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Recent Reviews
A lot has been asked of Nas since he dropped the brilliant 'Illmatic' LP in 1994. Hailed by many as the greatest contribution to rap ever made, 'Illmatic' earned such stellar acclaim with just but 10 tracks. Since then, Nas has done a respectable job of steadily improving his flow, but he hasn't been able to offer up a legendary record like 'Illmatic' in the last decade. Still, 'Street's Disciple' is one hell of an effort.
The concept of releasing a double-disc has never been rapper-friendly. Many have tried, but few (if any) have managed to release a commendable set. 'Street's Disciple' is actually not so different, but it is undoubtedly the best double-disc available. Nas has never been intrigued by the temptations of entering the mainstream market, and it has become clear that he probably never will. 'Street's Disciple' is full of heart, and Nas is in top form.
This offering does have its share of disposable tracks. A handful of tracks on disc one can be ignored, such as 'Rest of My Life' and the not-so-moving 'American Way'. But if you are not so critical as to focus on tracks like those, you'll find much to savor on Nas's satiating set.
Rappers in need of a gripping intro should certainly learn from Nas, as 'Message to the Feds, Sincerely, We the People' is exactly the way to jump-start such an album.
Much of 'Street's Disciple' is downbeat, and the album is devoid of great beats. Nas makes up for what is lacking in the production department, though, with his lyrical expertise. Simply put, he's a story teller who never runs out of stories to tell. Just listen to tracks like 'U.B.R.' and 'Thief's Theme' and you'll understand what separates the champion of the streets from the rest.
The most blaring flaw of 'Street's Disciple' is in its length. Unfortunately, the album feels dragged out and unnecessarily stretched. Nonetheless, Nas is still the face of poetic rap, and he's proudly flaunting his crown.
The concept of releasing a double-disc has never been rapper-friendly. Many have tried, but few (if any) have managed to release a commendable set. 'Street's Disciple' is actually not so different, but it is undoubtedly the best double-disc available. Nas has never been intrigued by the temptations of entering the mainstream market, and it has become clear that he probably never will. 'Street's Disciple' is full of heart, and Nas is in top form.
This offering does have its share of disposable tracks. A handful of tracks on disc one can be ignored, such as 'Rest of My Life' and the not-so-moving 'American Way'. But if you are not so critical as to focus on tracks like those, you'll find much to savor on Nas's satiating set.
Rappers in need of a gripping intro should certainly learn from Nas, as 'Message to the Feds, Sincerely, We the People' is exactly the way to jump-start such an album.
Much of 'Street's Disciple' is downbeat, and the album is devoid of great beats. Nas makes up for what is lacking in the production department, though, with his lyrical expertise. Simply put, he's a story teller who never runs out of stories to tell. Just listen to tracks like 'U.B.R.' and 'Thief's Theme' and you'll understand what separates the champion of the streets from the rest.
The most blaring flaw of 'Street's Disciple' is in its length. Unfortunately, the album feels dragged out and unnecessarily stretched. Nonetheless, Nas is still the face of poetic rap, and he's proudly flaunting his crown.
posted June 7, 2005 at 02:25:01 PM
One of the Dirty South's most established rap acts, Ludacris is someone who thrives on catchy word jumbles that get heads bobbing and hands clapping. After dropping the worthy 'Chicken N Beer' and working with half the industry, I expected Luda to ride his success right off the cliff. For some reason, that cliff was closer than I thought it was. Not only is 'Red Light District' the weakest compilation of Luda's career, but it is one of the weakest compilations of the year offered up by any rapper.
Cris has never been regarded as poet like Nas or a visionary like Common, but his ability to twist words into likeable raps is something special. And he doesn't do a bad job with his exclusive style, but bad production mars what could have been another hit album.
Other than contributions made by Timbaland ('The Potion') and Medicine Men ('Get Back'), RLD is packed with third-rate beats that Luda simply sounds annoying on. Tracks like 'Hopeless' and 'Put Your Money' get more maddening the more times you listen to them, and don't even get me started on 'Child of the Night'.
