Mobb Deep - Blood Money - 2006 - Interscope
Amerikaz Nightmare seemed to leave Mobb Deep and Jive Records disenchanted with each other. So when 50 Cent came around offering them a new deal, it seemed like a good idea. And why not? G-Unit was still at the top of their game, and the Mobb was looking for some newfound relevance. To some degree this worked. Certainly a younger generation was introduced to the group thanks to G-Unit. But the end result sounds like the duo was far more strangled out of their own creativity than even on Amerikaz Nightmare. The best way to put it is that Blood Money sounds like a pretty average G-Unit album, but a mediocre Mobb Deep album. That's no surprise skimming through the liner notes. Ten of the album's sixteen tracks feature G-Unit members. Less than half are produced by Havoc. Even one of the bonus tracks is actually a 50 Cent song featuring Mobb Deep, rather than vice versa. It really comes off as a wasted partnership. There are a couple of standout tracks here, though. "Pearly Gates" is actually a great collaboration with 50 that focuses on religion. Though it's somewhat ruined by the fact that several of Prodigy's lines are edited out of the label's reluctance of the content-matter. It's baffling why they kept the edited lines instead of writing new ones. The lone Alchemist production "The Infamous" rides an awesome sample of Grandwizard Theodore that sounds far better than any beat on the album. And speaking of beats, while many of them are paint-by-numbers G-Unit, "Creep" is borderline annoying. Fans of either group will be curious to hear this one. And ultimately it's not a terrible album. It's just definitely not up to the greatness that Mobb Deep is capable of.


Jay-Z - International Gangster - 2008 - Starz Music
Considering American Gangster received an official acapella release (much like The Black Album), it's not shocking that bootleg remix albums will pop up. This one doesn't seem to have a whole lot of reason to exist, however. Which is not to say that the remixes are bad. They're all perfectly fine. But the original versions are just so good. And oddly, a lot of the remixes here seem to use the same pallet of sounds - 70's organs, jazz-funk guitars, and the likes. So the result comes off as lesser versions of similar songs. In fairness, a couple step out of that mold slightly. "Hello Brooklyn" actually sounds a lot more like the rest of the album than it did on American Gangster proper, for instance. For the most part this album is a decent listen, though there are some perplexing choices made. For instance - and I know this is nit-picky, but if you're going to keep Jay's adlibs about riding out the horns ("Roc Boys"), then you should probably have some horns on the backing track, less it just makes no sense. Also, there are five bonus tracks, literally listed as "Bonus 1" through "Bonus 5," that as far as I can tell are nothing but the first five songs on the album played over again. I have no idea. But I will give Big Mike props for choosing to not yell DJ drops over all the tracks. That at least makes it feel more like an album than a mixtape. Ultimately this is a serviceable remix project, but not one that would earn repeated listens.

Hey, has anyone been paying attention to the leading singles from the forthcoming self titled debut album by PRhyme (aka Royce da 5'9 and DJ Premier)?

A couple of songs are available on Spotify, and I must say the album sounds like it's going to be a fuckin' gem! Seriously. I mean, we've all come to expect great things from Premo, but I've never been particularly into Royce... Actually I've never been into him at all. Maybe that's why I'm so shocked to hear that these tracks are so good.

It's nothing particularly new or different sounding, but these two seem to just work well together. The songs are solid, sand I think the album is going to be a must own. Here's a really poorly written Wikipedia excerpt:


PRhyme is the upcoming eponymous studio album by American hip hop duo PRhyme, consisting of Royce da 5'9" and DJ Premier.[1] The album is scheduled to be released on December 9, 2014, through their own record label PRhyme Records.[2] The 9-track collection is set to feature guest appearances from rappers Killer Mike, Jay Electronica, Common, Ab-Soul, Schoolboy Q, Slaughterhouse, Mac Miller and soul singer Dwele.[3] PRhyme will have all its production by Premier, as well as all the samples will be taken from psychedelic soul composer and producer Adrian Younge.[4] The album was supported by the single "Courtesy".

Hear that? Adrian Younge, at it again.

So forget the association with Eminem. I know it's hard... His awfulness pollutes just about everything in its orbit. But this is a promising project, and look: when you look at the merged faces on this variant album cover, it looks like Forest Whittaker!

