Artist: SpooksTitle: Faster Than You Know…Rating: 3 StarsReviewed by: Paine Three years ago, Spooks brought the five deep crew to our ears with “Things I’ve Seen” off of their debut S.I.O.S.O.S., Vol. 1. Still with an eerie video presenting the crew’s####, few people cared to check for more. Thanks to overseas success, the group went gold. But soon after, Kurupt’s Antra Records folded, and the crew was left homeless and lost in the shuffle. Water Water, who disbanded from Spooks in 2002, died in a car accident this past year. Just when Spooks were all but forgotten, a follow-up arrives to see if Americans will grasp what the Europeans thought was dope. The most unique element of Spooks is female vocalist Ming. Her dark crooning is responsible for the hit-making potential in Spooks’ work. Hyponotik, Bookah T and Joe Davis are all talented but ordinary MC’s who fight to distinguish themselves from each other. Bookah T somewhat succeeds with his raspy delivery and more gangsta content. Spooks’ have very populist content matter in each track; writing for the common people, and representing the poor and hopeless very well. “My Favorite Song” is a track that captures Spooks at their best: strong singing, minimal rapping, and mood-specific. Other album highlights include the boringly titled, “Spooks”, “Change”, and the light-hearted skit, “Broke.” Production might be one of the reasons that Spooks aren’t frontline. They struggle to find a balance in tracks for Ming, and tracks for the MC’s. In order to rescue themselves from the “too dark” criticism, the group misplaced some uptempo tracks like “In On It” and an awkward rocked out bonus cut on the album. Two thirds of the album sounds just right, but the group still sticks to the script in dark moods and desperate content matter. Pitch Black, Dave West, and Da Beatminerz all contributed some assistance in addition to the group’s own production. Spooks still seem to show that if they want the respect of an instrumental, genre-bending group, they need to stick in-house. Compared to the group chemistry and musical cohesiveness of Bad Boy’s Da Band, Spooks are golden gods. They have a definite vibe, and every member has a clearly defined role and specialty. Still, the group paints themselves into a corner with that mood. Although commercially, the group’s debut may’ve been panned in the United States, it made much purer attempts at the art. This album tries to cater to the masses, and seems to miss at points. Still, for those who appreciate Spooks’ unique collective, there are some gems in between the cracks.

Artist: ChopsTitle: VirtuosityRating: 3 StarsReviewed by: Toshitaka Kondo Being the first Asian American hip-hop act signed to a major label, the Mountain Brothers dropped real s###, no gimmicks. Unlike potential flash-in-the-pan rappers who want you to learn Chinese. Their debut Self: Volume 1 established them as a humorous and talented outfit repping the Philly proletariat. Now their producer, Chops, brings a diverse cast for his directorial debut, Virtuosity. Growing up is never easy, and Chops’ sonic evolution is somewhat awkward. The subtle drums and laidback grooves of Self are gone. Instead, synth sounds have taken over bringing loud, snappy snares with them. This harder sound may have been necessary because of the various emcees featured. However, with 26 tracks (not including a hidden track), at times the arrangements or drum patterns are very similar. Also, featuring a name brand rapper doesn’t correlate with quality music. Raekwon’s “What’s F##### Wit Us” is forgettable, while Planet Asia’s “Niggarachi” is just confusing. I guess it’s a tribute to Slick Rick? Despite showing potential, a mere 12 bars from Kanye West on the autobiographical “Changing Lanes” sounds abrupt. Although the pianos at the end are pleasant. It’s the lesser-known Illadelph artists that bring the strongest efforts. Baby Blak gets super political on “Tears,” pulling the devil’s hoe card and refusing to shed tears about life’s difficulties. Politically incorrect continues with Kev Turner’s angry rants at the music industry on “War.” Chops’ bells and multilayered strings, help Turner get his point across: “The flow that I spits is not to be confused with/Commercial radio rap put out for your amusement/God gave me a brain, so Imma use it.” Production-wise, the album is good if you’re not too attached to Chops’ earlier work. Although I am, there are still tracks on Virtuosity that come off. His rolling xylophone loop and soft bass line give an appropriately somber feel to “Still Life.” Also, jazzy musical interludes like “Juiciness” and “Royal Entrance,” showcase his musical abilities and make for easy listening. Producers, like emcees, are plagued with continual comparisons to their earlier work. It’s natural to want a starting point when analyzing something. On Virtuosity Chops is almost unrecognizable from his previous material. Determining whether it’s a new, improved Chops will depend on personal preference.

Artist: David BannerTitle: MTA2: Baptized in Dirty WaterRating: 3 StarsReviewed by: Yama Caviness MTA2: Baptized In Dirty Water is the follow up release to David Banner’s certified platinum album Mississippi: The Album. Impressive collaborations include Scarface, 8-Blall, Busta Rhymes, and Nelly. Despite all of this potential on paper, the album still feels more like a remix album with bonus tracks, instead of a brand new independent effort. The overall tone of Baptized In Dirty Water is dark and the signature production of Banner himself keeps most of the tracks crunk and hard-hitting. Both “Like a Pimp” and Nelly’s “Airforce Ones” get the remix treatment on the album with Busta Rhymes and Twista adding their flava to the former. Tear the club up themes appear often in songs like “Mama House” and “Talk to Me” for those who like to listen to their music when they’re drunk, high, and/or crunk as hell. For others, a hint of Banner’s social awareness is found in lyrics like “My lord, I’m losin my soul and my mind/The devil’s creepin close, my people fallin’ behind,” from “My Lord”. Although some may not be ready, the raunchy ass track “Gots To Go” featuring Devin the Dude and Bun B of UGK, will surely be appreciated most by David Banner’s southern following. David Banner explains Baptized In Dirty Water to mean that sometimes life circumstances cause people with good intentions to do bad things in order to survive the game. Thus, MTA2:Baptized In Dirty Water is an ideal title that sums up David Banner’s second effort; although it was a good try, he’s not able to stay on top of his game.