There are actually a few good guest spots on RLD. Trick Daddy provides some feasible lines on 'Hopeless', and Nas drops by on the infectious 'Virgo'. Still, Luda is unable to pack a punch even alongside his comrades. It also hurts that he is always giving his Disturbing Tha Peace signees a push. Lil' Fate, Shawnna, and Dollar Boy are not intriguing prospects, and the biggest splash made by one of Cris's proteges was made by Chingy, who is no longer on the DTP roster but instead struggling on his own, devoid of a hit single.
With another bad excuse for an LP like 'Red Light District', Ludacris could be asking to be booted out of the limelight. This album is in no way a laudable offering. Luda's got a few things to hammer out before he can successfully drop a record worth praise.
Cris has never been regarded as poet like Nas or a visionary like Common, but his ability to twist words into likeable raps is something special. And he doesn't do a bad job with his exclusive style, but bad production mars what could have been another hit album.
Other than contributions made by Timbaland ('The Potion') and Medicine Men ('Get Back'), RLD is packed with third-rate beats that Luda simply sounds annoying on. Tracks like 'Hopeless' and 'Put Your Money' get more maddening the more times you listen to them, and don't even get me started on 'Child of the Night'.
There are actually a few good guest spots on RLD. Trick Daddy provides some feasible lines on 'Hopeless', and Nas drops by on the infectious 'Virgo'. Still, Luda is unable to pack a punch even alongside his comrades. It also hurts that he is always giving his Disturbing Tha Peace signees a push. Lil' Fate, Shawnna, and Dollar Boy are not intriguing prospects, and the biggest splash made by one of Cris's proteges was made by Chingy, who is no longer on the DTP roster but instead struggling on his own, devoid of a hit single.
With another bad excuse for an LP like 'Red Light District', Ludacris could be asking to be booted out of the limelight. This album is in no way a laudable offering. Luda's got a few things to hammer out before he can successfully drop a record worth praise.
posted June 5, 2005 at 02:16:40 PM
Young Buck is certainly not smooth (remember he stabbed a guy at the Vibe Awards), and he's certainly not original (drugs, guns, and money make up the bulk of his rhymes). He is undoubtedly G Unit's most underrated brother though, and he needed to pack a powerful punch on his debut album titled 'Straight Outta Ca$hville' (Ca$hville=Nashville, by the way; yes, he's from the country). Thankfully for Buck, he has just enough worthy tracks on it to keep us listening.
'I'm A Soldier' is an okay opener, but it's the same material over and over from G Unit: I can beat you up and I'm battle-tested. Now, the faster 'Do It Like Me' is a banger that has Buck spitting hard over a sizzling beat. 'Let Me In' is alright at best. It should not have been the lead single, and I expected a much better beat from burgeoning producer Needlz. Buck shines on 'Look At Me Now', and gets assistance from Lloyd Banks on 'Prices On My Head'. 'Welcome to the South' is pure filler. Both Lil' Flip and David Banner are disappointments on the screwed-and-chopped-esque song, and I'm a big fan of the latter. Buck is truly street on the slow head-bobber 'Bonafide Hustler', on which 50 Cent drops a good hook.
Is it just me or does Young Buck need help choosing his singles? Even though Lil Jon is at the helm of 'Shorty Wanna Ride', it's a straight-up waste of a track. Buck doesn't drop a single good verse, and the beat gets tired after the first 20 seconds of its running. 'Bang Bang' is hands down one of the best tracks on the LP, with Nancy Sinatra delivering a haunting hook.
Promising producers Midi Mafia, who have also worked with rap superstar Nelly, lend Buck a great beat on 'Thou Shall', another standout track. 'Black Gloves' sounded too much like the rest of the album, so it didn't cut it. Buck goes all-out on 'Stomp', which also features two outstanding verses from Compton's prodigy, the Game, and DTP's ringleader, Ludacris (If you really want something to blow out of your speakers, check out the remix with T.I. and Ludacris dissing each other on their respective verses). 'Taking Hits' is another misfire with Buck's old pal, D-Tay. The album finishes strong though. 'Walk With Me' is one of the better tracks, and it offers Buck at his best.
