Saturday, December 29, 2007
10) Army of the Pharoahs – Ritual of Battle
Can anybody actually tell me who the members are now? Either can I. But whoever they are now, they are not nearly as good as they used to be. Apathy was not on this album at all, the lyrics were boring, and the production was uninspired. The exception was the production on “Seven” by Ill Bill, which was one of my favorite beats of the year. Vinnie Paz used to be one of my favorite lyricists, but he seems to have run out of things to say. This wasn’t horrible, but it doesn’t leave me dying to hear the next AOTP offering, whoever they might be.
9) Cormega – Who Am I
I was always a fan of Cormega, but nothing really stood out on this one. On the positive side, the guest spots were from artists from virtually every region. On the negative side, they weren’t very good. It had been so long since his last release, I thought he would come out with something better than this.
8) Big Shug – Street Champ
“Who’s Hard” brought back that Gang Starr sound that had been missing for a couple years. It didn’t get near the notice it should have. With “Street Champ”, any title Big Shug thought he had he lost. Nothing remotely interesting about this one.
7) El-P – I’ll Sleep When You’re Dead
I know a lot of people loved this album. I was never the biggest fan of El-P, but based on others’ great reviews of it, I gave it a try. I just didn’t like it at all. He gets credit for putting together an original sound, but original doesn’t always mean good.
6) Eightball and MJG – Ridin’ High
PLEASE get away from Bad Boy immediately. They used to one of my favorite groups. Then, in an effort to get a little nationwide notice and make a little extra money, they signed with Puffy (I still refuse to call him Diddy). It’s clear that Bad Boy has no idea how to promote them and, from interviews I’ve read, the group doesn’t seem to enjoy their label either. It shows in their lyrics too, as MJG puts out some lyrics that are on the level of labelmate Yung Joc. Eightball still has his swagger, but any more albums like this and the Space Age Pimps may be stuck in a black hole that they can’t get out of.
5) Redman – Red Gone Wild
I should have known this would be a disappointment when it was consistently delayed from being released. Every 30 seconds he has to yell Gilla House like we have any chance of forgetting. But I guess that broke the monotony of his lyrics.
4) Camp Lo – In Black Hollywood
I keep waiting for that next great Camp Lo album after loving Uptown Saturday Night. I’m still waiting.
3) Dogg Pound – Dogg Ch!t
The title says it all. Neither Daz or Kurupt has anything else to say or an entertaining way to say it. After waiting for years for another good album and being constantly disappointed, I give up on them.
2) Wu-Tang Clan – 8 Diagrams
Part of the disappointment comes from the fact that I was expecting to be disappointed. All of the little kindergarten bickering between members and Ghostface’s whining about the release date, the production , and whatever else was wrong on a given day killed this one for me. It wasn’t horrible, but after hearing the “The Heart Gently Weeps” I had high hopes. Although the production and lyrics were okay, the album felt forced. It seems like this will be the last WTC for a while and that’s disappointing too.
1) Little Brother – Get Back
Whether you liked this or hated it, you had to be disappointed. I figured this would be in my top three of the year. Instead it’s my most disappointing. It’s too bad too because Phonte and Big Pooh seemed to work really hard on this release. They had decent producers to replace 9th Wonder, but the production seemed all over the place and didn’t have any theme. On a positive note, Lil Wayne lovers were finally able to see what the rest of us had been saying for years. Weezy has a decent flow, a decent style, a decent delivery, but lyrically he’s mediocre at best. He was trying real hard to compete with Phonte and Pooh, but his struggles and shortcomings were obvious. “The Listening” and “The Minstrel Show” are two great albums, so maybe LB gets a pass for one boring album. It’s still better than a lot of releases this year.
