Artist: Djinji BrownTitle: Uncle Junior’s Fish Fry (The Market)Rating: 4 StarsReviewed by: Paine Djinji Brown has been laying the cut for a minute. As a producer, he has crafted some sounds behind Pete Rock and CL Smooth, A Tribe Called Quest, J-Live, and even Barrington Levy. As a DJ, he has been a young face keeping alive the spirit of Bambattaa and Herc with the hip-hop dance party. Last year, Djinji’s album Sirround Sound surprised many for its innovation in the instrumental hip-hop arena. Djinji returns, to mix a compilation of the same records Seven Heads founder, Wes Jackson’s father used to play at his memorable Fish Fry’s; Uncle Junior’s Fish Fry (The Market). Djinji pulls from a wide array of shelves to make this mix. While it’s not the quickly cliché mash-up variety, Djinji does put Jazzy Jeff, Brass Connection, and Vinija Mojica all on the same mix. Without a doubt, Brown never breaks the cohesive blend, and the listener gets a true house party vibe that feels both part 1975 and part 2005. While these records are probably not in your personal crates, the tracks will sound familiar. If they aren’t you’re in for a deep treat. The Gregory Issacs’ “Crof” served that purpose for me, providing a newfound deep dub delicacy. Other highlights include the underground disco jam “The Meaning” by Brass Connection, and the horn heavy, too-short, “Don’t Take Your Love From Me” by Marion Brown. While The Market is etched together with a strong hip-hop sensibility, the mix truly pays greater homage to West Indian rhythms and Afro-percussion. Even for the most belligerent b-boy, there’s nothing not to love here at all. Many argue that hip-hop remains for the young. Djinji Brown’s deft mixing skills on Wes Jackson’s household records prove otherwise. The Market is a mature record for a hip-hop fan to grow old with. It shares the attitude, the flamboyance, and even a few rhymes in the mix, but the mix gives ground to the older, deeper-rooted b-boy. While The Market will be the initial installment in the “Fish Fry” series, Djinji Brown and his efforts will be hard to top. One can only wait for the follow-up.

Artist: Various ArtistsTitle: ConvexedRating: 4 StarsReviewed by: D. Allen Underground heads be on alert. The Prof. has devised a new lesson plan for you to follow with his new compilation, Convexed. The well-known producer, dj, and journalist brings slept on mc’s to his Nature Sounds label with the intentions of leaving you craving for more releases. Having already provided the music for ESPN’s Streetball and masterminding High Times’ THC Vol.1, The Prof. blends 60 minutes of head-nodding beats with raw lyrics from underground greats. MF Doom brings his lyrical skills on “Bells of DOOM.” A menacing beat captures Doom at his best with classic lines like, “Who got the most whips, gats, and cash/If you ask the villain, he say who gives a rats ass.” The legendary RA the Rugged Man rhymes with Timbo King on “Black and White”. The Prof. sets this track as a boxing match as black versus white while RA and Timbo spit back and forth mentioning their color in every line to a rough beat. The audio clips from HBO boxing add a nice touch. Ah, yes, the Worm King makes lends his talents to compilation on “845”. Cage talks about the county he reps and where he came from, while The Prof. supplies a slick, repetitive beat that makes Cage’s lyrics an all out assault. Aesop Rock enthusiasts will be happy to learn that The Prof. has included him in the lesson plan. Aesop’s track, “Numb (to the guns)”, displays his feelings on media and effects of the government. He sums up his attitude with the line, “So when they ask what’s your opinion on the war/Tell them war sucks donkey dick/What’s the Knicks score.” This track may be the best I’ve heard from Aesop Rock aside from his Def Jux work. The Prof. gives a taste of Masta Killa’s upcoming release on Nature Sounds with the singles, “Digi Warfare” and “The Day After”. The combination of an old school rhythm and Masta’s hypnotizing voice make for a classic track. If this is the first taste of Killa’s solo effort, those who have been awaiting a solid Wu-tang release will be asking for seconds, thirds, and so forth. In a market where a fan usually can’t listen to a cd the entire way through, buyers of this album will not need to skip to the next track. It is more likely that they will want to keep hitting rewind. The Prof. puts together a definite classic for Nature Sounds. The overall production should get fans excited to hear future projects coming from The Prof.’s lab and having the roster that is on this album should also provide a heavy buzz. Nature Sounds produces pure hip-hop and The Prof. makes that evident with Convexed. In an unclear industry such as this, Nature Sounds gives true hip-hop fans a ray of hope that there are still creative people concerned with making genuine hip-hop music. Cop this immediately.

Artist: dead prezTitle: Get Free or Die Tryin’: Turn Off the Radio Vol. 2Rating: 3 StarsReviewed by: Paine Dead Prez provided a critical addition to the chapter of Pro-Black hip-hop with their 1999 debut, Lets Get Free. While the album was politically potent and socially challenging, the album also found listeners for its principles of great songs. A track like “Mind Sex” remains one of hip-hop’s greatest love songs. After their record label, Loud Records, folded, dead prez released the street-acclaimed, Turn off the Radio mixtape last year. Since then, rumors circulated of Sticman and M-1 courting offers from the likes of Bad Boy and Roc-A-Fella Records. With neither scenario happening, dpz put out their newest installment independently again. Lyrically, dead prez have only gotten better. They have newer issues, deeper emotions, and stronger ways of presenting these ideas. A track like, “Babyface” serves as a newspaper anthology to all the corruption in America this past year. Beyond highlighting the negative aspects, the group also provides hope and solution. Tracks like “In The World” and “When Mama Cries” are innovative story-driven tracks of how dead prez reached their plateau of art and activism. This album is dead prez’s most personal album, and answers some of the questions that remained a mystery last time around. A dead prez album has always come with pot-luck production. In 1999, the duo got their initial buzz based on the absolutely mind-blowing bounce beat to “Hip Hop.” Get Free or Die Trying has a much more laid back musical approach. While the lyrics and thoughts are only sharpened, the music was dulled down. Besides the Rock-aggressive, Black Jeruz produced, “F the Law”, expect less bump in your trunk. While Tahir was the star last time round, his sound has softened quite a bit. While with Loud, dead prez had an expertly marketed record with legit creativity. Given full creativity, the message is stronger and better. Still, the dead prez need to hone a sound that matches their lyrics. The aggression and their strongest asset and they need to up the beats. Nevertheless, besides the single-fiends, if you enjoyed Let’s Get Free, this record will suit you like a visit to Men’s Wearhouse.

