Artist: Vordul MegaTitle: The Revolution Of Yung HavoksRating: 3 1/2 StarsReviewed by: Bill Low-Key Heinzelman As one half of Cannibal Ox, Vordul Mega has always been the quiet and overlooked member in comparison to Vast Aire. While most critics raved about Vast’s zany wordplay and EL-P’s spacey production on their debut release The Cold Vein, Vordul’s role was often forgotten. Now with his solo release The Revolution Of Yung Havoks (Nature Sounds), Vordul is out for respect, something which he should achieve with his satisfying debut. Vordul’s strong points lie within his ability to draw you into his cosmic universe. Continuing in the tradition of Cannibal Ox, Vordul’s style is one of a kind and one that definitely appeals to his underground fan base. But unlike Vast Aire, who sometimes goes off in a nonsensical tirade, Vordul keeps it more street oriented. The hood tales of “Blade” epitomizes this perfectly, as Belief’s arrangement of choppy keys provides a gritty atmosphere for Vordul to work off of. Blockhead’s haunting drums and eccentric horns also impress on the standout track “Struggles”. Vordul’s gloomy look inside urban life is accentuated by his witty wordplay and syrupy flow. Vordul also receives some welcomed help from some friends along the way. C Rayz Walz cooks up a hot 16 on “Spitamatic”, while Masta Killa (“Hard Times”) and Jean Grae (“Believe”) lend their vocals for each track’s hook. While The Revolution Of Yung Havoks does get repetitive at times with generic offerings like “In The Hood” and “Holla Ill”, the album manages to overcome such shortcomings. With Vordul Mega you know what you are getting before you even open the album, and it is this reliance on giving his fan base what they want that makes his debut a success. Even though many were quick to label Vordul as Vast Aire’s lowly side kick, in the end Vordul is having the last laugh. With The Revolution Of Yung Havoks, Vordul steps out of Vast’s ample shadow and produces a better album than most expected.

Artist: Mick BoogieTitle: The Dope Game (Mixtape)Rating: 3 StarsReviewed by: Paine The most talked about artist you haven’t really heard, that much, is The Game. There is Untold Story, older material that JT The Bigga Figga has released. But, most of The Game’s interest is reflected from his G-Unit, Shady and Aftermath cohorts, rather than Bay area fans. Cleveland’s Mick Boogie has joined the fold with a The Game hosted mixtape, The Dope Game, of many of his more recent tracks, exclusives, guest spots, and previews to the album. If ever there was a needed appetizer, The Game requires it. Most of The Game’s early work is promotion for his crew. You simplye cannot get a verse from The Game without name-dropping. Perhaps, rightfully so. “Higher,” has a hook crooning, “I Can Take You Higher,” but The Game only rhymes about Dre, 50, and G-Unit, and how he’s in the mix. Then there’s other moments like, “Confessions,” where The Game reveals more about himself in a way that makes the song much more interesting. Still, there are a few too many “I know” lines trying to gain credibility and brag. “Dre said, Dre said, Dre said,” raises the question if The Game is either a raw talent, or a gang affiliated mouthpiece for his older, more street-removed mentor. Still, when The Game presents himself properly, he makes for a very interesting artist. “State Your Name,” which is a condensed rendition of the Ruff Ryders, Snoop, and Scarface collaboration, pairs the Compton rapper with Lil’ Flip along with throwback sports references and hard, simple verses. Here, Game is an able MC doing what few left-side MC’s have done since King Tee and WC, operate on a fundamental, punchline-driven style accessible to Hip-Hop fans everywhere. The record that made T Game worth checking for, “Westside Story,” is featured in the mix in its original form. Amidst the others, the track rises to the top, but maybe a little too high considering our expectations. “Let Them Know,” while it tries to capture a DMX hook without D, is magic based on its verses. It’s been a while since a fresh rapper could bring interesting verses, even if the chorus is wack. While the track points shots at the New York-centric status quo of the industry, The Game also sticks it to Kurupt with, “Compton too corrupt, so I roll with a Dillinger.” If a beef blossoms (do they ever not with The Game?), this here is the jump-off. Needless to say, everybody wants to know what Game will speak on next. To finish out the mix, DJ Mick Boogie also previews new artists, including Balance, who comes correct with North Cali legend, EA-Ski. These are the trimmings not found on your average mix. If you’re hungry for The Game, stay hungry. This mix satisfies the palette lightly, but offers more than most other mixes out there. Unlike Kweli though, The Game has allowed himself plenty of room to outdo his hype. Gems like “Compton 4 Life,” which pairs the rookie artist with the veteran MC Eiht are efforts too simple to make the projected final album, but worth strong recognition. There are a handful of stolen moments like these, and if The Game blows to his anticipation, you’ll want this as a reference point.

Artist: Cam’RonTitle: Purple HazeRating: 4 StarsReviewed by: Martin A. Berrios When Dr. Dre decided to title his debut The Chronic, he was making a statement. It was a direct reference to the album’s amazing potency, which reflected the California weed that inspired the name. Harlem’s own Cam’ron now follows suit with the release of his long delayed Purple Haze (Roc-a-Fella/Def Jam). As an MC, there has never been a question about Cam’s skill on the microphone. The flow has evolved from a speedy short worded bar cadence to a laid-back delivery with more focus on clever wordplay. The lyrical progression along with his unique sense of style has that kept his name buzzing in the rap game. With Killa at his creative best and beats to match, this fourth solo album is his most complete work to date. On the Chad Hamilton produced “Get Down,” Cam tastefully boasts of his current riches while reminiscing of his past rags. The visual imagery of him and his crew sharing dollar fifty chicken sandwiches for dinner is a side that is seldom shown by the often self-absorbed MC. The bouncy sped up soul sample driven track, which might reminds some heads of Jigga’s “Hard Knock Life,” provides a fitting musical backdrop for the introspective hood memoir. On the string heavy “Leave Me Alone Part 2,” Cam’s cocky and braggadocio persona shines through with some impressive lines. “I wouldn’t say I was Nino at the Carter/I’m more like the plant in Little Shop Of Horrors/But I don’t say feed me Seymour/I say feed me Dame, feed me Lyor/Epic, they used to feed me detours/Roc-A-Fella, they feed me C-4.” Fellow label mate Kanye West shows love by cooking up one of the stronger cuts on the project. “Down and Out” finds Cam employing his signature uptown flossy flow as Chicago’s golden boy gives a new twist to the aforementioned production fad, by utilizing R&B song stress Syleena Johnson to sing the sample over on the chorus. Other noteworthy selections are the opera chant influenced “Killa Cam” and the Jahiem assisted “More Reasons.” On the production tip, Purple Haze is sonically sound. The variety of producers provides the listener with a fluid mixture of different vibes musically. As one of the first rappers to rock over a TV themed instrumental (“357”), it is only logical that Ty-Tracks supplies Cam with the Hills Street Blues sampling “Harlem Streets.” The Legendary Traxster also utilizes some eerie synthesized bass guitar on the Twista and Psycho Drama collaboration “Adrenaline.” He adds the infamous Ohio Player’s “Funky Worm” flute sound popularized by late great Eazy-E (“Dope Man”) for added effect. Although Cam’rom succeeds when he does what comes natural to him, he fails horribly when he takes a stab at crafting radio friendly singles. His attempt at recreating the magic of his 2002 hit “Hey Ma” with “Hey Lady” sounds incredibly forced. You’ll also be left asking yourself why did he take it there when you hear his rendition of Cyndi Lauper’s “Girls Just Want To Have Fun” (“Girls”). Additionally the album could have been a tighter package less the five forgettable skits. Hate him or love him, Cam’ron delivers a solid album. Purple Haze will surprise some non-believers with its catchy flows and on point production. Let’s just hope he doesn’t have everyone rocking Barney edition Air 1’s in between the release of his next joint.