Tuesday, December 11, 2007
OK. Another Hi-Teknology album. First off, I really liked the production. Also, I liked the Talib Kweli track. Other than that, the tracks range from slightly above average to mediocre. The Ohio All-Stars couldn’t even make the high minor leagues. “Handling My Bizness” with M-1 was okay. The Little Brother track and the Raekwon/Ghostface track just didn’t grab me. The Outlawz come with about their 30th track reminding you they were affiliated with Tupac. It’s starting to be a close competition now between the Outlawz and Afeni Shakur over who can pimp Tupac’s legacy more. The main problem with this album was the artist selection. I’ve seen interviews with Hi-Tek where he said he wanted to keep this album more street oriented. Well, the reason some of these artists are street is because nobody would give them a record deal. It’s a shame he ruined these decent beats with these artists. He has gone steadily down with each of his releases. At this rate, expect Yung Joc and Soulja Boy to be on Volume 4. Hopefully, his mind was on making Reflection Eternal 2 a classic.
Rating 2.5 out of 5
This is a typical Scarface album. Normally, a statement like this would elicit yawns. For an artist like Scarface, it brings a smile to my face. You get the same thing from every solid Scarface release. A short musical intro and outro, which border 10-12 solid tracks displaying the vivid storytelling and dark pianos, violins, and other instrumental sounds that take you into his world. I would put this Scarface release right after The Dairy and The Fix. It amazes me (in a good way) that he can continue to put out solid albums, even though there always seemed to be some drama going on with either The Geto Boys or Rap-a-lot. There’s some comfort in getting exactly what you were expecting and still being happy with it.
Rating: 4 out of 5
This might be one the most frustrating albums I’ve listened to this year. There would be two or three really good tracks, then one or two tremendously pitiful tracks. Murs was obviously the driving force here, as to be expected. The rest of the cast really had trouble pulling their weight. Normally, I absolutely hate skits, but “Race Day” skit leading into “She Had a Nascar” was actually pretty funny. On the flip side, the Y.O.C. interlude was one of the most annoying I’ve heard in a long time. “1st Love” is the type of storytelling track that I like hearing artists make. But then came Supreme on the next couple of tracks, which brought the release back to average. It ends with 2 untitled tracks, the second of which borrows from Prince, which was a good experiment.
Rating: 3 out of 5
Tuesday, December 4, 2007
With that being said, the album is not that bad. The problem is that it feels extremely scattered. Different members on different tracks with no theme to the rhymes is what’s typical of this release. The production is really hit or miss. I realize that RZA was trying out some new things, but sometimes it doesn’t even seem to come close. The beats, while not bad, probably would have been better on a solo album where you know the style of the artists and can mold the lyrics and beats. Ultimately, this sounded more like a producer’s compilation rather than a group album. It ends with what sounds like an old ODB demo track. Although it was great, they put him on here, you would think with the technology available, they could have cleaned up the sound a little better.
With all that being said though, this is still worth a listen. I tended to like The Heart Gently Weeps and Stick Me For My Riches, but by looking over the internet, everybody seems to like different tracks, so the listener will have to decide for himself. Since this appears to be the last Wu album we’ll hear for a long time from the interviews, it can be considered a disappointment, but there are some solid tracks to go back and listen to. Maybe it’s fitting that the album ends with a track from a deceased member from their glory days.
Rating: 3 out of 5
Cunninlynguists have developed to sound like the Goodie Mob of the Soul Food days. Weaving through tales of the south and current political issues, they are able to put thoughtful lyrics with top notch production from Kno. Even with the obligatory shout out to their region “KKKY”, they are able to stick with this concept. Not since Little Brother have 2 MC’s seemed so in sync with the production from the DJ/producer. That isn’t to say they are on Little Brother’s level quite yet, but if their development as artists continues on this path, they’re on their way. In a year with few high quality albums, this stands out prominently. Even in a great year, I think this would stand out.
Rating: 5 out of 5
The thing is that Beanie has never claimed to be anything else. However, even though other Roc-a-Fella (or former Roc-a-Fella) artists never seemed to have the skills to make this enjoyable, Beanie Sigel seems to know how to put it all together to please his core audience. Although there are plenty of guestspots, few seem to actually add any additional flavor to the recipe. Jay-Z stops by with his typical feature spot and R-Kelly delivers a typical R-Kelly hook. However, they still seem to work with the flow of the album, even the Ozzy Osbourne featured track.
This was nothing special, but if you’re a Beanie Sigel fan you’ll probably like it. If you’re not, this album won’t convert you.
Rating: 3.5 out of 5.