Artist: Lord FinesseTitle: From the Crates to the Files: The Lost SessionsRating: 4 StarsReviewed by: N. Context It’s the L-O-R-D F-I-N-E double S-E!!!! It’s been a long minute since we last heard from Finesse on the mic. He has comeback with From the Crates to the Files: The Lost Sessions to bless all “the true Lord Finesse fans & followers” with original recordings, remixes and tracks previously released as promo singles. Finesse first hit the scene in 1989 with “Baby You Nasty” and followed it up with his classic debut album in 1990, Funky Technician. Since then he’s collaborated with the likes of DJ Premier, B.I.G., Dr. Dre and his fellow D.I.T.C. (Diggin In The Crates) Crew to establish himself as a renowned emcee and producer. From the Crates… was unofficially released in 1998 on vinyl. The official CD features a collection of Finesse’s old school hits and remixes such as “Return of the Funky Man (Remix)”, “You Know What I’m About (rmx)” and “S.K.I.T.S (Shorties Kaught in the System)”. Listening to this album is like entering a time warp back to the early 90’s when James Brown and horn sampling was prevalent as well as the use of scratching and mixing vocals to create hooks. On “You Know What I’m About (rmx)” he loops the opening to Scooby Doo’s theme song to create a sinisterly rugged beat. The variety of Finesse’s samples show why he’s a founding D.I.T.C. member. What make this album special are the early recordings with the late Big L and the hard to find releases. “Yes You May (Unreleased Remix)” and “You Know What I’m About”, both featuring Big L, are underground gems not released on either’s previous albums. Finesse and Big L are two peas of a pod when it comes to rhyme styles. While Big L’s flow is slightly more fluid and his content is more “horrorcore” rap than Finesse, their rhyme structure, delivery and metaphors are uncannily similar. The only knock I have with this album is that there are neither any songs from his first album, nor anything current. I was looking forward to hearing “Strictly For The Ladies” and/or “Funky Technician” or brand new tracks I’d never heard before. But alas, it was not to be. Regardless, Finesse provides ample songs to keep your ears happy and to his loyal followers, underground bangers only found on mix tapes and scarce vinyl.

Artist: Bad Boy’s Da BandTitle: Too Hot for T.V.Rating: 2 1/2 StarsReviewed by: Toshitaka Kondo It’s judgment day for Babs, Freddrick, Ness, Dylan, Sara, and Young City (formerly Chopper) of Bad Boy’s Da Band. Their debut album, Too Hot For T.V., is the culmination of a difficult and tumultuous development process; all scrutinized by a national television audience. However, after listening to the album, it’s clear that they need more development as they fail to forge an identity or distinguish themselves. With Bad Boy producer Tony Dofat supplying a majority of the tracks, production is not the problem. It’s refreshing to hear P. Diddy allow a more sample-free sound instead looping hits from the 80’s. The album’s downfall comes with the lack of chemistry between group members and lack of originality. Young City uses his solo cut “Chopped Up”, to do an uncanny impersonation of Lil Wayne right down to the vocal inflections. If Cash Money ever decides to do a Hot Boys tribute album, he should be included. Other lapses in originality can be found with Babs’ attempts to be salacious on “Tonight.” She sounds sillier than Ja spitting gun-talk and does little to refute the notion that all female MCs rhyme the same. Complaints aside, when Da Band speak from experience, the results are enjoyable. The Wyclef-produced “Do You Know”, features Sara singing inspirational messages over a funky guitar loop. Other group members assist with a dope first verse asking each other questions with their answers reflecting differences in their respective upbringings. “My Life” is a dark look at each member’s life before Bad Boy, with Ness reminiscing: “Even my pops was knocked over tickets for speeding/ Drinking and driving, I ain’t forget/ He think I forgot him, My moms got gray hairs from worrying sick.” On a less autobiographical “Stick Up”, Ness rides shotgun with Fred while the two MCs alternate on varying bar counts, giving the narrated robbery a very spontaneous feel. Da Band should be commended for beating out thousands of others to have this opportunity. They should also be given gratitude for creating some must-see T.V. every Wednesday at 10 pm. But none of this holds any weight when judging the album. Too Hot For T.V. does not lack talented artists or producers. It lacks all the components of a dope album: originality, chemistry and interesting concepts.

Artist: RZATitle: Birth of a PrinceRating: 2 StarsReviewed by: Jason Newman The good thing about RZA is that he’s one of the few producers today willing to take chances and make the effort, amidst a sea of mediocrity around him, to change and add to the hip-hop genre. The flipside is that when people like this fall, as RZA mostly does on Birth of a Prince, they fall hard. Birth tries to be the perfect medium between the techno-rap of RZA’s alter ego Bobby Digital, the smooth, soul-based beats of classic Wu-Tang and an unusually large dose of bouncy, ready-for-the-club music. Unfortunately, so little of it is memorable, it makes you long for the days when it was all so simple. Not that the album is without its hot moments, but listening to most beats and verses alike makes you question if RZA is serious or pulling a Prince Paul-type mocking of the industry. He’ll never be confused with a Native Tongue, but am I really reading this chorus to “Fast Cars” right? “We be ridin’ fast cars/Weed all in the glass jar/Chrome all on my crash bar/Glocks all in my stash bar.” Many of hip-hop’s finest can be faulted for lack of solid choruses, but most of them on Birth sound amateurish and even bordering on parody. I know I just gave an example, but another one needs to be shared to prove my point. You could probably throw a dartboard at the list of songs and get a good case, but let’s go with “The Whistle”: “We smoke those blunts the size of bats/We got those gats as long as ax/We snatch that cheese right off the trap/We put those bees all on your map.” It’s not that thug rap is dead, but it’s not the change many people would think, or like to hear, from the Ruler Zig Zag Zig Allah. Which makes hearing fantastic songs like “The Birth (Broken Hearts)” that much harder to listen to. Over a slow, synth & strings beat and soul vocal sample, RZA plays the role of social crusader/observer, rhyming “They use you as a fool to deceive your own people/And fillin’ my children’s head with pins and needles/But I’ll take out the pins you inserted/And I’ll avenge all my mothers that you murdered.” The psychedelic-sounding (both in title and music) “A Day to God is 1,000 Years” also sees RZA showing his deft musicianship, creatively and effectively using the flute as a main instrument in one of the standout tracks. These moments, though, are too often overshadowed by beats that are, regardless of style, lackluster. Overall, if your friend cops this album, have them throw a couple of songs on a mix and move on.