That International Gangster boot sounds terrible, NR. Nice job pointing out the various elements of pure absurdity the project seems to have going for it. I hope you didn't pay actual cash money for this one. Seems like a free download would be an overpayment.

it was cheap. $5 maybe. Every single review you see me do is of an actual physical CD I own. It's not terrible though. Just not really necessary when you have the legit album to listen to instead.

Meh to all this mobb deep bullshit

Meh?
Bullshit?

But we like Mobb Deep! I'm still jamming that weird Infamous reissue's bonus disc and considering it a whole new album.

They should have released it as a whole new album. Separate from the Infamous altogether. Confusing. Remember when that was pretty much the only dope rap album of the year, and it was so frustratingly hard to even talk about because of the rigoddamndiculous way it was released?

Lol.

I'm guessing that suchfriends doesn't like Mobb Deep cuz 2Pac beefed w/ them.

Just grabbed me a copy of the new Big K.R.I.T. album, Cadillactica. It's kind of an odd release, but I suppose it's kind of a triumph for KRIT. It seems to borrow equally from 808's & Heartbreak and early Outkast. Unfortunately it sounds a bit dated, though. There are some good tracks so far, and I'm still on my first listen... So I will withhold judgment.

I understand where he's coming from, I guess. Whenever emcee's (like Tupac) dis my boys Jay Z, Wu-Tang, Biggie, etc. I want to hate them.
But if I did, I'd miss out on the aforementioned disser, and all of his compadres. So I try to be open minded, and not cling to loyalties if it means missing out on dope music.

Though whenever someone has the gall to run Kanye's name through the mud, it fucking offends me personally. Kanye is the only one who, when insulted by a less skilled pseudo-artist, makes me want to spit in the offending asshole's face.

... Beitch!

I just dont like mobb deeps rap thats all

I have to start thinking about my year end lists. While last year, I had a top 50 albums list, a top 10 songs list and a top 10 Hip-Hop Albums list, I think this year is going to require a top 10 Electronic Albums list in addition to the hip-hop specific one.

But it's time to get started. I have a lot of albums to go through, revisit, reassess etc. before making any final decisions.

I guess I'm surprised. But I'm not. On one hand you love gangsta shit, and Mobb Deep is gangsta shit. In my mind they are the Three 6 of the East. So dark and gloomy. It's all nihilism and glass-half-empty. Spooky beats. But then again, you're not a huge East Coast fan. You pick and choose. So just cuz I think Mobb is one of the greatest on the East scene, doesn't mean that should matter to you.

They've definitely released some albums that every hip hop fan should hear. And they definitely have incredible skill. Underestimating them is foolish. For those of us who love them, they seem like an impossible group to overlook, but I really don't think they necessarily go down easy for every rap fan.

But I think their rhymes are sick, and their beats are fucking ill. They wax a bit philosophical from time to time, and I like that too. :)

Has anyone else been keeping track of Kool AD's post - Das Racist output?

I slept on this year's album, WORD OK, but now I'm finally digging into the digital version I picked up earlier in the year and it's a damn fine album. Full of odes to various other emcees (Wu-Tang's "Triumph", Inspectah Deck verse; Nirvana's On A Plane, and even Weezer, who he cites for convenience).

This is not a throwaway release, and I'm sorry I didn't listen closely enough when it first dropped. Dope as hell.

Soooo... Why does it feel like this thread has basically turned into Severian & NR's occasional New and/or Classic Hip-Hop Album Commentary Bistro???

Honestly... What's happening here? Last year I spent more time reading and posting in this thread than in any other. What became of the constantly-updated "...Of The Year" lists? The daily updates on who was and wasn't spitting fire?

Btw: Lil Wayne's verse on "Only" is one of his best in recent memory. Sure he sounds a little tired and bored, but he's still slaughtering Drake and Nikki.

Because y'all keep talking bout a bunch of bullshit rap. Also last year was an epochal year for rap.. this year is just a batch of bitches, a bunch of bitches in bundle, a batch bundle

too negative man. If you don't like the hip hop being discussed, then sway the discussion into something you do like instead of just dissing shit that others like. All I'm trying to do is spur conversation beyond "that group sucks" or "yeah that's good."