Artist: LudacrisTitle: The Red Light DistrictRating: 3 1/2 StarsReviewed by: Matt Barone When you’re a rap superstar in the vein of Ludacris, life seemingly becomes one big party; money flows in with ease, girls drop to their knees at the sight of you, weed piles up by the dime bag, and gallons of liquor equal endless good times. Whether this is completely true or not is only known to Luda and his crew, but, throughout the course of his fourth album, The Red Light District (DTP/Def Jam), these perks of life are extensively covered as Luda draws parallels between his native grounds of Atlanta and the carefree Red Light section of infamous Amsterdam. Rhyming about life’s finer things has always been the witty MC’s strength, making The Red Light District a by-the-book exercise in formulas already familiar to his fans. Despite a few signs of growth, Ludacris’ latest is basically more of the same from one of the game’s more entertaining voices. This isn’t necessarily a bad thing, though, as Luda continues to craft addictive numbers that transcend nationwide tastes and should bump in any Hip-hop fan’s speakers. KLC provides forceful horns and strings for Luda to issue angry commands on the rowdy “Get Back,” while DJ Green Lantern turns the Austin Powers theme music (Quincy Jones’ “Soul Bossa Nova”) into a fierce instrumental as Luda fires off confident boasts at all naysayers, including his highly-publicized enemy Bill O’Reilly. Jim Crow member Polo shows off his production skills on the laidback “Pimpin’ All Around The World,” and playful organs elevate the generic money dedication “Large Amounts” into Rewind worthy material. Ludacris is at his best, however, on the scorching “Potion,” as Timbaland concocts an insane blend of tribal percussion and ambient sound effects for our host to declare, “5’8 but still a big shot, plus I got a big c###/ Get clean everyday, stay fresher than what’s in a Zip Loc/ Tell your man to kick rocks, when I make my pit stops I’m in, then its hard to get me out like I’m a slip knot.” Thankfully, Ludacris opts to take some artistic chances on The Red Light District, and the results are successful. Nas checks in on the nostalgic “Virgo” to glide over Doug E. Fresh’s vintage beatbox skills, while L.T. Mo’s lively Left Coast creation fits Luda and DJ Quik’s back-and-forth verses like a glove on “Spur of the Moment.” Newcomer Voodoo turns Teena Marie’s “Portuguese Love” into a haunting backdrop on “Child of the Night,” as Nate Dogg’s hook nicely anchors Luda’s introspection, confessing, “I admit to being caught by many foolish distractions, and I’m forced to pay the price as a result of my actions.” DMX’s generic chorus and Ice Drake’s tired bells do little to help the weak ‘Put Your Money.” Besides this disposable inclusion, though, The Red Light District plays through with steady enjoyment. The main problem that plagues the record is Ludacris’ complacency, resting in a comfort zone that too many others have established residence in since he first asked listeners “What’s Your Fantasy?” Still, while many may try to duplicate his style, Ludacris is a one-of-a-kind MC in today’s rap landscape, delivering verses with signature flash and punchline prowess. For that, The Red Light District chalks up another victory for Luda.

Artist: ChingyTitle: Powerballin’Rating: 2 1/2 StarsReviewed by: Clover Hope When Chingy delivered the memorable (and inescapable) chicken-head-dance anthem “Right Thurr” and the ladies joint “One Call Away” a year ago, he had the backing of his mentor Ludacris and Disturbing Tha Peace. Now removed from his secure constituents since his sophomore release Powerballin’ (Capitol), Chingy looks a little less credible. And the St. Louis native shows it on this follow-up attempt, which tries about 19 times to cash in on his debut single “Right Thurr.” If you heard the lead track, “Balla Baby,” that’s pretty much how the rest goes. Chingy’s signature slot machine beats—hand claps, cymbals and all—resonate on two-thirds of the album. His suspended delivery, where he statically pauses between words and phrases, is distinct, but annoying after awhile, along with his nasal flow. Not unsurprisingly, girls, strip clubs, fortune and…rims are the subjects at hand. With a list of features as long as the St. Louis Arch, it’s a surprise Chingy has money left over to brag about. But brag he does. “My bank account is amazin’ / I’m ratin’ myself a 20 / I’m takin’ myself on 20s / I’m doing this show for 20,“ he raps on “I Do,” featuring his mediocre crew Get It Boyz (G.I.B.). In the na-na-na-boo-boo song, “26,” Chingy boasts on the hook, “y’all ride 18s / we ride 26s / Big trucks, big wheels, rolling over ditches.” R. Kelly, whose songs are also beginning to fuse in sound, croons on “Leave Wit Me,” where Chingy attempts to persuade a girl by listing his many possessions. “Lookin’ at ya sexy ass make me wanna write a check,” he rhymes at one point. The rapper even caught the attention of the sultry Janet Jackson, who provides her choral seduction on the decent rap ballad “Don’t Worry”—a replica of “One Call Way.” And Nate Dogg lends his mellifluous gangster vocals on the David Banner-produced “All the Way to St. Lou,” a standout track amongst the homogeny. To be fair, a few tracks, like “Fall-N” and even “Make that Ass Talk,” with their catchy hooks, would bode well on their own. But these become stale on an album with 18 other songs that sound identical. A clever, occasionally sharp-tongued emcee with potential, Chingy exhibits no noticeable lyrical development or perfection, an often necessary step in the evolution and ultimate success of a rapper. Rather than rolling with the same strike-it-rich theme of Jackpot, it would have been nice if Chingy experimented with his sound and his subject matter. His sudden leap to stardom has not served him well though, as he’s too at ease to detect the mediocrity. But it’s right thurr for all to see.