Artist: Project Blowed Presenst…Title: The Good BrothersRating: 3 1/2 StarsReviewed by: Ducksauce The Good Brothers is the latest release on Aceyalone’s Project Blowed Recordings – named after the long-running open mic session held weekly in Los Angeles’ Liemert Park. This new collaborative effort features a plethora of upcoming Project Blowed MC’s, a handful of West coast headliners, and the legendary Acey himself as the ringleader of this eclectic circus. Like most typical compilations, this album was seemingly designed to have something for everyone. For the partygoers, there are the contagious tribal sounds of “Give It Here,” featuring notable performances by Aceyalone, Ahmad and Pep Love. Accompanied by energetic percussions and a catchy chorus, this track will definitely have heads nodding. The charmingly smooth, up-tempo “GB In Your Life” is yet another gem – a perfect, though not a little late, summertime anthem to bump up in your ride. For the conscious heads, on the reggae-induced “Come Unity” and the bouncy “Do The Math,” the Project Blowed MC’s take careful aim at society’s ills as they see it. Aceyalone spits: “Education’s at an all-time low / People don’t wanna learn s### no mo’ / Ask ‘em to read and then they say, What fo’? / ‘Cause fool you slow, and this is all about to blow!” Not the most complex lyrics of all time, but coupled with an ill instrumental, it can do wonders. Although this album has everything from poetic melodies (“Locked In”), love ballads (“L#####”), even a rock-n-roll finale (“Superstar”) – overall, it is bogged down by one too many filler songs. In addition, much of the production is nothing more than dinky, Casio keyboard sound-effects and what sound like throwaway beats from an 8-bit video game. To top it off, the numerous singsong hooks prevalent throughout the album prove to be more annoying than entertaining. As far as lyrics go, the album is cluttered with nursery rhyme-esque verses, like this one by Riddlore on “Hey Ladies”: “Now, I’ve been some places, and I’ve seen some faces / Good Brothers be rocking so many locations / Get standing ovations for running the nation / You know the rotation – feel the sensation.” Although his words flow nicely over the wickedly rhythmic track, non-descriptive, generic statements about rocking the crowd got played out like in 1989, and verses like this only add deadweight to an already sinking ship. Even a guest appearance by Rakaa Iriscience (Dilated Peoples) on the RJD2-produced “Rock With Us” isn’t enough to salvage this shipwreck. However, Aceyalone does appear on virtually every track, and thankfully so, for it is his lyrical presence that ultimately carries the weight of this project. Overall, The Good Brothers is just that – good (in a mediocre, average sort of way). It isn’t a monumental release, but at the same time, it isn’t horrible. Hardcore Acey fans should go and add this to their collection, but don’t set your expectations too high. Like the title suggests: it isn’t great, it’s just good.

Artist: LudacrisTitle: Chicken -N- BeerRating: 4 StarsReviewed by: Quia Querisma From that high-profile snafu with Pepsi and Bill O’Riley to his movie roles, Ludacris keeps busy. It’s easy to think that he’s not focusing on the rap game if he’s into so much other stuff right? Wrong. Chicken -N- Beer, the Atlanta-bred rapper’s third release on Def Jam is a 4-star effort, and by far his best album to date. Ludacris, relies heavily on his own talent and that of his crew, Disturbing Tha Peace (DTP). Of the 13 tracks, only four feature established artists. High-profile vocals include Snoop Dogg on “Hoes in My Room,” Chingy on “We Got,” 8 Ball & MJG and Carl Thomas on “Hard Times” and Houston’s Lil Flip on “Screwed Up.” The production team for Chicken -N- Beer is an assorted order. Erick Sermon, Kanye West, DJ Paul and Juicy “J” share the roster with lesser-known beat masters Icedrake, Ruh Anubis, and Jook. Beats provided by this team are more than enough to hook the listener, but craftily they don’t overshadow Ludacris’s flow. The recipe for the album is similar to the rapper’s prior two: freestyle sessions, smoking and drinking, partying, sex, introspection and pimpin’. The ingredients are similar to other mainstream rap albums but Ludacris’s charismatic delivery and hilarious rhymes continue to make him stand out. The lead single, “Stand Up” is the Kanye West-produced (and Ludacris co-produced) club banger. It has the right amount of energy and punch lines that makes it enjoyable in the club as well as in the car. Another standout track is “Splash Waterfalls.” The verses follow along the progression of a romantic relationship–one that’s full of kinky sex. But the verses aren’t what make this song great. Icedrake put together a track that’s mellow in the background but is laced with a fierce drum loop full of bounce. “Screwed Up” is Ludacris’s ode to the Houston style of “screwed” music. The beat sounds a bit like a slowed down circus ditty laced with a lot of bounce from the beat machine. Lil Flip lends his drawled vocals for a few verses as they flip about staying high off of weed and lean. “Hip Hop Quotables” is version three of the freestyle track that always appeared on Ludacris albums with Erick Sermon’s minimalist head-bobbing production allowing listeners to pay attention to the lyrics. The punch lines come back to back to back on this track. Don’t laugh too much or you’ll miss the next joke. Ludacris continues to improve as a lyricist despite keeping busy in the movies and his philanthropic efforts. Chicken -N- Beer is served up well and fans will want a large order.