Danger Doom - The Mouse And The Mask - 2005 - Epitaph
Danger Mouse and MF Doom teamed up in 2005 to record this album that was sort of a vanity project for Cartoon Network's "Adult Swim" line-up of shows. As such it's full of cameos from various cartoon characters and has all the swears beeped out to resemble the MA-13 rating of the Adult Swim shows. So to some degree your enjoyment of this record may depend on how familiar you are with Space Ghost: Coast To Coast, Aqua Teen Hunger Force or The Brak Show. Thematically, the skits work out great. The ongoing answering machine messages from Master Shake who is waiting for Doom to call him back about collaborating are hilarious. The outro of Meatwad rapping Doom's "Beef Rap" is as ridiculous as it sounds. And really, even if you're not into the Cartoon Network stuff, it's still easy to enjoy this one on its own as a way over-the-top fun record. And it references plenty of other cartoons that you might remember from your younger days. Danger Mouse's beats are excellent throughout and move from sci-fi flavored Exotica ("El Chupa Nibre") to sweeping strings ("Crosshairs," "Sofa King") to 70's kitchen sink funk ("Space Ho's") to Tarantino-approved trailer music ("Old School") and everywhere in between. The guest appearances are phenomenal and feature a higher profile cast than most Doom albums Ghostface Killah and Talib Kweli in particular both knock their verses out of the park. Though this is a short album it begs for repeated listenings as lines seem to get funnier and beats more intricate with each listen.


Wu-Tang Clan - 8 Diagrams - Universal Motown - 2007
It's almost weird that this is only the fifth Wu-Tang Clan studio album. Amidst the myriad solo releases and compilations out there, it's easy to forget that it's actually quite a rarity for the core members of the Clan to all come together like Voltron. And when it does happen every five years or so, it's always a big event. 8 Diagrams was no exception, as it hit stores in December alongside Ghostface's Big Doe Rehab which is interesting considering the rather public complaints that Ghost and Rae made about the RZA's control over this album. When you hear the result though, it's kind of hard to point any fingers at the RZA, who crafted another solid album that the group should be proud of. While the cover art looks like a crappy bootleg, the music is a different story. Opener "Campire" kicks thing off in a dark and awesome fashion. The beat is slow and chugging and reminiscent of the more lo-fi work that RZA put in on The W. Meth, Ghost and Cappadonna are all in top form to start the show. Much of the first half feels pretty similar - which is a good thing. The highly publicized "The Heart Gently Weeps" serves as a bit of the centerpiece, and turning point in the record. The track of course made waves when it was announced that the Wu were able to clear a sample of The Beatles' "While My Guitar Gently Weeps." And things went even more over the top when they brought in George Harrison's own son along with the Red Hot Chili Pepper's John Fruscante as well as Erykah Badu. It really is a bit of an all-star jam session and the resulting track is really quite excellent. Though Ghostface fanatics would have already known what to expect since he flipped this beat several years prior on his own "My Guitar," a Pretty Toney Album outtake that would eventually appear as "Black Cream" on the Hidden Darts Special Edition collection. The album really starts to run wild from here, with RZA exploring his film composer side on tracks like "Sunlight." The George Clinton appearance on "Wolves" sticks out a bit as being a little too leftfield for this record, though you've got to figure that a group as large as the Wu really doesn't need outsiders in general. And as weird as "Wolves" sounds initially, it somehow seems to work after repeated listens. And so goes the magic of the Wu-Tang. They're a huge collective and volatile personalities, so it's almost amazing that they're ever able to complete a record. Yet when they do manage to do so, it's even more incredible that they can result in something this good rather than suffering from too many cooks in the kitchen.