Artist: NorthstarTitle: RZA Presents NorthstarRating: 4 StarsReviewed by: Paine After the Wu-Tang Forever album, RZA’s work has often been over the heads of many of the people who adored him all along. In time, Hip-Hop may learn to appreciate RZA as a daring, unconventional artist, or a man who experimented too deeply and lost touch. In any event, Bobby Digital’s creativity is something few can touch. RZA Presents Northstar is one of those creative projects that spins a fresh take on Hip-Hop. Northstar, Meko and Christ Bearer-is not a RZA incarnation, but their own entity. These cats aren’t from Shaolin or Brooklyn either, these cats are from the Left Coast (Long Beach, CA), and got the flow to prove it. Christ Bearer and Meko are very talented MC’s. So good in fact, that you’ll be surprised that you haven’t heard from them before. One of the RZA produced tracks, “Red Rum” has a classic Hip-Hop appeal that crosses between an early Cocoa Brovas’ West Indian element and a mid 90’s West Coast vibe reminiscent of EA-Ski. The results are very pleasing, and Meko re-interprets a Biggie verse with his own flip. At times, Christ Bearer’s gliding verses (think Suga Free) seem too fast for the beat. But he and Meko divide the lyrical work well. They have diverse mic approaches, and share the same gritty, classic East Coast content matter. Still, in classic old-school LA tradition, there are dope storytelling tracks in “Destiny” and “Duckie.” “So So Serious”, despite a partially aggravating hook, is another gem off this LP. Production on this album complies well with the bi-coastal appeal of the MC’s. RZA produced four tracks with his hand-ear coordination shining on “Red Rum”, a mid-school percussion type of street track. However, the other three are RZA’s dabbling into West Coast minded production – the best of the batch being “64”, named aptly for a driving anthem on sunny LA freeways. Hip-Hop/Dance DJ Armand Van Helden premier’s his own production on two tracks: “Luv Allah”, the album’s opening ballad is just that – a ballad that really sets a high bar for the LP. Mathematics furthers his reputation for being a godsend to Wu’s production woes. The soul sample and quick chops sound refreshing at a time when every herb out there is spinning Aretha at 65 RPM. Brooklyn heavyweight D.R. Period also dropped down with a potential hit with DR’s inevitable street sounding elements. When so many had all but counted RZA out, this project breathes fiery life into his expanding repertoire. Northstar is a dope collaborative group. While they fit into Wu tradition with entertaining album skits, string samples, and vocal toughness – they do offer a new spin on dope West Coast MC’s. In many ways this album is an ode to an era of Hip-Hop in the West that didn’t get enough acclaim. If this album would’ve dropped at the height of Wu’s mainstream appeal in the late 90’s, it would dominate the airwaves.

Artist: JuvenileTitle: Juve the GreatRating: 4 StarsReviewed by: Raheim Shabazz Die-hard Juvenile fans have been waiting in the wings, anticipating a release from the Magnolia rapper from “The Big Easy” since his 2001 set, “Project English.” After his sophomore album Solja Rags (1997) became an underground classic-selling over 200,000 copies-the stage was set for him to become part of the Hot Boys, an all-star line up consisting of Cash Money Records artists Juvenile, B.G., Lil’ Wayne & Turk. Not long after, he released the four times Platinum selling 400 Degreez (1998), but disappointment came with the release of The G-Code (1999), which didn’t fair well with fans and music critics. If 400 Degreez is hot, Juve’s latest attempt sits on the equator closest to the sun. The first single, “In My Life,” finds in-house producer Mannie Fresh on its radio friendly hook and is sure to receive heavy airplay. With an unparalleled style that only Juve can deliver he spits poignant lyrics: “I scream the “U” cause I mean it, The difference is you be throwin yo’ s### up when you scream it – I seen it!, S### all the obstacles that I been through, What made you think, I’ma be scared of a b#### like you?, I’m ya dawg, let me get it on consignment, You ain’t paid them last people yet, dawg, don’t even remind me, I gained knowledge, my game polished and it’s obvious, You can’t block it, you can’t knock it, this is profit!” “Bounce Back,” featuring his labelmate Baby (a.k.a. Bird Man), is a stellar song that should be the next single. Possessing another radio-ready, catchy hook and backed by the production of Mannie Fresh, it signifies Juve’s return from his brief hiatus from Cash Money while spitting the following lyrics: “Tryin to be here to see my seeds, when they have they seeds, Long as I breathe ain’t nothin in this world that they can’t be, Yeah I done f##### up, slipped and sniffed that coke, Started tweakin and broke in them people house next do’, Shot a n#### for smokin rocks on my mom back porch…” Backed by his Magnolia cohorts Wacko and Skip on “Down South Posted” listeners are keened into the semi-autographical tales of what it’s like growing up in the New Orleans ghetto. Retelling the violence and drug plagued lifestyle, the trio serves us with the good and bad side of living in the South. “It Ain’t Mines” has him facing legal woes, but in the end all that matters is that “Juve The Great” is vindicated. Juve brings his delivery up a notch on this one proving why he is the best lyricist out of the Cash Money family. Things seem to slow down a bit when Juve rides the bass line on the title song, “Juve The Great,” where he shares his life story and some interesting personal reflection. Mannie Fresh produced only five of the seventeen tracks, which is a good thing since this CD will not suffer from too much of that Cash Money sound. By breaking away from the monotony of the bling, bling lyrics that have over-saturating the market, all in all, Juve the Great is Juvenile’s best album to date.

