MGMT - Congratulations review

“Congratulations”, psychadelic alternative rock duo, MGMT’s sophomre album, is definitely a change from their debut “Oracular Spectacular.” Like they said, there is no “Kids”or “Electric Feel”, but elements of their other songs are there. “I Found A Whistle” sounds similar to “The Youth”, but better and more developed, while “Siberian Breaks is structured similar to “Metanoia”, but that song has so much going on, it’s easier explaining what isn’t in the song. I guess the main difference is the trade of Oracular’s infectiousness, for Congratulation’s superior production. The debut was a random mixtape, more or less, of catchy songs, compared to this albums cohesiveness. The first two songs “It’s Working” and “Song For Dan Traecy” are fast paced, toe tapping, surf rock, with their usual psychedelic twists. “Song For Dan Traecy” even includes a bongos! Unfortunately, the way the album is sequenced “Brian Eno” wounds up sounding like a overly quirky mash of other two though. A lot of the quirks do pay off though. “Lady Dada’s Nightmare” is ironically a dreamy sounding (when you don’t listen to the death moans in the background) instrumental, with strings, pianos and synths, while the almost undisputed best song “Siberian Breaks” just keeps developing with every new sub song, until it’s utterly dazzling finish. The leak of “Flash Delirium” now makes sense and is probably the catchiest and subtly funkiest song on the album. I guess the glaring problem from this style change is that these are good songs, but their debut was full of compelling anthems for people. People could relate to “Kids” and the idea behind “Time to Pretend”, which just added to the catchiness. These songs kind of feel soulless, other than the finale, the title song “Congratulations”. It is the only time where Andrew Vanwyngarden’s vocals take center stage and easily the most compelling song here. The album is definitely a giant leap forward musically, but just as much of a giant leap backwards in everything that made Oracular Spectacular what it was. Take that sentiment anyway you want, personally I like this.

7.8/10
Listen to: “Siberian Breaks”, “Flash Delirium”, and “Congratulations”
Avoid: “Brian Eno” and “Someone’s Missing”

Daft Punk - Discovery: classics album review

This album originally came out in 2001 and though Daft Punk, the electronica duo, isn’t as ubiquitous as say Brittany Spears or Jay-Z, whose careers are just as long, you (John Q. Public) probably know of Daft Punk’s work, on this album in particular. For those of you who don’t know this is the duo responsible for “One More Time” (we’re gonna celebrate, music’s got me feeling so free… yeah that song… yes that’s a duo… no, none of them actually are singing). And to be honest, in the past decade, “One More Time” probably has gotten more airplay and club play in such a variety of places, whether it is a Top 40 radio station to the Rap/R&B station DJ’s mixes, than anything Jay-Z, Brittany Spears or anyone else that has been around since the ‘90’s, ever since the single came out. Since the end of last year, while all of the major websites were doing their best albums of the decades, it so happened this album was at the top of most lists, so I decided to investigate. Again, for artists who may not be the most household names in the U.S., a good chunk of this album has been in the consciousness of this country for almost the whole decade. “Digital Love” is a G rated vocoder laden love song, with warm synthesizers, that was made famous in widely popular Gap commercials, at the time. “Harder, Better, Faster, Stronger” is a song with a simple mantra and distinctive symbols that has had it’s fare share of commercial exposure, as well as being sampl… rapped over by Kanye West in “Stronger”. Not to mention other songs like the “Aerodynamic” and “Veridis Quo” have also been sampled throughout the years. The whole album has a ‘70’s/ ‘80’s disco vibe and, other than the horrifically cheesy “Something About Us”(in an album known and love for its cheesiness), it is danceable the whole way through. However, you would not be missing out on much if you just downloaded the aforementioned songs, but I suggest listening to the whole album. If the whole autotune movement going on today, which probably in a way is a result of this album, or disco and other assorted dance genres aren’t your thing, you probably will not like this album, but the effect it has on pop music today is still very evident.

