

Bottom Line:
Let’s be honest with ourselves: While some of us can applaud Lil’ Wayne for trying something a little different, I don’t think any of us can say that this was a good album. I’m probably only going to keep about 3 or 4 of these tracks on my PSP. I feel like if Weezy had dropped this album riding off the buzz of Tha Carter 3, this would have been a huge success, good music or not. But it’s on track to only sell 150K it’s first week, a far cry from “A Milli”. Because this album came out almost 2 years after C3, your fans are gonna expect a real album, not an experiment gone wrong. I just hope that after this Weezy drops the guitar for good and continues to show us why he’s known as one of the best rappers alive.

nappyPicks: “Drop the World”, “Knockout”, “Da Da Da”, “One Way Trip”

Rating: 2.5 out of 5]]> All Hip Hop's Sir Luscious Left Foot Review http://community.allhiphop.com/discussion/48631/all-hip-hops-sir-luscious-left-foot-review Fri, 09 Jul 2010 11:20:36 +0000 Reviewably Incorrect Chuchk 48631@/discussions http://www.allhiphop.com/stories/reviewsmusic/archive/2010/07/09/22292204.aspx
Overall, the album oozes maturity, funk and a masterful orchestration that only an ATLien of Big Boi’s stature could pull off. But, he’s got the good and he possesses the innovation to push the genre of Hip-Hop into its adulthood phase. “The Train Pt. 2 (Sir Lucious Left Foot Saves The Day)” isn’t really a stand out song, but it is indicative why this album is great. The Organized Noize-produced song – like others – is an album cut that acts as the mortar to the bricks like the bubbly “Shutterbug.” But that is how the album works. It is comprised of stellar album cuts and they tag team with single worthy records, the cornerstone of commercial success.

Still haven't grabbed my copy getting after I cash my check today]]> Brunswick Records Soul Legend "Johnnie Gee" http://community.allhiphop.com/discussion/466178/brunswick-records-soul-legend-johnnie-gee Wed, 02 May 2012 00:09:25 +0000 Reviewably Incorrect Digiprozs 466178@/discussions image

youtu.be/3RcmNFHJpZY

Visit Johnnie Gee on Facebook ]]> Review- Common - The Dreamer/The Believer http://community.allhiphop.com/discussion/456969/review-common-the-dreamerthe-believer Thu, 16 Feb 2012 13:58:13 +0000 Reviewably Incorrect Mdizzle9000 456969@/discussions
image]]> XXL Freshman Class of 2013' Trademark Aaron http://community.allhiphop.com/discussion/458579/xxl-freshman-class-of-2013-trademark-aaron Fri, 02 Mar 2012 05:50:29 +0000 Reviewably Incorrect Merkafer 458579@/discussions
A blue collar worker is hoping to see his name in lights. Trademark Aaron – or as he was known at Boone County High School, Mark Aaron Glacken – is releasing his second album “Prelude to Greatness” Feb. 28. In middle school, Aaron was introduced to hip-hop icons like the Wu-Tang Clan and Nas and fell in love. Hip-hop seemed like a natural transition from his poetry, said Aaron, 26. A preview video for the album (available on YouTube) shows Aaron waking up and going to his job, waiting for the day to end so he can go pursue his dream and perform. The video isn’t too far off from reality, Aaron said “I’ve gone out of town and done shows, drove home that night and gone to work the next morning,” Aaron said. “There’s no feeling like putting on a show.” “Prelude to Greatness” is the follow-up to his debut “Good Over Here” and the new album is a product of two years of growth, Aaron said. In his short career, those performances are moving to bigger and more important stages. In the past, he’s opened for some of his heroes including members of the Wu-Tang Clan and legends like Talib Kweli. As the release of “Prelude to Greatness” draws near, Aaron hopes to work out a few dates for shows and an album release party. The shows and album, Aaron hopes, will help contribute to the hip-hop scene in Kentucky, something he admits isn’t strong right now, but he dreams it will grow. “I want to represent Kentucky,” he said. - Writer For Cincinnati Enquirer Justin B. Duke

This is the debut album from Kentucky Hip Hop artist Trademark Aaron. Hes making quite the name for himself over the past couple years. Below you'll find the link to download his debut album "Prelude To Greatness" as well as YouTube links to his videos for you to view. Be sure to follow him on twitter @TrademarkAaron and like the Facebook page as well. You'll find all his material on iTunes. Share it with your friends on facebook & twitter too.
Visit www.TradeMarkAaron.com for all your TradeMark Aaron news & updates!! Yeah Man

Download "Prelude To Greatness" Here. Release Date February 28th, 2012
TrademarkAaron.com



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image]]> B.o.B - The Adventures of Bobby Ray http://community.allhiphop.com/discussion/29294/b-o-b-the-adventures-of-bobby-ray Mon, 26 Apr 2010 12:18:47 +0000 Reviewably Incorrect Age187 29294@/discussions I completely changed my opinion of mainstream hip hop. It's creative, organic, original,and best of all, it's awesome. Everybody was surprised by the success of B.o.B's lead single, "Nothin' On You" - even his label, which pushed the release date up by a month. Quite simply, there's nobody else like B.o.B - The Adventures of Bobby Ray is everything you could hope for from a debut album, it places the strengths of B.o.B as a rapper, singer and performer under a spotlight, making his talents seem brighter than any of his peers.

I was in the cold, trying to keep my toes unfroze
Now I'm in your house, now I'm in the store, now I'm everywhere that your iPod go
Everything I see was a dream just a moment ago


The Adventures of Bobby Ray is one of the most daring mainstream rap albums in the long time. Musically and lyrically, B.o.B dodges almost every cliche in the business, setting up an album that sounds more influenced by rock than rap. He's not really a thug, hustle or womanizer - he's just rapper who works hard. There is no reliance on auto-tune, sampled loops, or electronic drum kits. Instead, B.o.B is backed by live instruments and an incredible guest lineup.

Unlike most rappers, B.o.B is a talented singer, with a big voice that's never outshined by the music. His dynamic vocals are a welcome change from more low-key rap singers like Drake and Kid Cudi. B.o.B's double-time flow and organic sound get him compared to Andre 3000, but he's a worse rapper and a better musician. He's more like a southern K'Naan, bridging the border between rap, rock and pop with ease. It also helps that he recognizes his limitations - Janelle Monae, Bruno Mars and Hayley Williams all contribute guest vocals that really help diversify the sound.

Read More >>>]]> 15 must have albums http://community.allhiphop.com/discussion/456947/15-must-have-albums Thu, 16 Feb 2012 04:56:59 +0000 Reviewably Incorrect Mdizzle9000 456947@/discussions
image]]> Little Brother: LeftBack http://community.allhiphop.com/discussion/27861/little-brother-leftback Mon, 19 Apr 2010 23:04:09 +0000 Reviewably Incorrect Age187 27861@/discussions
"Good beats, good rhymes, what more do ya'll want?" Phonte wrote that back in 2007, and it's just as true today - Little Brother cranks out quality music, and there's not much to complain about. Once the beat starts, it's the same formula - Phonte spits some of the best, most clever verses in hip hop, and Big Pooh supports with a louder, blunter style. And as always, it works great.

The beats part of the equation is more of a mixed bag. There are three types of beats here: cheap 9th Wonder knockoffs, R&B wannabe cuts, and the greatness of "24" (more on that later). After opening on a terrible note in "Curtain Call," the production is solid, but completely unextraordinary. The first half of the album is sounds like it was left off The Minstrel Show, and the second half's R&B cuts are both basic and unexciting. They function just well enough to stay out of the way, which is OK when the rappers are this good, but not good enough to make great music.

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