Artist: Sol UprisingTitle: SolpowerRating: 4 StarsReviewed by: Fat Tony Sol Uprising is the earthy and conscious alter ego of respected underground emcee Lil’ Sci (Scienz of Life) and vocalist/emcee Stacy Epps. After Stacy’s several appearances on S.O.L’s album Project Overground, the chemistry she created alongside Sci and ID4 Windz was so strong that eventually it grew into a full time project. That project became a group, and Sol Uprising (as a unit and a movement) was born. It is an entity made up of equal parts revolution, consciousness, spirituality, and tradition; with a strong reverence and love for the culture of hip-hop. Sol Power is the debut, and its sound is built on a sturdy foundation of soulful, melodic tracks full of beats that are so fuzzy and gritty that they almost smell like the dusty back-room basement of some old head’s wax shop. Sol Uprising take the best aspects of groups like BlackStar and The Roots and blend them skillfully with their own convictions and perceptions, making for a singular artistic voice that is as familiar as it is universal. The combination of Sci’s scratched-throat delivery, Epps’s smooth vocals, and tracks that vibe without being obtrusive make Sol Power easy to fall into, while the poetry and intelligence are what keep the listener tuned and interested. Where Sci’s rhymes are straightforward and the sound of his voice itself is gritty, Stacy is the counterbalance, using her evocative and sometimes mesmerizing vocals to enhance the texture of the tracks. Whether over dusky, jazz-flavored beats, or sultry, electrified funk guitars, she uses her voice to elevate and describe each track. Overall, the tone of the album is joyful, like a sunny day in ’94 spent just riding around in the back of a topless jeep with these perfect, Tribe-sounding, heavy jazz-laced beats on blast. Lots of subtle piano, lots of rubber-band acoustic bass. It’s the type of album you feel before you actually hear it. Sci teams up with longtime partner ID4 Windz for most of the production and together they construct a backdrop of tracks that conjures up nostalgia for the glory days of Common, De La and the first Jazzamatazz album. Lyrically Sol Uprising comes through as deep without being pretentious, poetic without being abstract, with slang thick enough to balance out the metaphysics and enough realism to keep it grounded. The chemistry between Sci and Epps is evident in the ebb and flow of their very different deliveries on “They Don’t Know,” where the two switch it back and forth to speak out against the ignorance of a monotonous culture. But where Sci is strictly on the rhymes, Stacy displays her versatility, jumping deftly from soulful, sung melodies to rhymes exhorting revolution. This type of dual singing/rapping is most evident on the intense anthem; “The Uprising;” a song that is the blueprint for the Sol Uprising philosophy. It serves as both a warning and a heralding of their revolution, and in it both emcees come off intricate and tight. Undoubtedly, Sol Uprising will draw the inevitable comparisons to The Fugees or Digable Planets, and while those comparisons would not be altogether unwarranted, it would still be unfair to dismiss SU as derivative. Sol Power is more of a celebration than a tribute and as such it deserves to be considered on its own. It is an honest, unpretentious document that is not inhibited by consideration for the musical trends of the day, or by the slick, over-production that is usually used to hide the flaws of groups of lesser caliber. Sol Power’s rugged, unpolished sound reveals the group’s strengths and leaves the listener undistracted and free to concentrate on the only two things that should matter: beats and rhymes.

Artist: Memphis BleekTitle: M.A.D.E.Rating: 3 1/2 StarsReviewed by: Jayson Rodriguez On what was then supposed to be Jay-Z’s final album, Vol 2…Hard Knock Life, Memphis Bleek was billed as Hov’s heir apparent: a new, improved Jay-Z. Two albums later, he was still trying to live up to the hype. But after three years away from the game, Bleek is creeping out of the shadows of S.Carter. On M.A.D.E, it’s the life and times of Malik Cox that reveal glimpses of a new, improved Memphis Bleek. “Understand Me Still,” finds M.Easy delving into his personal life as he speaks on his career, his newborn son, and his absence from rap. The somber solo track, accompanied by Rell’s soulful wailing on the chorus, features Bleek recounting his older brother’s life-threatening motorcycle accident: “I took Dre down to South Beach/ just to show him what a few ones can do when you amongst ya crew/ we livin/ I never pictured I could ever lose him/ but I found myself with the thoughts I could lose him.” However, Bleek is best when paired with his Roc-a-fella cohorts rather than alone. The incendiary “Just Blaze, Bleek & Free,” along with previously released mixtape gem “Murda Murda,” elicit Bleek’s domineering flow, which has more command than a drill sergeant. It’s when the Memph Man flies solo that he most often falters. “I Wanna Love U,” and “Need Me In Your Life,” find Bleek outside his realm as the aggressiveness in his delivery doesn’t abate and his words come off as insincere as opposed to flattering or funny. Not to mention, the latter is just plain misogynistic. When not flanked by Jay-Z or Beanie Sigel, Memphis Bleek doesn’t define himself enough. He tells us he’s a hustler (“Round Here,” “Hell No”) but not much else. Though he’s no Jay-Z, Bleek’s a good rapper. And in this game-abundant with albums by mediocre emcees-there’s nothing wrong with that.

Artist: RaekwonTitle: The Lex Diamond StoryRating: 3 StarsReviewed by: Toshi Kondo There will never be another Only Built 4 Cuban Linx…. So get over it and stop comparing it to Raekwon’s third solo release, The Lex Diamond Story. Despite telling myself this, thirteen different producers, generic-ass Ice Water shout outs, and the lack of concepts kept me reaching for that purple tape. Rae’s rapid-fire delivery and colorful descriptions still entertain, but this album never comes together. With so many producers, the production is very uneven. The splattering horns of “Pit Bull Fights” and the soft trombones of “King Of Kings”, allows Rae’s lyrics to weave in and out seamlessly. On the other end, tracks like the Hangman 3-produced “Planet Of The Apes,” sounds very synthesized and plastic. This musical fluctuation creates very hit or miss results with few in-betweens. “Missing Watch” is the most creative track on the album. Rae’s paranoid narrative of losing his iced-out timepiece in the club is topped off by Ghost’s hilariously frantic threats to clubgoers. Rae shows social consciousness riding “All Over Again’s” looped strings: “It time to rebuild, teach our seeds that guns don’t kill/It’s the n#### behind the trigger that will/Society’s ill/Blacks support seeds for their mils/Mentally brainwashed, time moves on, we stand still.” Many tracks such as “King Of Kings” featuring Havoc and “Clientele Kidd” featuring Fat Joe and Ghostface are strong, but lack concepts. They resemble mixtape bangers, with hot beats and emcees spittin’ whatever they feel. Ghost does come with a graphic verse that’s sickening in a good way: “Skin his ass, as lame as he look, he ready to cook/And he pleading for mercy, bleeding from his dome and he thirsty/The first week we made him eat s###/Videotaped his wiz and I f##### his b####.” “Robbery” and “Wyld In Da Club,” tracks showcasing his Ice Water affiliates, are so generic that they sound like parodies. None of the Ice emcees distinguish themselves, relying on overused thuggisms. “Ice Cream Pt. 2” is an unnecessary update of a classic (Refer to the horrible “Cream 2001”). Meth, Rae and Cappadonna sound ridiculous spittin’ explicits over a fluffy, Nickelodeon-ass beat. When Rae chastises an interviewer on “Smith Bros,” it’s clear he’s sick of people wondering when he’ll drop another classic. That was a time when RZA produced the whole s### and guest featuring on a Wu release actually meant something. While The Lex Diamond Story has its moments, in the end, it’s just another indication that the Wu era is over.