9/10
Listen to: “Aerodynamic”, “Digital Love”, and “Harder, Better, Faster Stonger”
Avoid: “Something About Us”…honestly that’s it

DJ Khaled - Victory album review

So DJ Khaled is on his 4th album, “Victory”. Honestly, I don’t see why people didn’t think he would be successful, he gets popular rappers, puts them all together on posse cuts, with catchy hooks. He has shown through the years he has a consistent record of making hits, by staying to this formula. Unfortunately for Victory, its strength is it’s downfall. Not only does this album sound like every other Khaled album, structure wise, not execution wise (more on that later), but the songs sound pretty much the same on the album. Khaled albums are a whose who of Southern Hip Hop artists, but we know of his especially close connections with Rick Ross, Young Jeezy, Plies and T-Pain. That in mind, it’s no surprise they are all back (Rick Ross and Young Jeezy with multiple appearances). Honestly, I am surprised that there is no Fat Joe or Lil Wayne, because they’re usually around too. What is still around are those drowning synths present on every Khaled and Ross album, that usually sound triumphant, but more often on here sound overdone. However when they do have that triumphant feel, it definitely works. The lead single “Fed Up” features (of course) Rick Ross and Young Jeezy, but now Usher is thrown in the mix, along with everyone’s new “Last name Ever, First name Greatest” rapper, Drake. The beat works, Ross and Jeezy sound at their best, while Usher’s hook really is catchy, and like him or not, Lil Wayne Vanilla is pretty infectious. I am disappointed though, because what Khaled usually is good at is picking good combinations, which he still is, but they are not used as effectively as in the past. “Rockin’ All My Chains On” features Bun B, Birdman, and Soulja Boy, however Bun B is the one doing the hook, and all three have a verse. I would think Soulja Boy would have made the same hook twice as catchy, while Bun B could have taken either of the other verses. Also, “Ball” Features Schife (…me neither) on hook duty, while Jim Jones gets 3 verses on the same type of production. First, why does Jim Jones have 3 verses, he rarely does a whole 3 on his own best songs, and Khaled could have gave one of the few non-southern artists a non-southern sounding beat. These songs aren’t even the low points of the album, that’s just the trend. The bright spots though are when the sounds vary, like the when the pace is slowed down on the title track that features Nas and John Legend and a solo by Rum, over a dark, menacing production complaining about wanting real rap back. In all, Victory is more of the same, but watered down than the last 3 cds.

5.5/10
Listen To: “Fed Up”, “Victory”, and “Bringing Real Rap Back”
Avoid: “Ball”, “Bring The Money Out” and “Killing Me”

Cam'ron & DJ Drama - Boss of All Bosses 2 mixtape review

After a long wait, the sequel to the summer’s Cam’ron and DJ Drama collaboration is finally here. I reviewed the last one when it came out…6 months ago, and I remember hoping that the sequel Cam’ron alluded to would be better. Well, half a year later, that mixtape really grew on me, and I appreciate the “mixtape-ness” Boss of All Bosses 1 had. The real purpose of a mixtape is to promote; not necessarily to be a cohesive project, which is what the album is for. Over time, the rap game evolved into a genre of music where some artists don’t even get an album before their 5 seconds of fame is up, so mixtapes have been treated like albums to ensure the rapper gets their fare shot. Because of this, ironically, these days an artists’ mixtape can come out better than the album meant to promote. When comparing this mixtape to Cam’s last album “Crime Pays”, honestly the album’s high’s were higher (as they should be), but this tape was a lot easier to listen to throughout the whole way, compared to Crime Pays’ lows, not to mention this tape’s predecessor, Boss of All Bosses 1. This tape’s flaws are that of any Cam’ron project; The tape seems too long, too much filler, too many unfunny skits, and not enough solo Cam’ron. Like part 1, Cam’s new protégé Vado is on virtually every song and he is not a bad rapper, however he does not have the character of Juelz Santana and Jim Jones or raw lyrical ability of JR Writer or Hell Rell. Unfortunately, none of the aforementioned former protégés of Cam are present (again). However, as ususal Cam’s trademark off kilter rhyme scheme and dry wit are the highlights of the tape. Lines like “Her blackberry, color of strawberries/my pradas were blueberries, she tweakin’ like starberry/ listen boo them boys silly like Mark Curry (comedians)/ girl don’t miss the boat so Ma hurry!” on the Oh Boy-esque “Ohh Baby” or “Fuck all the press and the media/I’m vest with the heater/ my dudes come to see ya, dressed like Madea” on “Do Wrong” show Cam is still master of his craft. One difference from the 1st Boss of All Bosses is that the production value is consistently much better, courtesy of Aarabmusik, who has been getting a lot of hype himself lately. Boss of All Bosses 2 turned out to be worth the wait… even if the wait was 6 months from when Cam said it would originally come out.