Artist: CappadonnaTitle: The StruggleRating: 3 1/2 StarsReviewed by: Paine Before Killah Priest and Shyhiem , Killarmy and Mathematics, the first Wu affiliate to arrive was Cappadonna. After his blazing verse on Ghostface’s “Winter Warz”, it’s little wonder that his debut, The Pillage reached number one on the Billboard charts in 1998. With no strong single, the record remains one of the better Wu solos ever released. Still, his follow-up, The Yin and the Yang would be nearly ignored, only to be chased by an un-needed greatest hits compilation. Today, Cappadonna can be found driving a cab as proof of his changing fortunes. So, with his first independent release, Cappa is aiming to recreate his initial buzz. Cappa is best known for his bass-heavy voice and paused delivery, he still amazes. “Get Away From the Door”, which also features Inspectah Deck, is one of the best hardcore Wu tracks made in years. A great drum beat mixed with strings sound great under Cappadonna’s aggressive delivery and Deck’s rhythmic chorus. Other tracks like, “Season of Da Vick” matches with that ruggedry. This album has a lot of efforts in terms of big production. Rather than fill the record with low-key beats, each track seems like a push to go over the top. Some tracks, like “Power of a Peso” and “We Got This” work extremely well. Other efforts such as “Money, Cash, Flows” and “Killa Killa Hill Y’all” could’ve been toned down to work stronger. Still, this record plays to match Cappadonna’s grittier attitude and remorseless content matter. Unlike some of his crew brothers that are still finding their post-Rza sound, Cappadonna has come into his own. The Struggle reflects its title. Those who have watched Cappadonna’s career become a chess piece turned over to the corporate greed of the industry will appreciate this album. Like his debut, Cappadonna has found that hunger and urgency again and offers an album that begs of understanding.

Artist: Jean GraeTitle: The Bootleg of the Bootleg EPRating: 4 StarsReviewed by: Alvin aqua boogie Blanco Jean Grae will smack the average rapper with a lyrical two-piece and a biscuit (that’s slang for a smack down for all you squares reading this). The femme fatale has the rhyme chops to hang with the big boys like Jay and Nas. Word. Her debut full length, Attack of the Attacking Things was heralded by pencil pushing, keyboard tapping music critics and underground rap fans. Her new effort, The Bootleg of the Bootleg EP, (what is it with these double word titles?) is more of the same thought provoking and technically precise lyricism with even stronger beats. Thank you Jean. Before Jean was out of her teens she was a member of the heralded but now defunct underground group Natural Resource. No disrespect to the other members, Meat Pie and Ocean, but Jean, then known as What? What?, was the star of the trifecta. The same way Lauryn Hill initially stood out from her Fugees partners, Jean was the lyricist heads were checking for. On top of her skills with words, her production credits (as producer alias Run Run Shaw) were top shelf beat spirits as well. The album is kicked off by its lead single, the incendiary “Haters Anthem” where she spits one liners like, “I’m more necessary than violence on the Amistad,” over an intense four-note key loop that has it’s tension released by the chorus’ refrain, “F### you, f### you, f### you!” On “Chapter One: Destiny” she molds her lyrical clay into a vivid Bonnie minus the Clyde tale that would make Ghostface give her a pound. Meanwhile, relationships and friendships are expounded on over airy vocal snippets and sharp snares on “My Crew.” Nice collaborative assists are accepted from Cannibal Ox on “Swing Blade” and from Block McCloud and Pumpkinhead on “Code Red.” The problem with this disc is that being an EP, and only six songs deep at that, you can’t help but asking, “That’s it, that’s all?” Grae tries to make amends by tagging a “megamix” of freestyles and older material at the end of the album. Beginning the bonus cuts with a blistering freestyle over Jay-Z’s own hidden gem “Breathe Easy” is a nice touch. She hold her own over a few Jigga instrumentals including the “You Don’t Know Remix” where she sums up the reason for her relative obscurity: “Not a thug, not a drug seller, not a gun shooter, not a stripper sex symbol…or anything your used ta/Marketing nightmare, I don’t fit into categories/I just rap, make beats and s### and sleep all these stories/All I want is the voice, all the people need is a choice, if there’s no competition, then what is the f###### point?!” Two tracks from her neophyte emcee days with Natural Resource, “Negro League Baseball” and “Bum Deal,” will make rap historians grin. Maybe it’s the general public’s snail pace in checking for her that has frustrated Grae; and perhaps that frustration is why her lyrics are so venomous. It’s just a theory but if it makes her keep making superior hip-hop music (no need to addendum her being a chick, please refer to KRS, “A dope emcee is a emcee.”), then let’s hope she can keep finding s### to p### her off. Though, more overdue recognition will be welcomed and is sure to come.