Artist: Black MoonTitle: Total EclipseRating: 4 StarsReviewed by: A P Special Correspondent Though they may not get all the “props” they did in ’93, Black Moon has returned with a vengeance. Only their third album, Total Eclipse takes you back to a time when lyrics mattered and beats made your neck hurt. Buckshot, 5 FT and Evil Dee have finally put together an album comparable their classic debut Enta Da Stage. Even though this album will not get the commercial pub it deserves, all true Hip-Hop fans should pick this up. This is an album you can actually listen to from start to finish. With their street bravado in tact, Black Moon looks to slay the industry for selling out real Hip-Hop artists; a recurring theme that is found throughout the album. The opening track, “Stay Real,” reintroduces the new Hip-Hop generation to Black Moon. Buck and 5 FT spit venom at wack MC’s over a bass crackin’ Beatminerz track. Buckshot lets everyone know how he feels about today’s crop of emcees, “First of all, I own the Night/The rest ya’ll N##### rely on the light/Light beats,Light hooks/Light beef and you’re shook/The rap game like the crack game/The streets is took.” Total Eclipse is filled with jabs like that. Other tracks of note include “Why We Act This Way”, “Confusion”, “What Would You Do”, “No Way” and “How We Do It”. <br What also sets this album apart from contemporary releases is the proper use of guest appearances. The Boot Camp Click comes ready for war on this album. Ruck starts it off on the Moss produced “Looking Down the Barrel”. And on “What Would You Do?,” Ruck and Buck toss the mic back and forth answering each others hypothetical situations. There are also guest shots from Starang (OGC) and the Cocoa Brovaz, whom all represent as if this was ’96. The album’s production is spread among the Beatminerz and several fairly unknown producers (Kleph Dollaz: “How We Do It”, Coptic: “This Goes Out to You”, Nottz: “Why We Act This Way”). The variety in production keeps the album flowing, making it a great album to rock while you’re just chillin’, playing PS2, or on a long road trip. This isn’t the album to set a party off but every album has its place. Total Eclipse’s place is in my CD player as Black Moon has me open, again.

Artist: Pete RockTitle: Lost & FoundRating: 3 1/2 StarsReviewed by: Jason Newman Remember back in ’92 when you first heard the first few bars to “T.R.O.Y.” and you instantly thought, “This is one of the greatest beats I’ve ever heard!” Then you purchased Mecca and the Soul Brother and thought, “Is it possible for Pete Rock to make a bad beat?” It’s an understatement to say that in ten years, the hip-hop landscape has changed. That sentence is a different essay altogether but suffice it to say, some of the best hip-hop you’ll hear this year comes from two Pete Rock-produced, mid-90’s gems recently released by BBE/Rapster. To kick off their Lost and Found series, BBE Records, the UK label responsible for such seminal series as Funk Spectrum and Soul Spectrum, has released INI’s Center of Attention and Deda’s The Original Baby Pa. While neither album was officially released by a label, the former has been bubbling around the underground since its completion in 1995. The latter, completed in 1996, was permanently shelved and only now have heads been given the chance to hear it. Any questions concerning what Rock was up to after he broke up with CL Smooth are answered with these albums, as he continues to create jazzy, mellow beats focusing on piano, horn and xylophone samples with above average, yet not stellar, MCs. Not much of a change from his CL Smooth days, true, but with Pete Rock’s production being what it was at the time, you’d forgive him for following the “If it ain’t broke, don’t try to fix it” formula. Like the best Pete Rock & CL Smooth cuts, many of the beats immediately hit you, as Rock still clearly knows the difference between “relaxing” and “boring.” On Center, tracks like “The Life I Live” and “Center of Attention” revolve around a basic drum pattern and short sample (saxophone and piano, respectively), yet both songs immediately capture the listener’s attention more than most overproduced beats in modern hip-hop, which subscribe to the idea of throwing as much as you can against the wall and hoping something sticks. “Fakin Jax’,” the only single released from the album and now-certified underground classic, starts off sounding like an altered version of Jeru the Damaja’s “Whatever” before settling into a mid-tempo beat that could easily be on Tribe’s Midnight Marauders. Rock’s beats have always been more suited to the lounge than the club, but when he does make party beats (Read: same as a normal PR beat with a sped-up drum) as on “To Each His Own,” it works, not the least of which is due to guest appearances by Large Professor and Q-Tip. The mid-90s Pete Rock was never known for working with great MCs and these albums are no exception. No one can knock CL Smooth for his consciousness upraising, but let’s be honest; will he ever make anyone’s Top 10 MCs list? INI, made up of Rock’s brother Grap Luva, Rob-O and Marco Polo, are certainly competent enough MCs to lace smooth flows that match Rock’s beats, but there isn’t a single verse one would call mind-blowing. Ditto for Deda, a MC whose harsh delivery can best be compared to an early Fat Joe. It’s this harsh, at times irritating, delivery that may lead Pete Rock lovers to keep INI in their stereo and only break out Deda once in a while. Even critics of INI’s MCs can’t deny their smoothness and affability; the worse you could say is that they can be boring at times. But boring MCs, as long as the beats are good, just decrease the quality of the album while retaining its listenable stature. Irritating MCs may lead to an automatic album shutoff regardless of the beat. Deda is skilled enough on flow, but his threatening style may be too much for people who buy this album expecting a laid-back vibe on all aspects of the track. Rock’s beats on Baby Pa, from the fusion-sampled horn on “Baby Pa” to the upright bass that anchors “I Originate,” feel like throwaway beats not used on the CL Smooth albums. Still solid, but when compared with begging-to-be-a-single songs “Everyman” and “Blah Uno,” one can’t help feeling slightly shortchanged. It’s a testament, however, to Rock’s skills that these b-side beats still sound better than most beats made then or now. With the consistent quality of Rock’s beats on the two albums being what they are, though, all you really need is an average MC to make the overall sound better than almost anything else released (Put a great MC over these beats and you have “near classic” status). The major difference between the two albums is the faster tempo on Baby Pa, presumably to match Deda’s quicker rhyming style. Lost and Found is required listening for any fan of Pete Rock or 90s classic albums such as Tribe Called Quest’s Low End Theory, Digable Planets’ Reachin’, or Gang Starr’s Daily Operation. No, it does not hit the levels of these classics vocally or beat-wise, but both aspects are strong enough on Center of Attention and Original Baby Pa to further solidify Pete Rock’s place as one of hip-hop’s greatest producers.