N.E.R.D. - Fly Or Die - 2004 - Virgin
On their sophomore album, N.E.R.D. all but ditch most of the remaining shreds of the hip hop sound that had originally started this side project. The new rock sound that defined the final version of their debut kicks off Fly Or Die and then the album goes full on schizophrenic, exploring such far-reaching influences as Revolver-era Beatles, the coked-out jazz-rock of Steely Dan, and the early 2000's Warped Tour lineup. Basically the trio spent the time between In Search Of and this learning their instruments and tinkering with any musical interest they came across that they never got to touch while working with Clipse or Justin Timberlake. Fly Or Die becomes a pretty appropriate title, as listeners will find there's only two real options: love it or hate it. Fly with them, or be gone. But the title also hints at a reoccuring theme on the album - children leaving "the nest." There's lots of lyrics dealing with parent/child relationships here. On the title track Pharrell croons "Mommy, Daddy, I know that you love me" but on the next track "Jump" he's ready to get the hell out of there. "Jump" features those guys from Good Charlotte who manage to not totally mess the song up, and actually it's surprising to hear them featured on a track that goes in a bit of an 80's New Wave direction rather than their usual pop-punk. The album then segues into "Backseat Love" and "She Wants To Move," two tracks about young love (and sex) that are embarrassingly awkward. But again, much of this may be the point. The adolescent lyrics sometimes can remind you of the angsty dumbness of high school journals. In this context, it makes plenty of sense. Hell, Pharrell even makes it a point to tell his listeners "this is just for the kids." As the record progresses we into several tracks that are actually suites of shorter pieces, and this is where the real experimental stuff starts to happen. Perhaps the craziest being "Waiting For You," which comes off as a sort of folk jam that tells the story of a baby nearly drowning during a family fishing trip. It's horrifying stuff that ends with the visual of rebirth. Looking at that cover art, seeing the band hatching from an egg it perhaps becomes apparent that this is a concept album about them. If In Search Of was their birth and childhood, then Fly Or Die is their adolescence, as awkward as that may be. It's definitely not as instantly gratifying as their debut, but this album is far more interesting.

8 Diagrams may be my least favorite full crew Wu record, but it is definitely a killer album. I recently repurchased the CD version, and I too noticed how shitty the cover art looked... Bootlegish to be sure.

I have to say, though, that I almost can't bear to listen to Heart Gently Weeps. It just doesn't work for me, and those choruses sound splayed, unfocused, out of tune and sloppy. I'm sorry... I'm sorry... But that was just a huge disappointment for me.

"Wolves" is also an oddity for sure, but it goes over much better, and I enjoy it a great deal more than I do the Cringe-worthy "Heart Gently Weeps" experiment, which is probably my least favorite Wu album track ever.

I know that's cold, but man... that song is a mess, in spite of all the talented individuals who contributed to it.

But 8 Diagrams was still one of my favorite albums of '07, which was a great year for music, ruled mostly by Deerhunter's Cryptograms.

Cryptograms was my fav record of 2007 as well.

Uh I like 8 Diagrams more than Iron Flag (I think).

I half-agree on "Heart." I love Ghost's "Black Cream" though, which was basically what RZA used as a demo for the full posse cut: https://www.youtube.com/watch?v=oajF63_dOc0

Yeah, I prefer "Black Cream" ... But anyway...

All the Wu albums are full of jaw-dropping cuts, expert rhymes, definitive production, etc. I love them all, but 8 Diagrams ranks below Forever (#1), 36 Chambers (#2), The W (#3) and Iron Flag, as well as at least 3 of the more group-inclusive solo projects. For me anyway.

But still, 8 Diagrams is a great record. I sound like I'm judging it harshly, but I'm only judging it harshly by Wu-Tang standards. It's a better album than most groups can produce in a lifetime. But it lacks a certain sense of epic urgency... that has always been my favorite part of the Wu-Tang sound, hence the #1 ranking given to Forever.

I think A Better Tomorrow is gonna be a hard sell for some folks, but honestly I am feeling pretty fucking pumped about it... I've certainly been waiting long enough for this album to drop.

new Pusha T track, prod by Kanye: https://www.audiomack.com/song/strai.../lunch-money-1

THAT FUCKING BEAT THOUGH.

Yeah, just dl'ed that this morning. I think Kanye's going to drop his album out of abso-fucking-lutely nowhere just like Pusha dropped this single.

Any day now.