Artist: Soul PostionTitle: 8 Million Stories Rating: 2 1/2 StarsReviewed by: Jason Newman When Columbus, Ohio’s RJD2 released Dead Ringer, his first major label record, in July of last year, the album became an immediate critical success and had many instrumental hip-hop lovers putting him on par with the grand poobah of the genre: DJ Shadow. Drawing on similar-sounding rare funk and soul samples, Dead Ringer was in the same league as Shadow, but remained unique, both among songs and compared to other records. While mainly instrumental, the album was not without its guest emcees. Cleveland’s Blueprint, the emcee heard on Ringer’s “Final Frontier,” serves as the Guru to RJD2’s DJ Premier on 8,000,000 Stories. With his confrontational voice and long sentences, it’s not hard to see why Blueprint joined up with Atmosphere on the Godlovesugly tour. At times, Blueprint’s voice sounds eerily similar to Slug’s (or is it the other way around?), and with every head having some opinion on Slug, I’ll leave it up to you whether that’s a positive or negative when listening to Stories. Lyrically though, Blueprint mainly eschews talks of relationships, but manages to run the gamut of topics ranging from the shittiness of a 9-to-5 job (The less-than-cleverly titled “Fuckajob”) to the joys of temporarily escaping reality (“Just Think”) to social commentary. The latter, the lyrical standout track “Run,” is one of the more powerful ideas presented in hip-hop recently. Starting with the chorus of “Look before you leap, walk before you run/run from anything that threatens peaceful existence…We’ve been running from day one/Never even thought to ask why or what from?,” Blueprint goes on at length about the concept of running away from the negative, a thought often overshadowed by others who emphasize confrontation. His words sound emotional and heartfelt without coming off as cheesy. While social consciousness can be found all over the album, he balances the scales nicely by borrowing a page from the Book of Blackalicious, Verses A-Z (Check Gift of Gab’s nothing-short-of-brilliant “Alphabet Aerobics” on the 1999 A2G EP if you don’t get it). Using the same Primo-esque strings-dominated beat on three tracks, (“Candyland Part 1, 2 and 3”) the emcee reminisces about cartoons, grade school events and candy, respectively. Nothing that will redefine hip-hop, but they do serve as fun, “Ahhh, remember that s###?,” breaks between the more serious songs. Musically, the overwhelming, yet incredible, “Share This” should be given to every aspiring hip-hop producer. No, not to copy the sound and dilute the already watered-down state of hip-hop. But to show that with a little creativity, the beat and instrumentation can constantly switch up yet always sound hot. On a five-and-a-half minute song, virtually no two 8-bar sections are ever the same! How can you not respect that? Starting with a dark piano loop and stuttered drumbeat, the beat morphs into a minor symphony of Earth, Wind and Fire-sounding horns, harps and guitar samples, calming down to just bass and cymbal before ending on a skittered electronica beat. Oh, did I mention the bongo solo? And the synths?? And the…you get the idea. Sadly, “Share This” is the exception to the norm on beats. It’s not like the other beats are bad; fans of Dead Ringer will still enjoy the mix of horror movie-sounding organ, soul vocal and guitar funk samples and old-school funky drum beats heard on Stories. But knowing what RJD2 is capable of, you wish he took more chances as on “Share.” Overall, 8,000,000 Stories definitely has its high points on both the lyrical and musical front. But the whole is weaker than the sum of its parts. Blueprint’s style, while hot as one track of a diverse album, feels incongruous with RJD2’s style over the course of an entire record. It feels as if RJD2 and Blueprint had both worked separately on their respective parts for a while to make it nice, and while both succeeded individually, listeners will probably be drawn to one part or the other. Whether this is enough to make the album successful, only time will tell.

Artist: Tragedy KhadafiTitle: Still ReportinRating: 4 1/2 StarsReviewed by: Paine Arguably the best super-group in history, the Legendary Juice Crew boasted a membership including the likes of Big Daddy Kane, Biz Markie, Kool G. Rap, Roxanne Shante, et al. As the crew began to disband in the early 90’s, leader Marley Marl devoted his efforts to the next great Queens MC, Tragedy Khadafi. Tragedy’s 1991 release, Intelligent Hoodlum is still regarded as a paradigm of politically conscious albums. Despite both of these facts, Tragedy may be best known for headlining the answer record to Tha Dogg Pound’s “New York, New York” record with his own, “LA, LA.” It’s been eight years, two albums, and Tragedy has been criminally slept on. Still independent, still dangerously intelligent, Tragedy returns with one of the best records of the fall. Still Reportin refers to Tragedy’s reputation, like Nas, for writing what’s outside his windows. The record holds true to its title in the fact that Tragedy addresses many of 2003’s issues with opinion and thought. For instance, “Walk Wit Me” is a powerful rap cover of the African American National Anthem that touches on everything that’s going wrong with the Black community, with a sense of hope and pride. While tracks like “Walk Wit Me” and “Crying on the Inside” promote emotional revelation, Tragedy still spits some hard street verses. “Neva Die Alone Pt. 2” and “The Truth” are extremely potent tracks that chronicle the Thug Life with a fresh sound and Tragedy’s solid delivery. The strongest characteristic of this record is the homogenous content matter between scholar and thug, sinner and saint, prophet and historian. Unlike his Queens cohorts, Tragedy is running with some new producers. The buzzworthy Scram Jones provides some incredible radio-worthy beats. The sound never stops changing. Equally, newcomer Booth’s productions are as good as any rising producer in New York. Also worth the mention is Tragedy’s new artist, Christ Castro. Castro, featured on a couple tracks, offers guest verses that are so exciting that the listener wants more. Also look for guest shots from Havoc, Capone, and Littles. There is no reason why Still Reportin should be ignored. This record has versatility from a veteran who has only gotten better with time. Tragedy bears his soul and knowledge one more time. While Tragedy won’t get the MTV spins, this record is as good as any of the last three Mobb Deep records from Tragedy’s homeboys.

Artist: Ursula RuckerTitle: Silver or LeadRating: 4 1/2 StarsReviewed by: Ashiya Smith The world got its first glimpse of Ursula Rucker when The Roots commissioned her to close their first LP (Do You Want More) with “The Unlocking”, a vivid piece that narrated the real-time sexual exploitation of a woman poised to regain her power. Rucker soon established herself as The Roots’ poet-in-chief, appearing on the group’s next two studio LPs. After creating a buzz with her solo debut, Supa Sista, the Philly-born poet returns with Silver or Lead, a collection of thought-provoking spoken word poetry infused with musically rich production (song-poems if you will) that could easily stand alone. Rucker sets the tone for Silver or Lead with the opening piece “Soon”, an evocative poem that waxes nostalgic and revolutionary about the socioeconomic realities of slavery. Ironically, the disturbing nature of the piece is amplified by her tranquil voice and hypnotic delivery of its opening lines, “Seen children come and go/ Lead some out themselves/See infanticide was love (for a slave woman)/Slave p#### was gold for capture/Sold for gold/Felt like gold/Yielded gold/ And more gold.” Though Rucker clearly has a penchant for writing pieces with socially conscious undertones, she manages to do so without coming off as preachy or self-righteous (a skill that many artists have yet to master). On the Mysterium-produced “Lonely Can Be Sweet,” she unabashedly reveals a softer, more sensual side, asserting, “I’ve taken up hedonism as a hobby/Making it harder for the next man/To step into my life/Without a plan for how to please me/Better than I please myself.” Musically, the LP offers an array of tracks ranging from the Afro-Latin inspired “Release,” produced by Little Louie Vega, to the deeply melodic “Return to Innocence Lost,” produced by The Roots. Both tracks seem to be tailor made to compliment Rucker’s unique voice and provocative lyrics. The latter piece, which documents the life and violent death of the poet’s brother, brilliantly illustrates Rucker’s gift for weaving words and emotions together so masterfully that it seems effortless. With the release of Silver or Lead, Ursula Rucker is taking spoken word to the next level; proving once and for all that the genre has more to offer than head wraps, backpacks and neo-revolutionary dogma. Whether she is losing, gaining or redefining it, the theme of ‘power’ is a common thread woven throughout her body of work. As a result, much like her trailblazing predecessors Zora Neal Hurston and Sonia Sanchez, Rucker is redefining the depths, boundaries and power of poetry.