Artist: G-UnitTitle: Beg For MercyRating: 3 1/2 StarsReviewed by: Deacon Naz 21 questions later everybody’s favorite currency, 50 Cent, and his G-Unit crew are once again out to get their man. Only this time they are bringing it to the masses since before the album, you could only catch ‘guh guh guh G-Unit!’ on mixtapes. With a style that only a mother could love, G-unit has crushed Jah Rule, Murder Inc. (pardon me, “The Inc.”) and affiliates in the underground, while 50 continued the onslaught in the mainstream. The album Beg for Mercy shows that they can still murder folks on wax while maintaining a rounded variety of subject matter. G-unit definitely take their game to another level on this attempt, proving they can keep it up for an album. Lloyd Banks still manages to shine the brightest out of the G-unit (50 excluded), with songs like “Smile”, and “My Buddy”. Lloyd shows his versatility as well has his hunger are just as prominent as when he was spraying DNA in braids on mixtapes. Unfortunately the G-unit is missing one key component in Tony Ya-Yo, who is at the moment indisposed, whose presence is missed. However with the addition of Young Buc they manage to keep the tradition alive. And who could forget the man himself 50 Cent who seems to have a continuous supply of verses to keep your index finger on rewind. Eighteen songs deep, Beg for Mercy is laced with a few hot tracks and production that’s bananas. Hi-Tek gets on board with the tracks “G-unit” and “Eye for Eye”, and DJ Twinz (Redman) even step back on the scene with “I’m So Hood”. And of course the album wouldn’t be complete without a few elements of Dr. Dre. All in all Beg for Mercy has its high points and low points. I wasn’t really at all disappointed, with hooks like “Girl you know I like it when you get on top, love muscle feel tighter than a headlock” on the aptly titled “I Smell P####,” they managed to keep my interest. Don’t get it twisted, with an assault of hardcore lyrics and fire production you’ll be saying ‘guh-guh G-unit’ in no time. FREE YA-YO.

Artist: The Unspoken HeardTitle: 48 MonthsRating: 4 StarsReviewed by: N. Context “Anything worth having starts with a plan. Our plan was to make music, and to offer a different and honest perspective to the music. The ground work that we chose to lay the foundation of our plan is, in my opinion, quite revolutionary, simply because we chose to pluck our own hands from the deck, while others waited for the deal (pun intended)”-Asheru Asheru and Blue Black of the Unspoken Heard, independently, have quietly been carving a niche for themselves which is beginning to have a resounding affect in the Hip-Hop community. From 1997 to present, they have toured world wide and have worked with a variety of artists from J-Live to Talib Kweli. If you haven’t heard of the Heard before, this is your second chance to get a first impression. Following up their 2001 debut album Soon Come, 48 Months is an anthology of recordings from 96-2000 “for all those cats that didn’t catch our stuff prior to Soon Come.” From their first EP release Cosmology to the release of the Jamboree EP, 48 Months embodies The Heard’s continuing efforts at creating “that straight up Hip Hop. Right down the middle. Not too far to the right that we get ignorant. We are not too far to the left that you can’t rock our jams in the club.” With tracks like “Jamboree” and “The Music” they give you anthem resonating songs that can be played anywhere from the clubs to family reunions. “N#### Like Me” showcases Blue Black and Asheru’s emceeing skills with their ability to flip flows and effortlessly pass the mic. On “Setting Sun”, Blue Black breaks down the unspoken conversation between father and son as the son watches the father die. This is the other perspective to his “From Sun up to Sun down”; telling the same story but from the Son’s view. Besides featuring The Heard’s earlier EP released songs, the album contains never before released tracks. “SoulJamboree” is a funky remix of “Jamboree” with the horns chopped up and the piano loop shortened with Asheru spitting different verses from his rhyme book. “Smiley Soul Dub Version” is an up tempo, house instrumental remix which can bump in your car, stereo or headphones. “How Ya Living” is the extension to “Trackrunners” where you are privy to Asheru, Grap Luva, J-Live and Sondia freestyling (not prewritten but free spittin’) over a hand clap and then beat box. Without a doubt 48 Months is a solid “prequel” collection of The Heard’s work. The songs flow effortlessly into one another exhibiting their varying styles and subject matter. If you are longing for that 90’s Hip Hop feel this is where it’s at. “File our records in the, ‘I remember when s### was good this sounds like some early 90’s positive he got rhymes he got beats he’s mad cool I saw him at SOB’s that artwork is ill my girl likes this my mom likes this my pops knows that sample this is funky this is hard I put this on on my way to work I put this on when I’m at the gym I could bang this in my man’s system stop listening to that b.s this is what’s up’ Hip Hop section”