Artist: k-osTitle: Joyful RebellionRating: 4 StarsReviewed by: Clover Hope Anytime an artist professes to be both emcee and vocalist, problems arise. One of the two talents is either poor or mediocre at best, or equally suppressed. But the Trinidadian-born, Toronto-bred rhyme specialist k-os effectively satisfies both criteria with his sophomore album Joyful Rebellion (Astralwerks), the follow-up to Exit. The feral lyricist is something of an anomaly (think Raphael Saadiq + Q-Tip with a bit of Wyclef Jean). Where many have attempted and failed to mix genres, k-os’ alternative groove is unforced and much appreciated. He effectively harmonizes raspy vocals to his often self-supplied instruments (acoustic guitar, piano) a difficult task with so many musical styles at hand. Playing both producer and writer to Joyful Rebellion, k-os dishes out a diverse selection of tastes besides rap and R&B. Reggae reigns on the drum-assisted “Man I Used To Be,” which ends with a freestyle. And though “Hallelujah” is a lolled reggae ballad, with a pace too sluggish for k-os to level, “Crucial” provides a soulful reggae rhythm where he carries the tune while vowing to stay by his girl’s side. On “Emcee Murdah,” k-os offers his response to the popular notion that hip-hop is dead: “Money and fame could lead to emcee murder / You think you can escape but you can’t take it any further / You call it writer’s block / But you stop cause the vine is empty / Hip hop’s not dead, it’s really the mind of the emcee.” In “B-Boy Stance,” the rapper takes us back to the days of Hip-hop yore, with background echoes and classic record scratching. “Crabbuckit,” with jazz-like horn solos and the handclap tempo of “Hit the Road Jack,” features k-os verbally maneuvering his way through tongue-twisting rhymes, “I take it higher like a bird on a wire, retire the fire, I’ll never / ‘cause I’m just movin’ on up / Choosin’ to touch / the unseen, craving the clutch / The most inevitable, legible pyromania / Slayin’ the devil and sendin’ him back to Transylvania.” Only the final two tracks “One Blood” and “Papercutz” are a bit off and skippable, as k-os veers from his strong ability to merge his voice with the melody. Though in songs like “Commandante,” which falls short on beat quality, k-os’ flow and vocals carry the beat. Joyful Rebellion not only revolts against the commercial sound of Hip-hop, but attempts to take it back to its roots without overdoing it. And k-os’ audible rage-against-the-machine mentality proves he’s got something to say. If nothing else, the album simply lacks that solid joint that could propel this alternative artist into the mainstream. But k-os seems perfectly content as a Hip-hop rebel.

Artist: Justus LeagueTitle: Triple Play EPRating: 4 StarsReviewed by: Matt Barone Since the early 2003 release of Little Brother’s incredible debut The Listening, North Carolina-based collective Justus League has been crafting refreshing doses of vintage Hip-hop amongst the Dirty South’s crunk overload. While LB members 9th Wonder and Phonte have been gaining widespread exposure due to 9th’s production for Jay-Z and Destiny’s Child and Phonte’s acclaimed Foreign Exchange project, the rest of the League have been grinding beneath the surface. In an effort to warm up listeners for their respective long-players, Big Pooh, The Away Team, and L.E.G.A.C.Y. have put together Triple Play, a collection of newly recorded exclusives nicely showcasing the heat that Justus League has to offer. Using in-house producers Khrysis (of The Away Team) and the aforementioned 9th Wonder to provide the audio pallet, the Justus League representatives paint vivid imagery through equal doses of metaphorical muscle and straightforward rhyming. Big Pooh’s four-song set kicks off the show, as the genuinely reflective “Scars (Cut Me Deep)” perfectly sets things off with Pooh and guests Median and Joe Scudda inviting listeners into their personal lives. Big Pooh has been Little Brother’s secret weapon throughout their recent rise to fame, consistently blessing 9th Wonder’s soulful backdrops alongside the more recognizable Phonte; on Triple Play, Pooh shows and proves with ease while on his own. He rides solemn horns and echoing vocal wails with smooth execution on “Keep The Bling,” while blessing Khrysis’ heavy boom-bap on “Tellin Me” with, “I rap with a chip on my shoulder, that’s the reason Pooh gettin’ colder, a lot older/ Than I was around the same time last year, made a couple dollars, still no flash here.’ The Away Team, comprised of Khrysis and Sean Boog, keep the quality up-to-par as their four-song portion jumps off with the abrasive “S#####,” an ode to weekend alcohol indulgence. Loyalty and love are paid tribute on “Family Ties,” while funky guitars and light percussion anchor the lyrical barrage “Do It,” as Joe Scudda and L.E.G.A.C.Y join The Away Team for a strong verbal cipher. L.E.G.A.C.Y’s laidback delivery powers the final third of Triple Play, darkening the mood a bit as he brings reality raps with his subdued approach. “The Death List” creeps along with distant acoustic guitar plucks and L.E.G.A.C.Y.’s morbid observations. He invites Median and Chaundon to attack the haunting strings and voiceovers on the menacing “Strange Appetite,” and “Cold As A Butcher” finds L.E.G.A.C.Y. at his MC best, gliding over 9th Wonder’s dizzying bells with, “Now I’m here, I spat the meanest/ Society’s fear, I’m a Black genius.” On all levels, the Justus League is one of the game’s most talented and promising crews, and Triple Play is an effective display of what these artists can do. Bringing instrumentals that sound plucked out of Hip-hop’s mid-90s era when DJ Premier, Pete Rock, and Large Professor were prolific, 9th Wonder and Khrysis keep the soundtrack impressive throughout, while Big Pooh, The Away Team, and L.E.G.A.C.Y. issue honest and skilled verses that warrant respect. In a time when record labels seem to sign artists based more on style than substance, the Justus League’s untainted music is a much-needed alternative. Serving as a precursor to Big Pooh’s Sleepers, The Away Team’s National Anthem, and L.E.G.A.C.Y’s Project Mayhem, Triple Play should wake up those ignorant to the flood of music that the Justus League is ready to unleash in 2005.