7/10: Listen to “Ohh Baby”, “Stop It Slime”, and “Point the Finger”
Avoid: “Get Away” and “Nothing Personal”


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Kesha - Animal cd review

With the success of her hit “Tik Tok”, I guess I felt I may as well see what the hype was about. If it was some random pop song, I would have overlooked Kesha (I a m not going to make the effort to put a dollar sign in place on place of an “s”), but she had the nerve to make a rap (-ish) song, so I had to investigate. I thought rapping would be her gimmick, but she does not rap on the whole cd. Actually, I did a little research and found out not only is she the voice behind the chorus of Flo Rida’s hit single “Right Round”, but she has done background vocals for Paris Hilton and Brittney Spears. That being said, you can tell Kesha is not going to be the voice of the generation, but in a cruel, ironic sort of way, she already is. The songwriting for the album is awful. There is no other way to put it. I was actually surprised that she only co-wrote her songs. I mean who would really pay money for lyrics like “lookin’ like pimps in my gold trans am, got a water bottle full of whiskey in my handbag, getting my drunk text on… dirty freak for all” (Take It Off) or “you’re looking like a tool not a baller/ you’re acting like a chick why bother” (Kiss N Tell). Subjectwise, it’s like an MTV reality show put to music; it really is all partying, getting drunk, other girls being “bitches”, and random sex. Not that all of those things are awful, but 15 songs of the same thing – C’mon. On the horrific, rather than just simply lackluster, collaboration with 30h!3 (I know, was I really expecting anything more) she flat out says “Turn around boy let me hit that”. I didn’t even know girls could do the turning around and hitting. To make matters worse, the whole album pretty much has the same dance floor ready beat, drowned with beeping and buzzing synthesizers. Honestly she is probably the voice of this generation, because she is a blatant product of pop culture. The music is horrible, because our culture (youth culture) is horrible. “Tik Tok” remains the album highlight, because it is one of the rare times the album is quotable in a good way. The only other few highlights seem like horrible rip offs from other artists. “Boys & Boots” is tolerable only because it sounds like a Lady Gaga B-side and “Dinosaur” is Gwen Stefani’s “Hollaback Girl”, except about old men. About two weeks ago I remember watching ABC World News and they reported how they use music to torture prisoners at Gitmo. Well, this collection of songs could subdue Osama Bin Laden himself. I officially have an appreciation for Lil’ Wayne’s Rebirth album now. This really is that bad… but I am sure “Tik Tok” will not be her only hit single from the album. It is the soundtrack of the generation after all.

2/10: Listen to: “Tik Tok”
Avoid: honestly the rest of the album, but in particular “Blah Blah Blah”, “Kiss N Tell”, and “Party at a Rich Dude’s House”