Overall, 'Straight Outta Ca$hville' is worth a listen. Young Buck is still behind fellow G Unit members 50 Cent, Lloyd Banks, and the Game as far as sales go, but he isn't trailing by much as far as his raps go.
'I'm A Soldier' is an okay opener, but it's the same material over and over from G Unit: I can beat you up and I'm battle-tested. Now, the faster 'Do It Like Me' is a banger that has Buck spitting hard over a sizzling beat. 'Let Me In' is alright at best. It should not have been the lead single, and I expected a much better beat from burgeoning producer Needlz. Buck shines on 'Look At Me Now', and gets assistance from Lloyd Banks on 'Prices On My Head'. 'Welcome to the South' is pure filler. Both Lil' Flip and David Banner are disappointments on the screwed-and-chopped-esque song, and I'm a big fan of the latter. Buck is truly street on the slow head-bobber 'Bonafide Hustler', on which 50 Cent drops a good hook.
Is it just me or does Young Buck need help choosing his singles? Even though Lil Jon is at the helm of 'Shorty Wanna Ride', it's a straight-up waste of a track. Buck doesn't drop a single good verse, and the beat gets tired after the first 20 seconds of its running. 'Bang Bang' is hands down one of the best tracks on the LP, with Nancy Sinatra delivering a haunting hook.
Promising producers Midi Mafia, who have also worked with rap superstar Nelly, lend Buck a great beat on 'Thou Shall', another standout track. 'Black Gloves' sounded too much like the rest of the album, so it didn't cut it. Buck goes all-out on 'Stomp', which also features two outstanding verses from Compton's prodigy, the Game, and DTP's ringleader, Ludacris (If you really want something to blow out of your speakers, check out the remix with T.I. and Ludacris dissing each other on their respective verses). 'Taking Hits' is another misfire with Buck's old pal, D-Tay. The album finishes strong though. 'Walk With Me' is one of the better tracks, and it offers Buck at his best.
Overall, 'Straight Outta Ca$hville' is worth a listen. Young Buck is still behind fellow G Unit members 50 Cent, Lloyd Banks, and the Game as far as sales go, but he isn't trailing by much as far as his raps go.
posted May 27, 2005 at 04:21:14 PM
Like 'XXX: State of the Union', 'The Longest Yard' is set to come out with a rap-heavy soundtrack. The soundtrack is on executive producer Nelly's Derrty Entertainment imprint, so the Midwest is in full swing here. Looking into the soundtrack, I found a mix of good and bad.
The Jazze Pha-produced lead single 'Errtime' is a club banger on which Nelly spits alongside rookie labelmates Jung Tru and King Jacob. The song isn't much lyrically (though Jung Tru demands some attention with his G Unit rhyme), but Nelly's signature singjay flow meshes well with another head-bobbing beat from Pha. 'Shorty Bounce' is all right, but Lil' Wayne's screechy voice makes it sound like we're hearing some girl rapping rather than Baby's metal-mouth protege (or is that just the way he sounds? Interesting...). I like T.I. as much as the next guy, but 'Bounce Like This' is one of the weaker tracks of his career. And it's not his fault. The production really messes up the song. T.I. would've ripped it on a more southside-tinged beat.
'Let Em Fight' is a harder song with a Street Fighter-style beat. Ali & Gipp are in good form. Murphy Lee's 'Stomp' is one of the best tracks on the album. His verse is fire, and the production is top-notch. Akon's 'So Fly' is a sorrowful, introspective song on which Akon is in top form. He's truly an exceptional artist, and he shows it on the track.
Ohio's burgeoning duo 216 has to give thanks to good production on 'U Should Know'. Gangsta Nation veteran WC is on deck for 'Whip Yo A$$'. This is definitely one of the best tracks on the soundtrack. WC spits good verse after good verse, and Nelly is butta-smooth on the hook. Mixtape royalty Chamillionaire teams up with Mississippi hero David Banner on the rock-tinged 'Talking That Talk'. Both Banner and Chamillionaire drop hot rhymes.