Artist: XzibitTitle: Weapons of Mass DestructionRating: 3 1/2 StarsReviewed by: Bill Low-Key Heinzelman Xzibit sold out! That is what many fans have been saying since Mr. Pimp My Ride has blown up on a national level the past two years. Now back with his fifth album, Weapons Of Mass Destruction (Sony), Xzibit is out to prove that he has not forgotten where he has come from and that he remains one of the West’s premier emcees. Coming off of a sub par album is never easy, especially for Xzibit, as his 2002 release, Man Vs. Machine, was labeled by critics and fans alike as his weakest album. Thankfully, Xzibit has refocused and delivered a solid comeback effort with Weapons Of Mass Destruction. Following in the same light as 2000’s Restless, his latest offering combines solid song making and satisfying production with Xzibit’s trademark charisma on the mic. This creative flare is never more evident than on X’s fist single, “Hey Now”. With Timbaland ‘s head nodding handclaps and Keri Hilson’s insanely catchy hook, X delivers his best commercial track yet. But unlike his last album, Weapons Of Mass Destruction does not try to force the issue by regurgitating lame radio friendly singles over and over. Instead X shows more variety and steps outside of his comfort zone. The socially conscious “Cold World” finds X in storytelling mode, painting three diverse pictures of life and its harsh realities. From sexual harassment, to a drug deal gone wrong, to an Iraqi family stuck in the middle of President Bush’s war, Xzibit is able to draw the listener in with each standout verse. On “Scent Of A Woman” X does what every great man should, by paying homage to the strong woman in his life. In addition, DJ Hi-Tek laces the track perfectly with his hard hitting drums and ambient violins. While most of the album finds Xzibit flying solo, when he does stop to gather some help is when the album tends to falter. Busta Rhymes comes through for a formulaic sh*t talking effort on “Tough Guy”, an awkward Hi-Tek produced track that finds the duo rocking over an irritating Oompa Loompa backdrop. In addition, Xzibit’s Strong Arm Steady Crew fails to impress with their generic offerings throughout the album. The gun busting tales of “Beware Of Us” suffers from X’s singsong hook and each emcees lackluster verse. Things do not get any better on “Crazy Ho”, another b*tches ain’t sh*t influenced track that is almost common place among West Coast albums for the past ten years. With Weapons Of Mass Destruction, Xzibit proves that his new found fame has not gone to his head. Mr. X to the Z is still capable of producing solid albums, and after eight years in the game, that is all you can ask for.

Artist: DJ SnickaTitle: Biggie Blendz (Mixtape)Rating: 4 StarsReviewed by: Robert DeGracia It took long enough for longtime New York City club DJ Snicka to compile a Notorious B.I.G. project. With 10 years of mixtape production under his belt, including mix-heavy tributes to Mary J. Blige, Kanye West and Jay Z., Biggie Blendz is a playlist deep with the late rapper’s hits, and dubbed as the new 48th piecing to Snicka’s thick list of mixtape essentials. As the blend tape has been archaic in mixtape locales, they have become virtual generational pushovers in the market by today’s mixtape standard. Armed with PC music software and a CD burner never made becoming a hands-off DJ easier than now. However, Snicka’s production on this project goes beyond typical voice-overs and cut and paste icons, as he reintroduces the critical mixing criteria within the DJ skill set. He echoes the classic formula of blending as a process similar to finding Ms. Right on Match.Com: it’s all about pairing up perfect partners. Key finds on Biggie Blendz are “One More Chance” over the Snoop’s “Drop it Like its’ Hot,” “Hypnotize” over the reggaeton anthem, “Oye Mi Canto,” and “Venue” over Ciara’s ”Goodies.” The “Dead Wrong” blend over Fabolous’ “Breathe,” has already caught radio play (Hot 97) as even Biggie’s former DJ, Mr. Cee featured this blend on his late night mixshow. There are also several unreleased live tracks from B.I.G. in London. Biggie Blendz reminds us that ingenuity has not been totally sacked, and can be just as potent a DJ tool as a punchline is to a rapper. Whatever the classification, the mixtape world can learn to mix well with at least one more blend.

Artist: Bizzy BoneTitle: Alpha And OmegaRating: 3 StarsReviewed by: Bill Low-Key Heinzelman From the brutal murder of his brother and partner in rhyme, Adrian “Capo” Parlette, to Bone Thugs~N~Harmony kicking him out the group, Bizzy Bone has certainly dealt with his share of adversity the past two years. This pain, anguish and frustration is never more evident than on his third solo LP Alpha & Omega (Bungalo)). With the weight of the world on his shoulders, Bizzy in turn delivers a gutsy album that exemplifies the strength he possesses. Combining the street sounds of Heaven’z Movie, and the spirituality of The Gift, Bizzy is able to display his versatility on Alpha & Omega. Lyrically, Bizzy still continues to amaze with his combination of socially conscious yet gritty street tales, leaving behind the teenage emcee from his Creepin On Ah Come Up days. Mix that in with one of the game’s best flows, and you have an emcee able to impress every time he touches the mic. However, even though Alpha & Omega is a reminder of how talented Bizzy is, unfortunately, his performance is hindered by sub par production. With an assortment of unknown in house producers, the production on Alpha & Omega is unable to match Bizzy’s intensity and emotion on the mic. Studio Rat’s dated synthesizer production on “Not Afraid” ruins Bizzy’s heated gun busting tales. While Kevin Rowe & Yon’s atrocious arrangement of simple keys and light drums overshadow Bizzy’s trademark double-timed flow on “Sit Back Relax”. Similarly, Bizzy and his 7th Sign Regime fail to shine on their two contrived group efforts, “Tha Streets” and “My N#####”, as the production on both tracks is poorly put together. While the production on Alpha & Omega is certainly his worst to date, thankfully Bizzy is able to rebound and provide some of that vintage Bone material we have grown to love over the years. The self produced “Died 4 U” finds Bizzy addressing the ongoing situation between himself and Bone Thugs~N~Harmony. Over his own unique combination of spacey keys and blaring horns, Bizzy lets Bone know he would have died for them, but the black widow (CEO of Ruthless Records, Tomika Wright) “tried to play him”. “I Understand” is another brutally honest song where Bizzy touches on all the hardships he has faced during his life. But instead of making excuses, Bizzy goes introspective and realizes his own shortcomings. “For those that love me, if you leave me, I understand. I made some bad decisions in my life, I understand. I raise my right hand up to God, right where I stand. I’m gonna go ahead and struggle and return a better man”. For those looking for something a little more edgy and street from Bizzy, do not fret, Alpha & Omega has something for you as well. The controversial “Everywhere I Go” is Bizzy’s own twisted version of Biggie’s “Dreams”, only Bizzy’s proclaims his version is filled with nothing but the truth as he runs through all his encounters with female celebrities over the years. From Beyonce, to Mya and Toni Braxton, no one is safe from Bizzy’s wrath. Even harder hitting is the album’s standout cut, “Better Run, Better Hide” where Bizzy professes his displeasure with B2K. “Imagine me being signed to B2K? What? Did you think you could pay me in monopoly money? Man, I will smack one of you n*ggas in the head with a baseball bat, I ain’t f*cking around”. If you want to hear Bizzy black out like the days of old, then “Better Run, Better Hide” is for you. There is no questioning Bizzy Bone’s talent, but Bizzy is going to have to gather better production if he intends to reach the level of success he is striving for. Alpha & Omega is a solid album that will certainly keep your taste buds wet for more material, but in the end Bone fans know Bizzy is capable of producing a better album.