Outkast
Aquemini
1998, LaFace
Outkast's third album takes the best parts of their first two, and then sheds all of their inhibitions allowing the group to explore the craziest experiments they can concoct. The result is nothing short of an absolute epic. Much like The Roots and their Soulquarians collective who would release Things Fall Apart a year later, Outkast and their Dungeon Family crew and extended fam would opt to create this record organically. Rather than write a bunch of songs and bring them into a studio to record, these songs all emerged out of jam sessions involving a rotating-door stance on guests. They also decided to abandon all preconceptions of what makes a hip hop album, opening up their sound to not only the electro-funk they had dabbled with on ATLiens but also embracing folk, jazz, blues and reggae. However what sounds like a mess on paper is a completely cohesive experience where not a note is wasted. A brief instrumental intro gives way to "Return Of The G," an insane rap track that hits hard and would have felt just as at home on their debut. Here the group lashes out at all nay-sayers who might see them as going in a soft hippy direction. The centerpiece of the album (or what would have closed out side A on the cassette) is "West Savannah," a track that was actually supposedly a leftover from Southernplayalistic while the album closer is "Chonkyfire" a hard hitting electro-rap piece with scorching guitars. These three pieces spread out to form a tripod for the record to stand on, and it's all the remaining songs that truly delve into the weirdness and genius of Outkast. The single "Rosa Parks" of course features a harmonica breakdown. "Synthesizer" features, well synthesizers and George Clinton. The two-parter "Da Art Of Storytellin'" begins with a tragic story of a soul lost to drugs and the hardship of life, while the second feels the armageddon. "Spottieottiedopaliscious" is a seven minute dub-reggae piece with barely more than spoken word to vocalize. "Nathaniel" is but a minute-long acapella piece performed over the phone. "Liberation" is a full on jazz-trio piece with improvisation and guest vocals from Cee-Lo and Erykah Badu. And having pointed to all these sight-seeing highlights, I haven't even mentioned the lyrics, all of which are just as crucial. This is a record that is sprawling, but never feels long. That's left-field, but never feels exclusionary. It is a complete and utter masterpiece that gets better with each and every listen as new revelations come through. The tricky thing about Outkast is that all of their albums could be your favorite. And this one... could be my favorite.

Soooo... Pusha-T - "Lunch Money" ... Hip-Hop single of the year?



Yes it's a little goofy and boasty, and it has nothing on MNIM's better cuts (not lyrically anyway). It's a fun track, and an eccentric little semi-banger. But if this is the "fun teaser throwaway" single, imagine what the rest of Pusha and Ye's be material sounds like!!

And as louder so eloquently put it:


... Yeezy continues to evolve despite already being a permanent resident of the future. On this track, he keeps the beat pretty consistent throughout, which is something he hasn't really done in a while. Actually, not since Graduation has crafted such a straight forward arrangement. Only back then he was still a disciple of the soul sound for the most part.

With "Lunch Money" (a straight-forward verse-hook-verse-hook track, even for the more traditionally minded Push) Ye combines pop structure with the glitchy, anxious, bizarre sound sampling style that gave Yeezus such a unique sound.

It's Kanye in both "Champion" & "On Sight" modes at once, and I've got to say it sounds fucking dope. You can even hear a slight nod to the footwork approach championed in Chi-town by the late DJ Rashad. I've always believed that Kanye West and footwork (the genre) were destined to cross paths at some point, and I truly hope this is our first taste of it.

This may be a fun throwaway teaser for titanic talents like Pusha and Ye, but compared to the rest of the year's singles, it sounds like the sole survivor of a zombie apocalypse. An incentive new hip-hop track with fresh blood pumping through its veins, in a sea of tired, necromantic beats lifted from last year's tired necromantic beats, many of which were themselves pretty tired and grave-robbing to begin with. (I'm looking at you, DJ Mustard.... The world has no need of you anymore. You've done your tired-ass thing over and over and over and over and doing it again is not going to do shit for your legacy as the king lowest-common-denominator club-bangery. Just fucking retire already.)

So again, I can't wait to hear what these two have in store for us in 2015, but I have no doubt that the alliance between King Push and Yeezy is one of almost limitless potential; a dynamic duo in the making.

OI!! SUCHFRIENDS!!
I know you've been bored with the recent hip hop discussion in this thread, so maybe this will bring you back to the world of the living:

It seems our mutual friend (E-40) is releasing yet another *double* album titled "Sharp on All 4 Corners: 'Corner 1' & 'Corner 2.'" The title makes me suspect that a "corner 3" and "corner 4" are probably already finished and ready to ship, cuz that's just how '40 rolls.



Read about it here.

The deluxe edition features both volumes and the tracklist looks promising.
Hope this does somethin' for Ya.

fur TSTR...



Three 6 Mafia
Da Unbreakables
2003, Hypnotize Minds
The sixth (or seventh, or like 20th depending on how you count them) Three 6 Mafia album is one of those albums of theirs that completely defines the sound of their post-horrorcore work. In a way it's almost a stereotypical Three 6 album with it's creepy club bangers and the hopping from sex, drugs and violence themed tracks. There are only a handful of songs here that I'd call absolutely great. "Bin Laden" is a definite stand-out for instance with its gloomy beat and the sound of crickets (seriously, crickets) on the chorus that just add to the scary nocturnal atmosphere. While a bulk of the album has a bit of a same-ness to it all, that's not necessarily a bad thing. For one thing there's not a single track I'd say was bad. Basically everything here is damn good. Those few great songs however do much to make the really good stuff feel lesser. But all in all it's a solid record that would serve as a fantastic soundtrack to a night of debauchery. And while the 19 tracks may feel a bit long, remember that this is the sort of album meant to be thrown on in the background at a party and allowed to simmer for a long while.

yo, new J. Cole album dropping December 9th. i'm intrigued because:

A.) he's releasing it with no singles.