Artist: Murphy LeeTitle: Murphy’s LawRating: 3 1/2 StarsReviewed by: Ra’Chelle Rogers If you assumed that Murphy Lee was at his full potential playing the background as the inconspicuous mask-wearing baby boy, sidekick of Nelly and the St. Lunatics, you were both right and wrong. He’s actually done more than just performing wild country dances on stage at award shows with Nelly. Remember those exceptional verses on “Welcome to Atlanta Remix” and “Air Force Ones”? Murphy Lee proved that he can compliment a hit collaboration with country grammar of his own that’s just as good as his St. Louis counterparts. However, his solo debut on Universal Records, Da Skoolboy Presents: Murphy’s Law is filled with mostly collaborations. Not necessarily a bad thing as the group efforts are perfectly solid. The ‘Show Me State’ representers introduce their latest catch phrase on the smoothed out Jay E production “Cool Wit It” and creatively pay tribute to St. Louis’s best potato chip on “Red Hot Riplets”. Another assumption would be that this is just another Nelly album, and again you would be both right and wrong. Although the lead St. Lunatic is on hand for his signature call and response on radio-targeted tracks like “Hold Up” and “Shake Ya Tailfeather” Murphy’s flow is competent enough not to let his presence dominate. Murphy Lee takes full ownership of the guitar laced Jazze Pha production, “Luv Me Baby,” which is one of the album’s highlights. Countrified humor is provided by comedian Darius Bradford and St. Louis Slim accentuating usually irrelevant interludes with side-splitting comedic relief. With a Midwest twang that’s mellow yet versatile, it’s understandable why Murphy Lee is able to collaborate with so many artists, but he fares just as well when goes for self. It would have been safe to assume that on this album he would have given us that. Then again, you know what they say when people assume…

Artist: Pigeon JohnTitle: Pigeon John is Dating Your SisterRating: 3 1/2 StarsReviewed by: Jason Newman Judging by the album title and cover photo-former L.A. Symphony member Pigeon John opening a white picket fence with flowers in his hand-one would expect to hear a rapper spit lighthearted, goofy rhymes over fun, circus-esque beats. Deep thought and seriousness are better left to other rappers, right? Wrong. On Pigeon John is Dating Your Sister, his second solo album, the West coast underground MC skillfully balances the lighthearted part of his personality with his desire to talk about real issues affecting him and his peers. What sets PJ apart from other “deep rappers” is his ability to sound profound without coming off as preachy or whiny, as on “Identity Crisis” when he rhymes, “Dancing and acting a fool and stuff/But in the back of their mind, is it all a bluff?/Am I doin’ all of this just to cover it up?/All of my insecurities is hovering up.” Somewhat paradoxically, his confidence in his lack of confidence is displayed without sounding cocky, a rare feat in the current hip-hop world. Most of the beats were produced by PJ himself (with the notable exception of the DJ Rhettmatic-produced “Originalz”), who relies heavily on dark synth melodies that owe more to 80’s British gloom-rockers Joy Division than any modern beatmaker. PJ the producer is not afraid to showcase his non-rap influences and those songs are the standouts on the album. Songs like the wistful, laid-back “Emily,” which samples Scottish underground rockers Mogwai and the psychedelic epic “What is Love?” are proof that you don’t need expensive equipment to be creative. The latter, with its multi-part, anthemic quality, is what the experimental side of Lennon/McCartney might write if they were hip-hop heads. “What is Love?” is also the best example of an oft-overlooked part of rap: the sung chorus. Of course, no one can take away what Premier did for the genre with his heavily-imitated style of scratching up vocal samples, but PJ focuses on the more musical side of the chorus and his genuinely mellifluous voice is one of the reasons the hip-hop community should take note. Some may criticize, justifiably, PJ’s basic AABB flow on most songs. But what he may lose in a lack of complex rhyme scheme, he makes up for on lyrics, original beats and an understanding that hip-hop can encompass many different genres. Pigeon John will be performing as part of the Cali Comm 2003 with Grouch & Eligh, Lyrics Born, Ugly Duckling and Abstract Rude kicking off Oct. 17th at the Colonial Theatre in Sacramento, CA.

Artist: The High & MightyTitle: The Highlite ZoneRating: 3 StarsReviewed by: Paine The High & Mighty is one of hip-hop’s most well-respected crews. While they keep it defiantly underground, Mr. Eon and Mighty Mi have harbored an undying love for the hip-hop of yesterday that’s reflected greatly in their music. Few realize that their 1999 full length debut, Home Field Advantage, was instrumental in making Rawkus a meaningful label. After MCA sugar-daddied Rawkus, High & Mighty returned to Philly to throttle Eastern Conference Records into a great indie. The label houses both new and veteran artists while being one of the most promotional-giving labels still in hip-hop. It’s hard to believe E and Mi found time to drop their second full length LP. The Highlite Zone builds where the duo left off: lots of sports and old school hip-hop references mixed with cut and chop production. Right from the start, a much-needed, and very original track rests in “Take it Off.” Not about strippers, this track attacks the throw-back, or the imitators. After all, these two have been wearing old school jerseys as long as anybody. Another conversation-worthy track is “How to Rob an Actor,” which features Michael Rappaport lyrically attacking his peers. Adrien Brody was hurt, and he should be. Most of the tracks are true to Mr. Eon’s classic format of bragging, and throwing very original similes, punchlines and, of course, a lot of sexual content. Mighty Mi is one of hip-hop’s best producers. His efforts pay homage to the way hip-hop has always been made, while still adding appropriating innovations. While others have tried, Mighty Mi put Roots beat boxer Rahzel’s efforts to their best use in “Rock the House.” This track is energetic, fun, and tremendously old school. Also, like all the great DJ/producers, there is also provided a DJ cut with, “Mighty Mi is Clickums.” Unlike many, the production behind High & Mighty has always been created to sound really good in the box and remains one of their best attributes. While this album may lack the budget of the last, this record still suffices. Guest spots from Copywrite and Vast Aire work as well as most outside drops. High & Mighty have cultivated a unique and unchanging sound. If you liked it then, you’ll love it now.