Artist: DiplomatsTitle: Diplomatic Immunity 2Rating: 3 1/2 StarsReviewed by: Martin A. Berrios Within the last few years, there has been a new regime coming up in the ranks of Hip-Hop. Through their constant flooding of the mixtape circuit and the more recent launching of their record label, The Diplomats have become a staple in the New York Rap scene. Lead by Cam’ron, Jim Jones and Juelz Santana, the Dip’s impact has even crossed over to fashion, as they have made Pink fashionably trendy in the streets. But don’t let the feminine colors fool you. Their double album Diplomatic Immunity spawned several street anthems, such as “Dipset Anthem” and “I’m Ready,” leading many to consider the debut a hood classic. With solo albums from each one of the primary members already in the books, the Harlem collective once again regroup to serve up more Upptown drug drama over solid production on Diplomatic Immunity 2. Young gun Juelz Santan gets his grown man on by holding down the album’s first single all by his lonesome. On “S.A.N.T.A.N.A.,” Juelz implements a non traditional rhyme scheme where instead of rhyming the last word in each bar, he recycles the same last word with a play on the word prior to it. This rap style popularized by Beanie Sigel, compliments the song’s speedy high hats and heavy synthesized drums adequately. Production team the Treblemakers also use a high pitch chipmunk like voice to repeatedly mention Juelz’ name over the track for a more personal touch. On “Take Em To Church,” Cam’ron makes his feelings known about his former partner in crime Ma$e. On the piano driven track, Cam questions the rapping pastor’s true intentions; “This is my call about a false prophet/all profit/Harlem hustler I can’t at all knock it/but you hard when you go into the Lord’s pocket.” Even though all of the members lyrically hold their own weight, it is the new additions to the team that really shine on Diplomatic Immunity 2. Mixtape phenom J.R. Writer and Monday Night Fight Klub veteran 40 Cal both make their presence felt with hard-hitting flows and memorable punchlines. On arguably the album’s strongest cut “Stop-N-Go,” J.R. just does that with his rapid delivery. Produced by Develop, the track is fueled by thunderous drums that only drop in at every four bars. J.R. matches the intensity with tricky wordplay that involves rhyming every word in the accompanying four bars in an effort to not get outdone by the music. “I’m just miraculous/accurate, that’s just the half of it/mastered this, I could laugh at this/show you just how savage get” he exclaims. Other noteworthy joints include the dirty south influenced “Get From Round Me” and the gritty “Dead Muthaf*ckers.” The Dips do drop the ball when they experiment outside of their hardcore comfort zone. Their attempt at a radio friendly hit “I Wanna Be Your Lady,” falls short with its blatant jacking of Ghost Town DJ’s “My Boo.” The song sounds incredibly forced, eventually sounding out of place. Even worse is the horrific remake of Salt-N-Pepa’s “Push It.” Cam’ron and company desecrate the old school classic by updating it with a new drug related theme. Overall D.I. 2 will satisfy most heads looking for their next Dipset fix. Besides some questionable choices here and there, this album is what’s really good.

Artist: El-PTitle: Collecting The KidRating: 2 1/2 StarsReviewed by: Matt Barone Coming up as part of the seminal New York City underground crew Company Flow, avant-garde producer extraordinaire El-P has carved a comfortable niche for himself courtesy of his successful label Definitive Jux. Crafting mind-bending backdrops on Cannibal Ox’s incredible exercise in atmospheric B-boy music, 2001’s Cold Vein, and pushing the limits of conventional hip-hop again with his 2002 solo debut Fantastic Damage, all releases coming after these and boasting El-P’s seal of approval have been justifiably met with anticipation. Rather than service fans with his long-awaited follow-up to Fantastic Damage, though, he has issued a half-hearted disc of previously available selections and instrumentals to some of his past creations, titled Collecting The Kid (Definitive Jux). While showcasing his skills nicely at times, Collecting The Kid is ultimately lazy in both execution and intent. At his best, El-P is blessed with doses of beat-making innovation rivaled by few producers currently employed behind soundboards, and Collecting The Kid highlights a few of his standout concoctions from over the years. “Leaving This Place” is the same beat heard on Mr. Lif’s apocalyptic masterpiece “Post Mortem,” off of his slept-on 2002 opus I, Phantom, maintaining its string and percussion-driven aura of dread despite lacking the powerful verses from Lif, Jean Grae, and El-P himself. The spastic bass of Murs’ “The Dance” instrumental is found here as well, sounding like Timbaland on an entertaining acid trip, while pounding guitar riffs and robotic sound bytes power the moody “The Day After Yesterday.” Collecting The Kid also provides a slight glimpse into El-P’s production future, including the hypnotic rattling drums of “Telemundo,” from his upcoming movie score for his feature-length film, Bomb The System. The remainder of Collecting The Kid does little justice to El-P’s real abilities. Irritating and musically deficient crew Central Services raise annoyance levels on two cuts, the plodding “Jukie Skate Rock” and the pointless exhibition of forced mood, “Oxycontin.” “Intrigue In The House of India” completely abandons El-P’s Hip-hop roots and ventures off into uncharted jazz territory, a move that would be commendable if done properly, while the pseudo R&B sounds of “Constellation Remix” beg El-P to stick strictly to rap. Collecting The Kid doesn’t tarnish the strong reputation this producer has rightfully earned, but the laziness of this project makes this disc rather disposable. His past releases felt like months of thought and preparation had gone into their respective conceptions, but Collecting The Kid feels like no more than a few studio hours of effort were involved. Seemingly intended as a temporary holdover for his upcoming brand new material, Collecting The Kid is worth a quick listen, but for fitting displays of El-P’s talent, engage in some crate digging to unearth underground classics like Cold Vein and Company Flow’s Funcrusher Plus.