2.) he's been working with DJ Dahi, Hit-Boy, London on da Track and more recently.

here's the cover art:

Cole is one of the most skilled rappers, but artistically and musically he's never had much to offer besides some glimpses of brilliance every now and then. Born Sinner had some good songs but shit's got old quick, same with his previous one. will he finally step out of Kendrick's and Drake's shadow? we'll find out soon, i guess.

yeah I always like Cole's songs a lot... but I just haven't really been convinced he's at this level yet where I want him to be. Like i feel like he COULD be amazing and he's almost amazing but he's not QUITE amazing. But I'll check this I'm sure.

BTW, did you guys know that the G-Unit EP finally got a physical release? And the Best Buy version has 2 bonus tracks, bumping it up to 8. Shit they coulda put a couple skits on there and called it an album haha. I think I'm gonna pick up a copy today.

Aquemini is a hip hop masterpiece, both beats, production, and lyrical content. Its brilliant from beginning to end. Its also the last honest Outkast record before they evolved into concept albums and characters.. as to e40 dude is prolific but honestly I wish he'd slow it down and focus on a few tracks at a time.. he used to have THE BEST BEATS AND PRODUCTION IN THE WEST if not all of rap, but by putting out so many tracks at a time the beats are shit on these.new records. I miss the quality of earlier e40... also if you ninjaz keep posting three six mafia and y'all going to just be talking to yourselves

Even the sun goes down, heroes eventually die,.horoscopes often lie, and sometimes why, nothing is for sure, nothing is for certain.nothing lasts forever but.until they close the curtain.... question.is every.ninja with dreads for the causem is.every ninja with gold.for.the fall? Cant always.depend on that dope money might not always be sufficient.... and some ninja took his shirt.off talkin bout.who.in da hell wanna mesa with Hollywood cole?

J. Cole is passable. I can listen to him without getting pissed off about his music, but I never think, "Man, I could go for some J. Cole right about now!"

I don't think he's a particularly skilled rapper. I think he has an inflated ego, and I think he talks big, but so far he's done *zip* to back it up.

There's no point in hoping he'll get better. Most great hip-hop artists are unique and distinctly talented from day 1. Case in point: uhhh... Reasonable Doubt, Illmatic, good kid, MAAD city, The College Dropout, 36 Chambers, Ready to Die, and pretty much every debut album by every great artist.

J. Cole might make good record some day, provided he has enough producers and beat-makers and DJ's around to make his very ordinary flow sound special. But I think he's already forged his path, and it's one of slightly above-average but still pretty mediocre rap music that will one day populate the bargain bins.

And I don't think he's in Drake's shadow. I think Drake has gone off the deep end, and decided he'd rather be a giant douche playa-playa hand sign throwin' phony nerd ass bitch than an actual leader of the hip-hop community. He is the most annoying figure in rap, and I'm so sick of seeing his name on everyone's "featuring..." lists, and reading about him in at least 2-3 articles a day that I am starting to feel hatred for his actual music in addition his face, his haircut, his falsetto, his free-throws and his shameless corporate shill activities.

Yeah I'm BITTER today. Please don't insinuate that Kebdrick and Drake cast the same shadow. J. Cole is in Jigga's shadow, and he was supposed to have stolen HOV's crown by now. Oh wait, so was drake! Fuck em. Kendrick eats them alive. Kendrick, Rocky, Push, AK & Issa... These are the ninjas to watch. Drake is a guilty pleasure waiting to happen, and I want to step on his stupid face.

I still think "Tuesday" is catchy as hell, and I still like Nothing Was the Same, but man is that boy a bitch.

Oh, the new Rick Ross has apparently leaked...

I haven't heard anything from the new Ross. I'm not sure what to expect. I think Mastermind had a real good thematic quality to it. A lot of sort of throwbacks and what not. I feel like I'd like this new one if it's more of that. Maybe.

verdict on new G-Unit EP: fucking good. Get the Best Buy edition w/ 2 bonus tracks, they are worth it. This EP destroys Animal Ambition though.