Artist: Biz MarkieTitle: Weekend WarriorRating: 4 StarsReviewed by: Toshitaka Kondo<font face="verdana" size="2" Hip-Hop is still fun. Seriously. If you don’t believe me listen to Biz Markie’s new Tommy Boy release Weekend Warrior. It’s an hour of funky fresh music that’ll take you back to fat laces and air-brushed t-shirts. I guess that’s not too far back since they re-issue everything nowadays, but you get the point. Although his flow’s a bit outdated, the music is refreshing and makes for a surprisingly strong return for the old school legend. The beats are mostly mid-tempo and upbeat, fitting Biz’s simple flow and random thought patterns (“When I watch cartoons, I watch Johnny Quest/I wake up in the morning and shower with Zest”). Although the sung hooks sound a little overused throughout the rather long album, it’s a minor drawback. Even with his ADD tendencies, he has the ability to stay focused on themes. He reminisces about Dapper Dan and African medallions over a happy guitar loop on “Throwback.” While “Friends” humorously looks at relationships in the same vein of his classic “Just A Friend.” Stripping away a woman’s emotional baggage on “Games,” Biz urges her to “do the right thing like Spike Lee.” His more spontaneous work is also humorous and incredibly random. Anytime you can rhyme about shrimp-fried rice and beef and broccoli as on “Chinese Food,” and not sound completely ridiculous, that’s good. Although he ignorantly imitates Asian dialect at the end, it can be overlooked as part of his goofy and harmless demeanor. Even when paired with more current stars like P. Diddy and Elephant Man on “Do Your Thang” and “Let Me See U Bounce,” he sounds as diabolical as ever. That’s ‘cause Biz is completely himself at all times. Like good wine, old school rappers just get better with age. Well, at least some of them do. You won’t find any ill battle rhymes or cinematic crime narratives on Weekend Warrior, just fun hip-hop that feels good. Hearing a dude that’s closer to 40 sounding this good will make you mad Jiggaman is even talking that retirement s###. But I guess that’s why nobody beats the Biz.

Artist: CharizmaTitle: Big ShotsRating: 4 1/2 StarsReviewed by: Brolin Winning The past year has been a good one for fans of early-nineties hip-hop. We’ve seen the release of some crucial, previously shelved albums (Dooley-O’s Watch My Moves, Pete Rock’s work with INI and Deda), and discovered new artists who flip the classic styles of old (Little Brother, Edan). The latest entry comes from Stones Throw mastermind Peanut Butter Wolf, who hits us off with the long awaited full-length from him and San Jose emcee Charizma. For those who don’t know the deal, the duo were signed to Hollywood Basic back in the day, but Charizma was killed in ’93, and the album never dropped. Stones Throw put out a few 12-inches from the project (“My World Premiere” was the label’s first release), and finally, the LP is here. From the first track on, this s### is bangin’. Wolf’s production is relentless, loaded with up-tempo break-beats and absurdly funky loops, while Charizma goes all out on the mic, mixing vivid storytelling with mad metaphors and Big L style bravado. “Here’s A Smirk” starts things off right, rocking a stuttering guitar sample and snares with more punch than a young Mike Tyson. “Jack The Mack” employs a rubbery bassline and seriously live drums, while telling the tale of a flashy crack dealer who ends up catching AIDS. Charizma breaks down his player tendencies on “Devotion” an organ-fuelled, scratch-laden jam, and gives advice to the females on the horn-propelled “Tell You Something.” Grade-A braggadocio abounds on several tracks, especially on “Charizma What”, set to a neck-breaking boom-bap and jumpy piano loop. While most of the album is on the fast and furious tip, the mellower joints are equally hot. “Talk About A Girl” is a short but sweet romance rap, and the self-descriptive “Methods” is straight classic, built on mellow keys and dusty vinyl pops, punctuated with tight SP beats and swift cuts. Other highlights include the raga-flavored “Soon To Be Large” and the ridiculously catchy “Ice Cream Truck.” Recorded entirely between ’91 and ’93, Big Shots is just what the doctor ordered for heads who remember the days when rap music was about more than just flossing your shine or trying to out-abstract the next man. Had Charizma lived, there is no doubt that he would have been huge, his mic skills were extraordinary and his emcee name very fitting. With fifteen dope tracks and zero filler, this is easily one of the year’s best albums. Another triumph for Stones Throw, and a must-cop for any hip-hop fan.

Artist: J-LiveTitle: Always Will BeRating: 3 1/2 StarsReviewed by: Toshitaka Kondo Who’s J-Live? He’s could be the best rapper who you’ve never heard of. The Source Unsigned Hype alum has all the symptoms of the “good rapper, bad luck” syndrome. A heavily praised, yet bootlegged and unreleased debut, The Best Part. His nomadic label situation. And the “is he still rhyming?” look that 97% of hip-hop heads give when his name is mentioned. Leaving Coup d’Etat, who released last year’s All Of The Above LP, he’s returned with the Always Will Be EP through Fat Beats. Although his delivery lacks the intensity displayed on “Braggin’ Writes”, he still personifies a true MC. Whether speaking on industry ills (“Car Trouble”) or self-imposed isolation (“Walkman Music”), J-Live’s talent as a writer is evident. On the former, the ex-educator uses clever car analogies to school an aspiring MC about potential music industry hurdles. Even with bad experiences, he’s not the madd rapper. As he says on “Deal Widit,” “Don’t get it twisted/ I wasn’t drafted into this life, I enlisted.” Although his conceptual work is imaginative, he still has the ability to just spit. Riding a jazzy piano loop on “9000 Miles,” his rhymes seems endless: “I get on the mic and strive to be the best/But it’s not just a flow there’s more to the test/I gotta spit like there’s no time to waste/Spit like I can’t take away this life taste/Spit for rebellion/Spit for resistance/Spit for accuracy/Spit for distance.” Elsewhere, the hard horns and battle rhymes of “Get Live” justify the last four letters of his name. With eight tracks, his chances of missing are slim. However, his calm delivery on “Deal Widit,” doesn’t get across how stressful time constraints are. Also, Stunt 101 disciples may complain about the scarcity of club bangers. Then again, he makes it clear that “If you sittin’ on chrome and it’s spinnin’ when you’re not, this is not for you.” Maybe it’s best that he remain an underground hero. Listening to Always Will Be, this would probably suit J-Live just fine.