Artist: T.I.Title: Urban LegendRating: 4 StarsReviewed by: Matt Barone For Atlanta native T.I., confidence is a trait possessed in bulk. While a rapper boasting of his or her ability is standard practice in today’s game, T.I. has taken this assurance to the level of proclaiming himself as the King of the South. Some may call it arrogance, but after listening to his third effort, Urban Legend (Grand Hustle/Atlantic), placing the crown on top of his dome may seem justified. Using high profile cameos on recent albums by artists such as Destiny’s Child and Lil Jon & The Eastside Boyz as hype builders, Urban Legend comes at T.I.’s career apex thus far, thrusting it passed 2001’s criminally overlooked I’m Serious and 2003’s well received Trap Muzik in importance for the young MC’s future. “I came, I saw, I conquered/ with no big names, no fame, no celebrity sponsors,” he declares on the album’s scorching opener “Tha King,” where he flips Run DMC’s “King of Rock” into an antagonizing exercise in self pride. One of the tools T.I. has used to build his strong foundation of nationwide respect is his near-flawless flow, kicking swift wordplay with a Southern swagger that catches any beat thrown its way on Urban Legend with ease. DJ Toomp blasts thunderous synthesizer riffs on the defiant “U Don’t Know Me” as T.I.’s charisma turns an otherwise repetitive dose of chastising into a chant-worthy banger. BG spits nicely over KLC’s chopped-up saxophones on the street-geared “What They Do,” but T.I. shines over the Chopper City representative with, “My daddy wasn’t a doctor and my mama was no lawyer/ I didn’t have s###, so congratulations is in order.” The Rubberband Man’s lyrical expertise is displayed most clearly on two standout selections, though; Sanchez Holmes’ commanding horns bring the battle side out of T.I. on the gritty “ASAP,” while on the introspective “Praying For Help,” Holmes uses vibrant bells to showcase the rapper’s deeper psyche, as reflects with, “I believe one day, that I’ma change my life, get right, start living like Christ, until the end of my fight/ I’m gonna be defendin’ my stripes ‘til somebody come and shut off my lights.” To be a superstar in today’s hip-hop market, however, songs primed for radio acceptance are a must, and on Urban Legend, T.I. proves he’s fully capable of crafting Hip-pop fare. “Get Ya Sh*t Together” finds him schooling misguided females to the ways of proper conduct alongside Lil Kim, while on “Freak Though,” he opts to wife up a proven hoe over The Neptunes’ airy instrumental. Scott Storch provides a Caribbean-flavored soundtrack for T.I. to floss with his girl on “Chillin’ With My B*tch,” and Jazze Pha creates the latest stripper anthem on the Nelly-assisted “Get Loose.” Showing that his capabilities stretch beyond Dirty South borders, T.I. collaborates with Daz Dillinger on the smooth “My Life,” a track aimed at after-hours rides with car speakers booming. If it weren’t for his P$C team failing to liven up the amnesia-friendly “Limelight,” T.I.’s Urban Legend would be an end-to-end success. While his opposition continues to gun for the throne, T.I. should have it locked down now that his Legend has been revealed. Eclipsing Lil Flip’s lyrical deficiencies and surpassing Ludacris in street-corner authenticity, T.I.’s recent enemies should temporarily fall back, as he has earned the right to be crowned. Whether he maintains this level of quality in the future is to be determined, but, until proven otherwise, T.I. is official Southern royalty on the microphone.

Artist: BeansTitle: Shock City MaverickRating: 3 StarsReviewed by: Max Herman On Beans’ sophomore album, Shock City Maverick (Warp Records), this left field MC/producer sounds like he just stepped out of a time machine that visited the Bronx in 1980, and 2020. This former member of Anti-Pop Consortium utilizes a unique combo of primitive and futuristic styling–behind the boards and the mic. Aside from some of El-P’s production, there’s not much Hip-hop out there today is comparable to the music of Beans. While artists who stick to their guns and ignore the rest of the industry’s antics should indeed be lauded, Beans’ out there, time traveling style is likely to mostly attract fans of the extra avant-garde. Dissect the elements of almost any song off of Shock City Maverick and you’ll hear old-school drum patterns and spacey synth loops and sound effects aligned with an accelerated spoken word-esque delivery. Songs like “Blind Driver,” “Shards of Glass” and “Down By Law” are all enjoyable as they effectively showcase a crossing of Hip-hop’s past circa the early-80’s and its potential future. And Beans, with his extra-swift delivery doesn’t sputter a bit on the mic, making it hard to believe how many of these lazy-flowed rappers ever got put on. There’s no questioning Beans’ skill. Although, when he raps on the aforementioned “Blind Driver,” “Man, I walk a tightrope wearing two left shoes,” his showy style of proclaiming his uniqueness becomes all too apparent. And oftentimes his mish-mash of bravado and abstract poetics can be too much to ingest at once. Like a wild style graffiti piece, Beans’ multi-layered music requires some time to decipher. But in the end Shock City Maverick is more of an abstract art gallery piece than an illegal burner superimposed onto a city rooftop. While his music does draw from fun and familiar sounds of Hip-hop’s elemental past, his wordplay leans towards being elusive, thus catering to a selective audience. Beans is a maverick indeed and those down with his unconventional styles should be pleased with Shock City.

Artist: Lil Jon & The East Side BoyzTitle: Crunk JuiceRating: 3 1/2 StarsReviewed by: Orisanmi Burton As the official ambassador of “crunk” to the world, Lil Jon single handedly propelled his underdog label TVT Records to the top of the Billboard Charts with the release of his second full length album in 2002, Kings of Crunk. Dirty south Hip-hop has been a force to be reckoned with for over a decade now. Artists like The Ghetto Boys, The Dungeon Family and UGK paved the way with their distinct sound flavored with localized slang and laid back lyrical deliveries. However there is nothing laid back about Lil Jon’s club-ready concoctions of earth shattering bass and menacing keyboard arrangements. “Get Low” the second single from his multi-platinum Kings of Crunk album, turned out to be one of last year’s biggest singles, rousing unsuspecting partygoers into frenzy and for Lil Jon, translating into big radio airplay and an A-List line-up of collaboration offers. He invigorated the careers of The Youngbloodz and The Yin Yang Twins with “Damn” and “Salt Shaker,” respectively, while bringing Usher back hard with the his smash hit “Yeah” in 2003. Crunk Juice (TVT), is the third full length studio release from Lil Jon and The East Side Boyz, and finds the trio sticking to the conventions that made them successful last time around. For all intents and purposes the album is a compilation produced mostly by Lil Jon, but narrated by an all star roster of guests including Ludacris, Chris Rock, T.I., Eight Ball & MJG, Lil’ Scrappy, Pimpin Ken, Bun B., Jadakiss, Pharrell Williams, Nas and R Kelly. Expect more of Lil Jon’s raucous sing-a-long hooks, infamous for inciting ladies to holler self-deprecating statements at the tops of their lungs and for provoking fellas to threaten each other’s lives. All in the name of Hip-hop music. On “What U Gon Do” Lil Jon and company chant: If you fall up in the club, And them n##### wanna mug, When you step up to they face What they gon’ do, SH*T! If you fall up in the club, And them hoes start acting up, When you step up to them hoes, What they gon’ do, SH*T! Two stand-out tracks are “White Meat” featuring the underrated Eight Ball & MJG and “Contract” featuring Jazzy Pha and Triville. The former finds the Memphis duo trading rugged verses over a series of tightly constructed electric guitar samples and sub woofer shattering 808 bass kicks while the latter, as evidenced by the colorful introduction from Pimpin’ Ken, is a not-so-subtle invitation for sex with no strings attached. There are a couple of suprises on Crunk Juice as well. “Stop F*ckin’ Wit Me”, a Rick Rubin produced heavy metal track, “Aww Skeet Skeet” an homage to D.C. Go Go music and “Lovers & Friends”, an Usher and Ludacris slow jam, are all notable departures from his usual formula. Although these tracks disrupt the rhythm of the album and sound a bit contrived, branching out and experimenting with different types of music is a smart move for someone in such high demand. On “Stick That Thang Out” Lil Jon doles the production duties to the Neptunes, who throw together a BPM heavy track bound for gentlemen’s clubs across the country. After Pharell continues his recent flirtations with MC’ing, Lil Jon recites no less than five different chorus’ popularized during the Miami Bass frenzy of the early 90s. Lines like: Ain’t nuthin but Tooty Fruity Get on the floor if you got that booty Shake what ya mamma gave ya Shake what ya mamma gave ya But perhaps the most lyrically potent song on the Crunk Juice is “Grand Finale” featuring Bun B., Jadakiss, T.I., Nas and Ice Cube, a dope beat, and no hook; a true posse cut. After Dave Chappelle’s hilarious skit poking fun at Lil Jon’s limited arsenal of crunk vocabulary, everyone with a .5 pop culture I.Q. was walking around screaming “Yeah!”, “What!” and “Okay!”. With that much exposure it would have been easy to fizzle out, but in the past 2 years, Lil Jon has cemented himself as a certified hit maker. Crunk Juice reveals no signs of him slowing down anytime soon. What the album lacks in artistry and maturity, it makes up for in energy and rhythm. Expect to hear quite a few singles and remixes off of this album and many more projects to come.