G-Unit
The Beauty Of Independence
2014, G-Unit
In the decade since G-Unit's major label debut, there has been a huge change in the climate of hip hop. Remember that Beg For Mercy was released before anybody could have predicted that Lil Wayne would one day be a household name. While Kanye was just another of Hov's producers. Before young weirdos like Odd Future or Kendrick Lamar would change the game via Instagram and Youtube accounts. It's funny to realize that there was once a time that 50 was the biggest name in hip hop and G-Unit were the ones pushing the boundaries of mixtapes - ruling both the underground and overground at the same damn time. And in those years the G-Unit camp has gone through enough drama to make even the thought of a reunion seem ridiculous. But here we are. Of course they still haven't rekindled their partnership with The Game, so there's still room for wishful thinking, but 50 Cent, Tony Yayo, Lloyd Banks and Young Buck are all in the same booth again along with newcomer Kidd Kidd. And the result is so much better than it has any real right to be. With relevance something of a past tense for the group, with years of in-fighting an elephant in the room, with a new rookie member to try to learn to flow with, The Beauty Of Independence should be an airball. It should be forgotten just as abruptly and quietly as it was released. But instead it is a resounding statement of worth. It is a reminder of why G-Unit ever mattered to begin with. This is an EP brimming with confidence and skill from MC's that aren't just showing off their talents, but also reveling in them just as much as the listener. The fact that 50 openly addresses falling outs with Interscope and Dr. Dre, and the group touches on more personal issues with "Changes" also makes it a compelling listen for fans of the behind the scenes. The Havoc-produced opener "Watch Me" is a perfect note to start on with all MC's in top form. Though the base EP is just six songs, a Best Buy edition adds two more - one of which, "Ease Up" is worth tracking this version down for by all means. And though it clocks in at just around a half hour, it's nice to see that they went for quality over quantity here. Surely those eight tracks could have been padded by skits, guest-shots and outtakes from Animal Instincts to stretch it into an album. The fact that they didn't shows a wise new beginning for G-Unit, and I'm more than looking forward to what else might be in store for us from this unexpected renaissance.

I've been listening to it for a few hours.

I'm not gonna lie, it cooks right along. I don't think Ross has made a masterpiece since Teflon Don. But I like his records, and I look forward to his collaborative songs, which are always the best.

Hood Billionaire has some pretty embarrassing moments, lyric-wise, but the songs are satisfying and predictable and- like most Ross projects- kind of like a home cooked meal. No surprises, very few risks, virtually no significant stylistic deviations from every other dish Rosay has served.... But they're filling, and sometimes that's more than enough.

I have to say I was really looking forward to his new collaboration with HOV, titled "Movin' Bass." As I said, Ross's album highlights tend to be the tracks he lays down with other notable emcees. Kanye and Ross have a long history of dope tracks.. But with no Yeezy appearances on this album I had my eye on "Movin' Bass" (and the equally anti-climactic "Brimstone feat. Big K.R.I.T.")

Unfortunately, Jay-Z is relegated to chorus duty alone. That's right, Rick Ross cut a track with (arguably) the most famous and skilled rapper alive, and the undisputed elder statesman of the genre. Yup, he had his label head and boss in the studio with him (ostensibly-- though it kinda sounds like Jay phoned this one in) ...and rather than putting those formidable chops to work, he opted to have Jay say the name of the song a few times, with a few words of preamble.

The production on the track is more interesting than most of what you hear on modern mainstream rap records, but man- what a wasted opportunity.

The song with K.R.I.T. could easily pass for a song without K.R.I.T. I can't even remember what kind of contribution the "new king of the south" makes to the album's final song.... But it certainly doesn't contain any of that artist's distinctive style, delivery or personality.

But like I said, the album cooks. It has momentum and it's got a consisten energy to it. I'll have to listen more to perfect my assessment.
Good not great, worth the money.

More boojie bullshit...

...

Your negativity is ... Ah... losing its charm.

payback for "FuckwithmeyouknowIgotit"?

I'm looking forward to hearing it. You know I love Mastermind. I'll give it a shot.

On the flip PLEASE listen to the new G-Unit and let me know what you think!

EDIT: Actually Ross got to kill it on "Fuckwithme" so nvmd.