Artist: Nappy RootsTitle: Wooden LeatherRating: 4 StarsReviewed by: Erin Jackson Nappy Roots’ 2002 debut, Watermelon, Chicken and Gritz, earned them critical acclaim, and with their sophomore release, Wooden Leather, they seem destined to follow in its successful footsteps. In today’s hip hop game, where it’s often difficult to differentiate artists from their posses of nondescript homies, a successful multi-member group in which each emcee has his own distinct identity is quite rare. Wu Tang and ATL’s Goodie Mob managed to do it effectively, but many others have fallen by the wayside (Best of luck to Bad Boy Record’s “Da Band”). Nappy Roots, however, have seemingly found the recipe for success. While their radio friendly first single gathers much airplay, it’s on “Nappy Roots Day” that the Grammy Award-nominated sextet lyrically explains their make up: “One of em’s fat and loud/Second one’s black and proud/Third one’s drunk and wild/Fourth one’s slim and sly/One of em’s just shy/Last one’s young and wise/Home grown, battle tested/You gon’ love these guys.” The rock-inspired “War and Peace” and the darker, more introspective “These Walls,” produced by Kanye West, show the group’s diversity. On “These Walls” the group laments: Gettin’ it ain’t got a damn thing to do with keepin’ s###/ Working damn hard to get it/ Plans of not parting with it/ These walls are closing in/ How long am I supposed to grin/ I’ve lost my will to win/ Forgive my sins. The Raphael Saadiq-produced tracks “Leave This Morning” and “Work in Progress” are also solid but not so impressive are “Lac Dogs and Hogs” and “Twang”. “What Cha Gonna Do (The Anthem)”, produced by Lil Jon, shows promise at the beginning, but ultimately disappoints as it evolves into a facsimile of all of his other music. While repetitive, uncreative hooks may be the fad in popular southern hip-hop, they are beneath the Nappy Roots and out of place on this CD. Where the self-proclaimed “Country Boys” really shine is on the album’s mellow cuts. Their Kentucky-fried lyrics over bass-heavy tracks, peppered with a few sick harmonica riffs and a mean acoustic guitar, make for some sure-fire radio hits. Sick and Tired,” “Push On” and “Light and Dark” – all featuring the rich, ol’ skool vocals of So So Def’s Anthony Hamilton (who appeared on WMG’s Grammy-nominated “Po’ Folks”) – all show promise. They should talk to JD about adding that brotha to the group. The Nappy Roots have delivered another well-rounded album worthy of purchasing. Definitely on par, if not slightly better than its predecessor, Wooden Leather solidifies Nappy Roots’ place on the hip-hop scene.

Artist: OutKastTitle: Speakerboxxx/The Love BelowRating: 4 1/2 StarsReviewed by: aqua boogie On Outkast’s new double album, Speakerboxxx/The Love Below they take the bipolar nature of their music to the extreme; creating two separate solo albums. OutKast has always consisted of two separate, though kindred, personalities. As they’ve grown artistically and as men, Antwan “Big Boi” Patton has solidified his rep as the Southern hustler with the sharp tongue while his partner Andre “3000” Benjamin continues to be the eccentric yet misunderstood poet laureate of the mixture. But, with the blatant musical split, does that make it a true OutKast album? The Love Below From the opening of Mr. 3000’s disc, “The Love Below (Intro)” a showtunes inspired ditty, Andre is testing his crooning abilities. His urge to sing-think Frank Sinatra in cornrows-shouldn’t be a surprise; he has been publicizing his intent of making a ‘different’ album for a while. Andre is a grown ass man so if rapping doesn’t do it for him anymore so be it, as long as it’s up to par with the body of work he has created so far; and it is. The lead singles; the atmospheric groover “She Lives in My Lap” or the electrical barn funk of “Hey Ya!” aren’t close to being the album’s best cuts. That would be the celebratory “Happy Valentine’s Day”, where spry drums and addictive guitar licks are married to Dre’s sing song, spoken word delivery. When he does rap (three times over the entire album), his wit and wordplay is as fresh as ever. Such is the case with the sexually charged “Spread” where he kicks: “F### the rhythm, tuck the rhythm, under your bosom/You’re the prism, Shirley Chisolm/Was the first, let’s rehearse making a baby/Put in your order, I want a baby daughter/Dance on the time of my tongue/Shake the clouds til’ theres no more wetness in them/Tell your homegirls that you will send them/A postcard from 3000…HARD!” While some songs have a traditional R&B feel like the bouncy “Behold a Lady”, the majority of the album’s lyrics seem to have origins stemming from his most personal poetry. “Prototype” with its slow dragging bass manifests his search for love in song and vocal guest spots from Kelis on “Dracula’s Wedding” and Norah Jones on “Take Off Your Cool,” help round out an impressive album from our odd dressing friend. The Love Below is Dre’s opportunity to fully explore topics (i.e. his inner demons and feelings) more thoroughly than he was able to in a group scenario due to the compromise necessary to make it work. Hip-hop music may not inspire Dre anymore, but it’s obvious that good music, in all its forms, always does and he continues to create it. Speakerboxxx While Andre 3000 is off experimenting, Big Boi’s disc sticks to the script, if there ever was one, that Outkast has followed to their success, Southern branded hip-hop funk, plain and simple. It’s not just crunk, it’s more refined. Shuffling drums and horns make “Bowtie” (Sleepy Brown & Jazzy Pha) a gangsta mack anthem and “The Way You Move” is another winner due to its soulful instrumentation and the crooning of Sleepy Brown on its hook. But the stand out on this disc is “The Rooster” where female drama becomes a sonic party due to the tracks erupting horns, plodding bass and commandeering hook to match, “Throw your neck out! Throw your back out!” Big Boi has never been one dimensional, balancing his tales of debauchery with political and spiritual ruminations. On the Andre 3000 produced “Church” he contemplates on why we are all here and on “War” he calls out President Bush’s shenanigans in Iraq. With many guests (Jay-Z and Killer Mike murder “Flip Flop Rock” and other appearances include Ludacris, Lil’ Jon & The Eatside Boyz and members of Goodie Mob) to hold him up in case he were to stumble-he doesn’t-Big Boi still manages to keep this album his own. Speakerboxxx is a continuation and fine-tuning of the melding of hip-hop with funk, rock and anything in between that OutKast has trademarked in their phenomenal, near ten-year career. It makes his line, “We never relaxin’, Outkast is everlastin’,” off of “The Way You Move” truth rather than aspiration. Speakerboxxx/The Love Below Speakerboxxx/The Love Below leaves you feeling cheated not because of the music (yes, Dre is singing, get over it, tt least he can carry a note.), with both albums containing some of the best music released this year. But theories about how good a unified creation from the Aquarius and Gemini could have been will abound. Big Boi does make an appearance on The Love Below with a scathing verse aimed at money sniffing women on “Roses” while Dre has more of a presence on Big’s disc by contributing his production to three tracks. Venturing to the left, particularly Mr. 3000, when everyone expects you to go right might ostracize you from your contemporaries and fair-weather fans, but in this case, that diversion has led to more great music, which is what really matters.