Artist: C-Rayz WalzTitle: We Live: The Black Samurai EPRating: 3 1/2 StarsReviewed by: Shawn Lawrence James When the lyricist known as C-Rayz Walz (pronounced see-ray-zee-walls) released his 2003 debut, Ravipops (The Substance) he instantly became the carnivorous cynosure of the indie powerhouse known as Definitive Jux. Known for its famished demeanor and an argosy of sick instrumentals, the album collected praise from the underground circuit and some encomiums love from rap critics, but failed to ring a bell with the average Hip-hop consumer. Always moving with the rhythm of consistency, the Bronx bred rapper returns with his second set We Live: The Black Samurai EP, (Definitive Jux) a guide taking listeners through the labyrinths of his NY state of mind. Riding with a cohort of producers which includes Dub-L, and DJ Static amongst others, the album opens with an up-tempo, 20 second “Opening Ceremony” instrumental (which also serves as the “Closing Ritual”) that sounds more like a snippet from a Chinese New Year’s festival than to be kicking off a Rap album. The latter was proceeded with the Belief produced “We Live”. The track, which is a revised version from his debut, is a fine piece of work that has C Rayz hopping over stumbling drum patterns with ease while dropping jewels to anybody who is willing to listen. From the generalization of his people he concentrates his focus even further to his sistas in the struggle on the shadowy “Single Mothers”. This track is an instant standout because he uses incredible imagery in his signature slur to construct a landscape that almost mirrors their reality while sending out his condolences. From showing love to the baby mamas he makes the conscious decision to walk around with one of his own on the boy-meets-girl stamped “Amore”. This joint has C-Rayz showing his affectionate side while spitting cheesy one liners like “Guess what just came out? [What?] Your smile” The tone eventually stiffens up when one is confronted with the somber “3 Card Molly” where Cave Precise’s drums intensifies with every verse laid superjacent to C-Rayz regret ridden words that actually sounds like a eulogy reminiscing on his loved ones. As with his last outing at mainstream, C-Rayz’s sound clearly is far from universal. The eclectic mash of “Rain Forever” may be too complex for the average TRL teenie. But for those willing to accept his music for what it’s worth (including the ridiculously short beat intermissions that soak up 1/3 of the disc) The Black Samurai EP is a delicious appetizer for those craving food for thought in between his full length LP’s.

Artist: Trick DaddyTitle: Thug Matrimony: Married To The StreetsRating: 3 1/2 StarsReviewed by: Martin A. Berrios With Miami on his back since 1998, Trick Daddy Dollars (He put the dollars in his pocket) has held down the MIA in a fashion that is only second to Uncle Luke. His heartfelt Thug Life testimonials (“Amerika,” “Thug Holiday”) have been synonymous with the poverty stricken neighborhoods that are often left neglected amongst the more lavish bikini clad South Beach areas. Additionally, he is able to also connect on a national level with his catchier songs (“Nann N####,” “Shut Up”) without compromising his Dirty South demeanor. Now on his fifth installment, Thug Matrimony: Married To The Streets, Trick proclaims his perpetual love to the streets. Unfortunately, at times this exchange of vows gets lost in the musical translation. From the jump it is clear that Trick wants to make his presence felt. The album opens up on an aggressive tone with “F#####’Around.” Trick holds his own amongst southern upstarts Young Jeezy, Kase 1 and T.I.(peep the Lil’ Flip dis) over a heavy synthesized Chronic Chris production. The rowdiness is continued with the album’s first official single “Let’s Go.” Trick and Twista trade verses without overshadowing each other, while the crafty use of a classic Ozzy Osbourne guitar riff sample by production duo Unusual Suspects and an amped up hook from Lil’ John make a unique crunk rock blend. Even amidst all the present company, T Double D also does his thing on the solo tip. On “Gangsta Livin’,” he paints a picture of how high the stakes have risen on the block. The hook makes everything connect: “This gangsta living/even dope dealing/oh how it’s changed/things getting strange/and dangerous/but that’s the way s### go.” In regards to subject matter, Trick doesn’t pigeonhole himself to just thugging and block hugging. He reminisces about growing up as a child with “These Are The Daze” and inspires the youth about making their dreams a reality on “I Wanna Sing,” proving Trick still loves the kids. Catering to the ladies on “Sugar (Gimme Some),” he hooks up with Cee-Lo and Ludacris to offer something to the opposite sex minus the skeet skeet and degradation. The light bass line and feel good nature of the track is reminiscent of Trick’s earlier hit “In The Wind.” Thug Matrimony does falter a tad from some bland production and uninspired song ideas. The synthesized horn and light keys that Sanchez Holmes implements on the sexually graphic “J.O.D.D.”(Jump On Da D*ck”) sounds strikingly too close to Master P’s “Dem Jeans.” Also Trick could of chosen a Hip-hop harlot that was better suited for the collaboration other than the talent less KHIA. Additionally on “Ain’t A Thug,” Trick borrows and alters the hook from New Edition’s “If It Isn’t Love.” The remake comes across more like a parody you would receive from one your friends on a gag email. With his latest release, Trick Daddy doesn’t necessarily show artistic growth, but consistency. Thug Matrimony holds true to the thug life he leads, with sprinkles of OG knowledge. The album is solid enough that he shouldn’t worry about not having signed a pre-nup.