Jung Tru and Nelly are back on the slooooooow 'Datz On My Mama'. The song showcases two other artists also, both on Nelly's label: Blue Ghost (unless I heard wrong) and Gube Thug. Jung Tru's play-on-words style is magic on the track. Blue Ghost's verse is completely disposable, but Gube Thug shows some promise. Trillville's 'Infultrate' is pure trash. I was looking forward to a hot contribution from Trillville (especially after the laid-back 'Some Cut'), but the beat is a poor excuse for even bad music: ouch.
Don't you just love Eminem? Well, I don't very much actually, but I have to give him credit. 'My Ballz' provides some appreciated laughs. That beat with Eminem's screwed-up mind make for a very good track. Nelly Nell's 'Fly Away' closes out the album. It isn't bad, but Nelly should've lit up the clubs with the finisher. He opted for a more relaxed, far-from-traditional-hip-hop song though, and that'll be just fine for the R&B crowd.
'The Longest Yard' soundtrack isn't the 'Bad Boys II' soundtrack, but it's better than a lot of albums that are available right now. It depends on your willingness to take good with the bad; the hits on this album are worthy, but the bad tracks are mostly terrible misfires. This one might see reviews that are worlds apart.
The Jazze Pha-produced lead single 'Errtime' is a club banger on which Nelly spits alongside rookie labelmates Jung Tru and King Jacob. The song isn't much lyrically (though Jung Tru demands some attention with his G Unit rhyme), but Nelly's signature singjay flow meshes well with another head-bobbing beat from Pha. 'Shorty Bounce' is all right, but Lil' Wayne's screechy voice makes it sound like we're hearing some girl rapping rather than Baby's metal-mouth protege (or is that just the way he sounds? Interesting...). I like T.I. as much as the next guy, but 'Bounce Like This' is one of the weaker tracks of his career. And it's not his fault. The production really messes up the song. T.I. would've ripped it on a more southside-tinged beat.
'Let Em Fight' is a harder song with a Street Fighter-style beat. Ali & Gipp are in good form. Murphy Lee's 'Stomp' is one of the best tracks on the album. His verse is fire, and the production is top-notch. Akon's 'So Fly' is a sorrowful, introspective song on which Akon is in top form. He's truly an exceptional artist, and he shows it on the track.
Ohio's burgeoning duo 216 has to give thanks to good production on 'U Should Know'. Gangsta Nation veteran WC is on deck for 'Whip Yo A$$'. This is definitely one of the best tracks on the soundtrack. WC spits good verse after good verse, and Nelly is butta-smooth on the hook. Mixtape royalty Chamillionaire teams up with Mississippi hero David Banner on the rock-tinged 'Talking That Talk'. Both Banner and Chamillionaire drop hot rhymes.
Jung Tru and Nelly are back on the slooooooow 'Datz On My Mama'. The song showcases two other artists also, both on Nelly's label: Blue Ghost (unless I heard wrong) and Gube Thug. Jung Tru's play-on-words style is magic on the track. Blue Ghost's verse is completely disposable, but Gube Thug shows some promise. Trillville's 'Infultrate' is pure trash. I was looking forward to a hot contribution from Trillville (especially after the laid-back 'Some Cut'), but the beat is a poor excuse for even bad music: ouch.
Don't you just love Eminem? Well, I don't very much actually, but I have to give him credit. 'My Ballz' provides some appreciated laughs. That beat with Eminem's screwed-up mind make for a very good track. Nelly Nell's 'Fly Away' closes out the album. It isn't bad, but Nelly should've lit up the clubs with the finisher. He opted for a more relaxed, far-from-traditional-hip-hop song though, and that'll be just fine for the R&B crowd.