Artist: Bubba SparxxxTitle: DeliveranceRating: 3 1/2 StarsReviewed by: Toshi Kondo With talk of the New South’s recent impact on hip-hop, Bubba Sparxxx’s lack of mention is as conspicuous as the colorful tattoos on his forearms. Then again, listening to his sophomore release Deliverance, makes it clear that he may be from the same state that produced T.I., Bone Crusher, and Killer Mike, but his vibe is completely different. What Sparxxx lacks in crunkness, he more than makes up for with profound, thought-provoking material that will put to rest any whispers of him being a one-hit-wonder. The album’s sonic DNA is more than adequately constructed by Timbaland and Organized Noize. Many beats seem tailor-made for Sparxxx, incorporating elements that have a very rural, but uncontrived sound. Timbaland’s use of instruments like harmonicas on “Jimmy Mathis” and a fiddle on “She Tried”, gives the album a very unique sound that has been heard from few Dirty South artists. Over these barnyard instrumentals Sparxxx does an excellent job of analyzing universal themes without betraying his rural roots. He speaks on the unfortunate consequences of absent fathers on “Comin’ Round”, assisted by a Yonder Mountain String Band sample on the hook. He admires from afar saying, “For the young boy, Daddy gone five weeks/ He’s only 14 but he’s grown by me/ Cause he keep the heat on and his little sister fed/ With his knowledge of the land and the tools of the shed.” Riding soft guitar strumming and Timbaland’s beatboxing on “Nowhere”, he juxtaposes working farmland to pumping on the block with grindin’ being the common thread between the two. The title track, Sparxxx’s most ostensible attempt at a radio single, produces what is easily the best track on the album. Loud handclaps, melodic guitar strumming, and a soulfully sung hook by Timbaland, provide the soundtrack for a five-minute synopsis of Sparxxx’s trials and tribulations since taking the hip-hop world by storm two years ago. The track’s intelligent and elegant words give indisputable evidence of his lyrical growth. Although the rural feel of the album is very palpable, it is taken too far in some instances. “Hootnanny” serves as notice that even if you grew up in a rural area in Georgia with your nearest neighbor half-a-mile away, there is never, ever, ever, ever a good reason to use the word hootnanny on a track. Another disappointing development is a perfectly dope Organized Noize track being ruined on “New South” with a hook that sounds like Mike Lowrey’s police chief doing breathing exercises in Bad Boys II. Many say the sophomore slump occurs because an artist has their whole life to prepare for their debut, while six months to a year is allotted to record a second album. Feeling pressure, many artists will revert to the safe formulas and recycled subject matter, resulting in commercially successful, but uninspired albums. Instead of trying to reproduce “Ugly” or gimmicky pigpen imagery, Sparxxx uses Deliverance to delve into aspects of his upbringing and ends up with a portrait that no other MC could have painted.

Artist: DMXTitle: Grand ChampRating: 3 StarsReviewed by: Jayson Rodriguez When DMX burst onto the scene in the late ‘90s, his brazen flow and rabid lyrics bit the industry in the ass and solidified his spot as the top dog in the post Biggie/2pac era of rap. And X reaped the benefits that two number one albums in the same year brought. But as Dark Man X went from the vocal booth to the big screen, his bark became the main feature, while his bite—such as the case on Grand Champ—was left on the cutting room floor. For the third album in a row, DMX continues to tell his naysayers all he did was “take a pause/ did a couple of movies/ and you thought this whole rap s### was yours?” But on “Dogs Out,” he falters with weak similes such as: “I run through n##### like hallways with the cops behind.” Punctuated with an off-hand remark about Ja Rule, the track does little to support his boasts. There are, however, a few bright spots on the album where X proves he’s still capable of carrying a track on his back like his One Love Boomer tat. “A’yo Kato,” finds the Dark Man eulogizing a lost homie with potent thug poetry over a flute-laden backdrop. Of course, these performances appear few and far in between, and more often than not they come courtesy of the guest appearances. A bland reinterpretation of “No Love 4 Me,” titled “Rob All Night,” comes off sounding like a bad version of “Planet Rock.” The hack production job is replete with lyrics that are equally amateurish. First, X laments, “98 percent of the industry is f######.” Before concluding: “Stupid little n##### don’t want no static/ when they say who shot J.R. it won’t be Dallas.” Most of the material on the album suffers from hollow lyrics and a lack of varying themes. This is a problem for DMX, because he is not the most lyrically dexterous rapper in the first place. And it becomes increasingly apparent amid the excess adlibs, barks and myriad of vocal inflections. If X is to regain the bite that drove him to the top, it’d help if he’d return to drawing from his own life experiences, which propelled his earlier works. Because he’s proven he can deliver on that without reading from any Hollywood script.