Artist: Jay-ZTitle: The Black AlbumRating: 4 1/2 StarsReviewed by: Quia Querisma It’s no secret that The Black Album was anticipated. The real secret is whether or not Jay-Z is really going to call it quits. Doubtful, but if he does, he’s leaving the game the way you should, while he’s on top. Jay pulled no punches and dug out the best and the brilliant for his production team. Kanye West, Rick Rubin, DJ Quick, and Just Blaze are about half of The Black Album’s dream team. Unfortunately, in what seems like an effort to create an over-elaborate entrance to his exit, the first four tracks of the album are choking on pseudo-grandeur production. The orchestrated sound lacks the same kind of appeal of the Blueprint’s “All I Need” and just turns into a distraction from the tenacity of the lyrics. After getting past another Neptunes/Jigga joint for the girls, “Change Clothes,” a certifiable banger finds its place. The Timbaland-produced “Dirt off Your Shoulder” is full of BET-brand egotistical flow. Tim bounces the beat like a Spalding as Jigga tells us “I drop the Black Album then I back out / I’m the best rapper alive, n#### ask about me.” It’s this song that lights a fire to the production that doesn’t go out until the close of the disc. Eminem gave up a sinister-sounding track for “Moment of Clarity” where Jay rhymes about why he chose the road he has taken. Talking about everything from feeling awkward at his pops’ funeral to critics complaining about his content, he spits, “I dumb down for my audience and double my dollars / they criticize me for it yet they all yell ‘holla’ / if skills sold, truth be told / I’d probably be lyrically Talib Kweli / truthfully I wanna rhyme like Common Sense / (but I did 5 mil), I aint been rappin like Common since.” Jay spends a lot of time reminding nay-sayers that he’s from the streets and he refuses to be punked. “Threat,” “99 Problems,” “Justify My Thug” are all odes to his street credo. “Allure” is his Neptunes-produced love song to the drug game. Gunshots ring out in the background amidst the violins and piano. It’s a good song but it sounds out of place on the heels of what is arguably the best song on the album, “Lucifer.” Kanye West unleashed all production Hell on the Reggae-inspired joint that brandishes a sample from “I Chase the Devil” like twin Desert Eagles. More gunshots in the background as Jigga confesses “Lord forgive him / he got them dark forces in him / but he also got a righteous cause for sinning’ / dem’ a murda me, so I gotta murda dem first / emergency doctors performing procedures, Jesus.” Jay closes out his solo career with the ironically-titled “My 1st Song.” We hear a clip of Biggie saying that the key to staying on top of the game is to approach everything like it’s your first project. A bluesy guitar shares this track with a southern-sounding rolled bassline. Jay reverts back to a faster-flow a la “In My Lifetime.” Somehow, he managed to recapture the hunger of a fledgling artist because his inflection is full of passion. Jigga has definitely bowed out gracefully with an album that can stay on repeat all day and not get old.

Artist: Baby BlakTitle: Once You Go BlakRating: 4 StarsReviewed by: Alvin aqua boogie Blanco Rap stylist Baby Blak is an emcee out of step with the times. To begin with he has the audacity to not focus his raps on cars, rims, watches and all the other excesses that can be seen on any given episode of MTV Cribs. Instead, the West Philadelphia native chooses to kick rhymes about starting scholarships for the kids, shady associates, inner city drama and of course, supercilious battle raps. Some nerve. On the intro to his superb debut, Once You Go Blak, he reveals 1974 as his born year, making him closer to 30 years old and privy to a wealth of material to mine into a limitless cache of rhyme jewels. But those gems don’t involve too much flossing, per se, but edutainment. On “Diamond (Diemon)” he speaks on true cost of bling with regards to lost human lives due to African diamond mining while on “Economix” he addresses the Sept. 11 terrorist attacks. On “Wake Up” he is subtly schooling potential listeners to the block hustler’s endless circle or the missteps of women who lack self worth. The hook sums it up, “I used to walk in your shoes, took the same steps, used to do what you do, just to get a rep, I was just like you, get money, have sex, smoke weed, drink brew but in real life…” But any emcee can rap about society’s ills, dead prez anyone? But Blak mixes up the teachings with verbal dexerity. Simply, he’s adept with the haughtily slick verse and thrives in showing it off. The Soul Supreme produced “Firewater” with it’s frenetic horns and surging strings fit comfortable with Blaks flow. Just peep the third verses grammar; “You Burger King, I’m filet mignon, so where the beef/you mayo, I’m Grey Poupon/You lego, you Play-Do, you make me yawn, I’m Evian…” With the lyrics plentiful, Blak went West to get his tracks with DJ Revolution contributing a few as well as Joey Chavez (“Fallin’ Down). His Philly brethren Jay Ski provides heat with a thick baseline on “Friends,” which finds Blak dropping venom about backstabbing friends and associates with ulterior motives over what sounds like synthesized swallowing. Overall the beats suitably bump but not enough to rock a dance club or simple enough to have many lazy radio programmers add them to their cookie cutter playlists, their (and your) loss. Wielding a combat scarred mic in one hand and a sincerely mindful (conscious is too simple) one in the other, Blak is an emcee capable of balancing profound content with old school mic machismo. By no means a rookie (besides critical received acclaim with his group ILL Advised he was also featured on Jazzy Jeff’s The Magnificent project), Once You Go Blak is one of the year’s freshest debuts.