'The Longest Yard' soundtrack isn't the 'Bad Boys II' soundtrack, but it's better than a lot of albums that are available right now. It depends on your willingness to take good with the bad; the hits on this album are worthy, but the bad tracks are mostly terrible misfires. This one might see reviews that are worlds apart.
posted May 23, 2005 at 07:27:43 PM
'The Massacre' is a bit of a confusing release. After 'Get Rich or Die Tryin', you'd think Shady's breakout protege would stick to the commercial thug bravado shown on his debut album. And 50 actually does stick to that formula, but it's obvious that he doesn't work it to such effect on his sophomore set.
'The Massacre' starts off with a particularly violent intro, somewhat appropriately. The first couple of tracks aren't so hot, but the LP picks up speed with 'Piggy Bank', where we find 50 lyrically gunning down the likes of Fat Joe, Nas, and Jadakiss. Actually, 50's diss mania on the track makes for one of the better songs on the album. 'Piggy Bank' is followed by the Eminem-backed 'Gatman and Robin', which is also a very good track (although it doesn't work with the Batman-tinged beat as well as Snoop Dogg's 'Batman and Robin'). We find the newest member of G-Unit, Olivia, making an appearance on the exotic 'Candy Shop'. 50 drops a few hot verses on 'Get In My Car'. 'Ski Mask Way' is hands-down one of the best offerings on the album. Disco D provides a surprisingly smooth beat on the moneymoneymoney-themed track.
'Baltimore Love Thing' is 50 going out on a limb, but it works nicely. Hi-Tek is on board for 'Ryder Music', and 50's single 'Disco Inferno' follows it up. Three strong tracks follow. 'Just A Lil Bit', 'Gunz Come Out', and 'My Toy Soldier' (one of the better tracks without a doubt) are far from filler. 'Build You Up' isn't so bad, but it certainly seems that 50's rhymes don't belong with the piano-ish beat. 'I Don't Need Em' is 50 acting tough, which isn't a good thing in this case. Quite possibly, the 'Hate It or Love It Remix' may have been the best way to close out the LP.
Unfortunately, 'The Massacre' is no match for 'Get Rich'. 50 simply fails to duplicate the trendy flow he had on his first album on Slim Shady's label. Still, 'The Massacre' is a nice follow-up. Hey, 50 had a lot of pressure on him with the coming of a second album. You can't blame him for not delivering another masterpiece. Just be happy he gave you this pretty good album.
'The Massacre' starts off with a particularly violent intro, somewhat appropriately. The first couple of tracks aren't so hot, but the LP picks up speed with 'Piggy Bank', where we find 50 lyrically gunning down the likes of Fat Joe, Nas, and Jadakiss. Actually, 50's diss mania on the track makes for one of the better songs on the album. 'Piggy Bank' is followed by the Eminem-backed 'Gatman and Robin', which is also a very good track (although it doesn't work with the Batman-tinged beat as well as Snoop Dogg's 'Batman and Robin'). We find the newest member of G-Unit, Olivia, making an appearance on the exotic 'Candy Shop'. 50 drops a few hot verses on 'Get In My Car'. 'Ski Mask Way' is hands-down one of the best offerings on the album. Disco D provides a surprisingly smooth beat on the moneymoneymoney-themed track.
'Baltimore Love Thing' is 50 going out on a limb, but it works nicely. Hi-Tek is on board for 'Ryder Music', and 50's single 'Disco Inferno' follows it up. Three strong tracks follow. 'Just A Lil Bit', 'Gunz Come Out', and 'My Toy Soldier' (one of the better tracks without a doubt) are far from filler. 'Build You Up' isn't so bad, but it certainly seems that 50's rhymes don't belong with the piano-ish beat. 'I Don't Need Em' is 50 acting tough, which isn't a good thing in this case. Quite possibly, the 'Hate It or Love It Remix' may have been the best way to close out the LP.
Unfortunately, 'The Massacre' is no match for 'Get Rich'. 50 simply fails to duplicate the trendy flow he had on his first album on Slim Shady's label. Still, 'The Massacre' is a nice follow-up. Hey, 50 had a lot of pressure on him with the coming of a second album. You can't blame him for not delivering another masterpiece. Just be happy he gave you this pretty good album.
posted March 12, 2005 at 08:36:49 PM