Artist: Ying Yang TwinsTitle: My Brother & MeRating: 3 StarsReviewed by: Yama After TVT Record’s platinum success of Me & My Brother, the Ying Yang Twins have released the quasi follow up, My Brother & Me (TVT). The 10-Track remix CD includes a bonus DVD with videos and performances for true Ying Yang Twins fans. The album is full of street singles and club bangers with popular ghetto production by Collipark Records, Just Blaze, Lil Jon, and Dani Kartel. Strip Clubs DJs nationwide will be more than amped to spin typical Ying Yang tracks that survive from the crunked up, bootyshaking beats layered with the basic, sex driven lyrical content. Juvenile’s “Slow Motion” with Ying Yang, Wyclef, and UTP along with “Take Ya Clothes Off” featuring Bone Crusher have already received heavy rotation in the South. Yonnie’s “In Da Club” featuring the Ying Yang Twins and “Do It”, which remixes the DJ Jimmy classic “Do It Baby Stick It to Do It Baby Shake It” are also bound to become street singles and booty club favorites. There is even a little flava for Northern heads on My Brother & Me. Produced by Just Blaze, “Get Crunk Shorty” features Nick Cannon, ahem, Ying Yang, and Fat Man Scoop. Although Nick Cannon is not considered a lyricist, a verse on a Ying Yang LP can’t hurt cause there is no one to steal his shine on this track. Fat Joe truly blesses Ying Yang with the hottest verse on the “Salt Shaker Remix”which also features Murphy Lee, Juvenile and Lil Jon. His verse on this played out hit makes it bearable to hear it another thousand times. Overall, My Brother & Me was not a waste of TVT Record’s money or energy. This “get crunk” CD definitely has a place in the clubs; booty clubs especially. For private strip parties you can put this one in, let it ride, and enjoy the show. Ying Yang Twin’s My Brother & Me will make sure you get your money’s worth.

Artist: Snoop DoggTitle: R&G (Rhythm & Gangsta)Rating: 4 StarsReviewed by: Jozen Cummings Let’s forget all the hyperbole about Snoop’s illustrious 12-year career in Hip-hop; it has no place in an album review, it belongs in a Hip-hop history book. Rather, let’s stick to current events. Snoop Dogg has a new album, R&G Rhythm and Gangsta: The Masterpiece (Geffen), and it’s exactly that – a masterpiece. From the album’s intro, “I Love to Give you Light” produced by Alchemist, to the lead single, “Drop It Like It’s Hot,” Snoop’s latest is perhaps his greatest since 1993’s Doggystyle. As a rapper, Snoop has made progress, and therein lies the most impressive thing about R&G. When he debuted in 1992, the young Long Beach native was shy, and though his flow was uniquely his, he had a tendency to sound like a kid in the back of the classroom who just wouldn’t speak up. But now Snoop spits like he owns that flow (and truth be told, he does), and is daring someone to step up and try to do it better. On “The Bidness” he warns any haters who choose to confront him personally with their hate to “Close your chops/ I knows your spots/ keep talking n####/I’ll expose your knots.” Another sign of Snoop’s wisdom is the healthy balance between songs for the street and songs for the club. The aforementioned “The Bidness” and “Oh No” featuring 50 Cent are just as good as any other banger in the hood. Then there’s the grown and sexy feel of “Let’s Get Blown,” which has Snoop crooning like a ghetto Sinatra over a streamlined beat by The Neptunes. He switches between both styles of Hip-hop better than Bo Jackson did football and baseball. Of course, R&G also has its fair share of guest appearances. Some of the more impressive ones are Pharrell from The Neptune’s on “Drop It Like It’s Hot,” where he says slick lines like, “The Phantom/exterior like fish eggs/the interior like suicide wrist red/I can exercise you/this can be your phys-ed/cheat on your man ma, that’s how you get ihizead.” Then there’s Nelly who brings his Midwest pimp game on “Girl Like You,” as the two trade lines about a pair of females they want to talk to. And, in what has become a Hip-hop boilerplate, “Step Yo Game Up” featuring Lil Jon and Trina, Snoop flows so easily over the dirty South 808’s that it’s hard to believe he was once mocked and laughed at for being on No Limit. Going on about how great of an album R&G is, is easy, and there’s really little room to criticize Snoop on one particular thing, because the range he displays and the chances he takes can probably answer every one of them. It’s no secret that he has become a rapper of superstar proportions (more people probably know his name than own any of his records), which might make some miss the days when he was just a rapper, and that right there may be the only problem: It took two years to release R&G, and after one listen, you can only pray that he doesn’t let movie roles and endorsement deals get in the way of making another album sooner.

Artist: Kutmaster KurtTitle: Redneck GamesRating: 3 1/2 StarsReviewed by: Bill Low-Key Heinzelman Best known for his work with the legendary Kool Keith, artist/DJ/producer Kutmasta Kurt has long been revered as one of the underground’s hidden talents. While he has dabbled in the limelight by producing classic remixes for the Beastie Boys’ “Body Movin” and Linkin Park’s “In The End”, Kurt has remained a relative mystery to the average Hip-hop fan. Looking to help change all of that is Kurt’s Redneck Games (Waxploitation), a compilation full of his best work over the years. For those not familiar with Kurt’s work, Redneck Games is a perfect place for you to start. However, even if you have followed Kurt’s career from day one, the compilation will certainly not disappoint due to the variety of artists featured. Kurt’s two biggest hits, Beastie Boys “Body Movin’ Remix” and Linkin Park’s “In The End Remix” are of course featured on the album, but they are not the only classic cuts Kurt has produced. The Dilated People song that put them on the map, “Work The Angles”, is one of Kurt’s most overlooked gems, as Kutmasta’s hard hitting drums and acute keys provide the perfect boom bap backdrop for Iriscience and Evidence. Rasco’s “Ready To Rock With Us” finds Kurt cooking up a razor sharp violin loop that is too ill to even describe. However, if that was not enough to prove he has some crazy skills, Kurt goes all out on Resorte’s Spanish rock remix of “Brota”. With a combination of edgy guitar riffs and lightening quick DJ cuts, Kurt proves he can produce on a variety of levels. With a wide range of artists and beats to sink your teeth into, Kutmasta Kurt’s Redneck Games is an extremely satisfying compilation that should please long time fans and new jacks alike. Whether he is crafting classic beats for Linkin Park, the Beastie Boys, PMD or Kool Keith, Kutmasta Kurt has let his music done his talking, and it has certainly spoke loud. Redneck Games is an album that anyone can enjoy; no matter if you live in a red state or blue state, or you’re rockin’ a mullet or cornrows.