Artist: 2 PacTitle: Nu-Mixx KlazzicsRating: 1 1/2 StarsReviewed by: Damainion Ewell It would be very interesting to hear what 2Pac would have to say about the state of his music. While his legion of fans continues to grow to enormous levels, a lot of the music made before his untimely demise should have been kept on the shelf. His latest posthumous album, Nu-Mixx Klazzics is a definite testament to that theory. It almost seems deliberate that Suge Knight and his cohorts have taken ten of Pac’s timeless classics and recreated them into average tracks at best. The beats have been totally revamped and some of the original artists have been replaced, and not necessarily in a good way. Two of 2Pac’s all-time greatest hits, “2 Of Amerikaz Most Wanted,” and “Hit Em Up” are absolutely laughable on this album. “2 Of Amerikaz Most Wanted” features fellow West Coast mudslinger Crooked I on the album, and albeit that Snoop Dogg’s original lyrics were conspicuously replaced, he did a good job of keeping the spirit of the song alive. Lyrics such as “I got both heaters cocked and I’m ready to ride/whoever’s ready for beef better be ready to hide” are key to keeping the song’s purity. However, the beat falls way short of the glory that was the original tune’s final component. The producers managed to keep the West Coast flavor on the song and mastered it to the point where consumers may think Crooked I and 2Pac himself shared the same studio space to create it. All in all, the lack of bass kick and the abundance of drum snares make this version a lot less listener-friendly. “Hit Em Up,” quite possibly the greatest diss song ever written in any era of Hip-Hop, would not win any verbal battles in any arena if the Nu-Mixx Klazzics version came out first. The drums, sequencing, and keyboards lack the substance necessary to carry the hardcore lyrics that made this song legendary. The beat does not bode well with 2Pac’s harsh and extreme lyrics on this record, and The Outlawz were not a complimentary addition to this song. Again, the producers did a fine job regarding the continuity and authentic sound that the track provides, but the beat is too smooth and too non-threatening to make this a beef song. Had this version been the original, it is almost a certainty that Mobb Deep, Chino XL, and the late Notorious B.I.G. would have toppled over with hysteria. New versions of “Hail Mary” and “How Do You Want It? (Featuring K-Ci & Jo-Jo)” are also available on the album, and they are also victims of the downward spiral in production savvy. It is unfathomable that a bona fide legend such as 2Pac has to take such a tremendous loss with the unceremonious revelation of these remixes. A lot of the “Thug Life” persona that 2Pac represented has seemingly been cleaned up and washed away with no hard edge to the music in sight. Death Row Records has further disgraced itself by putting out less than legendary 2Pac music. If there is any consolation to hardcore 2Pac fans, his original lyrics were never rewritten, and his true spirit will forever live in the true essence of his words.

Artist: Greenhouse EffectsTitle: Life SentencesRating: 3 1/2 StarsReviewed by: Paine Ohio is clearly starting to make more of an impression on hip-hop than just Bone Thugs. RJD2, Copywrite, and Blueprint are making exciting records that have the mainstream media talking. The Greenhouse Effect is an eight-year deep bond between Blueprint, Inkwel, and P-Dunbar. After a well received EP three years ago, the group returns with Life Sentences a full 20-track meal of hot tracks Columbus breaks through, alas. If the Greenhouse Effect is to be known for one trait, it’s vocal tone. While all three MC’s have superior skills, they stand out for their higher-pitch voices. Blueprint specifically is known for this. Lyrically, Blueprint finds the role as the group’s leader. While his skills don’t seem any better than Inkwel or P-Dunbar, ‘Print still makes his tracks universally relatable. A track like “Red Badge of Courage” is a classic example of this group’s worthwhile conscious offerings. While several tracks off the album are heavy on thoughts and messages, the trio still serves proof of their MC statuses with joints like “To Rhyme is Divine.” While most underground acts are deft with the delivery, few touch the topics of Greenhouse Effect. Soul Position caught the attention of many when it paired Blueprint with producer, RJD2. Few realized what an incredibly dope producer than ‘Print is on his own. While his technique seems very minimalist, he is sampling some deep-rooted sounds that just rehash so nicely. Tracks like “Fantasy Island”, “Friction” (check Vast Aire’s guest spot), and “Cracked Pavement” are all great complete tracks fueled by unique ballad production. Columbus, Ohio may sound boring when paired against Brooklyn. But there is nothing boring about Greenhouse Effect in a sea of comparable work. This album offers a good, varying sound, audible group chemistry, and a spectrum of content matter. This album is exciting and has purpose. Blueprint is damn hardworking – nobody has put out so much material in a single year since E-40.

Artist: NecroTitle: Brutality Part 1Rating: 3 StarsReviewed by: Paine Necro is Brookyn’s answer to Brotha Lynch Hung. He has established himself as an MC limiting himself to tales of detailed violence, rough sex and a heavy scoop of first amendment testing lyrics. Necro, as a producer, is known for his scary movie-inspired themes. Necro’s been behind such timeless productions like “Black Helicopters” by Non-Phixion and his own “Get On Ur Knees.” While his productions are widely-praised, many struggle with his content matter as an MC. Brutality Part 1 is no tremendous advancement from Necro’s catalog of albums. To the most discriminating ear, Necro is just doing more research on his dark subject matter. Still, it is without any question that Necro is a very skilled MC. His lisped, quick bars are as good an example of a Kool G Rap prodigy as any. Perhaps like G Rap, Necro’s art will forever remain art exclusive to a select few. Some of the album’s better lyrical offerings are given from Non-Phixion guests Goretex and Ill Bill. “Our Life” is a track that not only displays Bill’s skills over a intimate piano loop, but tells the story behind why these dudes are so deranged. “I’m Your Idol” may be the most hip-hop minded track, where Necro puts it down with brags and boasts celebrating the classic Special Ed reference. In terms of production, Necro’s work does suggest growth. “Morbid S###”, while not a terribly impressive lyrical track, is a great simple reggae chop sounding beat. Necro, while still relying heavily on strings and piano chords, is moving towards better percussion and more diversified sounds. Still, in celebration of his proven success method, Necro offers grimy classic productions found on “White Slavery” and “Dopesick.” Originality lacks with many hip-hop artists. Necro is very original. Not since G Rap and Pete Nice has an MC been able to deliver so well in a truly grimy way. While this album has less novelty tracks than Necro’s work three years ago, it stands as his most solid and evolved body of work to date.