Lil' Wayne - Rebirth review

Officially as of yesterday, Lil Wayne’s Rebirth album was pushed back to June 22. I figured I may as well review this now while people actually still care, but I guess that’s already fleeting, hence the pushback (again). Similar to Kanye’s 808’s & Heartbreak, this is Lil’ Wayne supposed dramatic style change. However where Kanye adopted autotuned, tribal drummed, synth-altenapop, Rebirth is supposed to be Wayne’s debut rock album. Also like Kanye, many predicted this would easily be his worst cd yet, and by the sounds of it, it seems like it. The difference in the two’s stabs at experimenting is that Kanye kept the autotuned, tribal drummed, synth-altenapop theme through the whole album and actually produced hit singles (“Heartless” and “Love Lockdown”). Lil’ Wayne’s album is more rock influenced (at times…) than all out rock, and he has not been able to spawn any hits, unless you count “Prom Queen” selling a lot on itunes, just because it was the first single, and people were interested. In all the album is very bad, I mean awful, but it does have its moments.
On one hand, “Da Da Da” may hands down be the worst song of his career, not to mention the past year. There are too many vocal effects (autotune and distortion), the production is too busy, Wayne doesn’t even try with the lyrics: “I know u want me/give me that monkey/ that funky monkey/ (screwed voice) that funky monkey”. The hook really is him on the autotune just saying da da da. “Get a Life” and “Runnin” really don’t fare that much better either. They are proof that Lil Wayne really isn’t cut out for trying to be “experimental” and should stick to what he knows, because this is not working for him. Also, Shannell (AKA SNL), the singer of Young Money and supposedly the driving force of the album really does not have that impressive of a voice either. With the right production she could make some pop hits, but really she makes Rihanna sound like Whittney Houston pre Bobby Brown. Most of the cd seems like a collage of vaguely rock-ish sounds being put together with Wayne and Shannell singing, screaming, and sounding like their dying with no regard for the actual music. Then some songs, just don’t even seem like it’s much of a rock influence at all. The second single, “On Fire”, with it’s clearly Miami sound would work well on a Rick Ross or DJ Khaled album.
The cd does have definite highlights though. The 1st single “Prom Queen” really is not awful and if all of the songs blended his hip hop roots to the new rock sound, the album may not have turned out so bad. Also, other than Shannell and Tyga, the guests definitely pick up the 2nd half of the album. Eminem delivers a great verse on “Drop the World”, Kevin Rudolf continues to make good (not exactly great) collaborations with Wayne on “One Way Trip”, while Nicki Minaj steals the show on “Knockout”. It actually seems suited for the Z-100 pop/rock base, but Nicki’s autotuned hook sounds poppy enough to get airplay, while she delivers a rap/yelled verse that shows she is conscious of the albums direction. The cd really was horrible, but no one goes to Lil Wayne for pushing the envelope or artistic expression. That’s what Kanye is for. If the cd actually comes out, which may not even happen…who knows, it’ll be interesting to see if it sells just on Wayne’s name alone, since the music wont sell it.

3/10: Listen to: “Knockout”, “Drop the World”, and “Prom Queen”
Avoid: “Da Da Da”, “Runnin’” and “Get a Life”

Lite (Coolroy) – Out To Lunch Mixtape Review

I’m assuming this is what everyone but me felt like last year when they listened to Drake’s “So Far Gone”. By no means will this get the buzz the Drake tape got, at least not now. The two tapes are similar, they’re both hipstery, rapping/singing, genre-hopping, “emo-raps”. The difference I guess is that Coolroy seems to come off as a more backpacker, underground version of Drake. There’s no “Best I Ever Had” potential, no superstar guests, like Lil’ Wayne, but I can definitely see a buzz building from this tape. As the title and by Coolroy’s own suggestion, the mixtape is something to chill out to. You can definitely tell this guy is from the West Coast. If I had to describe it, It’s probably what Shwayze (remember that guy “Buzzin” ,“Corona & Lime”, that Malibu rapper who never combed his hair & hung around Cisco Alder on that awful reality show on MTV like 2 years ago) was going for, but failed horribly.
Anyway, For the most part the mixtape, production-wise is full of laid back 90’s esque beats and samples, with a few detours, which actually seem to be common these days thanks to Drake & Kid Cudi. “E.T. L” is the now pre-requisite rapper making a electro-pop autotune song, but as far as those go, I’ve heard worse. “Burn” is the “at one time considered pushing the envolope cover of an alternative rock song”, this time by Pink Floyd. Which has been done by Lupe, Cudi, Drake, even Kanye covered Tears for Fears on 808’s. “Red Pumps” and “Never Over” are the attempts to liven the tape up, but really just ruin things. The only change in pace that really works is “My Girl”, it’s sounds like what Shwayze’s first cd could’ve spawned if he had talent. If there was a “Best I Ever Had” on the tape, this would be it. Other than that, the other of the 17 songs are consistent good lyrics and a show of Coolroy’s impressive everyday man storytelling ability. What guy can’t relate to “30 Seconds”…c’mon. Then, songs like “The Feeling” and “The Adventures of Charlie Tuna” really hit home. I really enjoyed this mixtape. Yeah, he pretty much took what already existed and repackaged it to his own image, but the end product really is more than the sum of its parts.

8/10: Listen to: “30 Seconds”, “The Feeling”, and “My Girl”
Avoid: “Burn”, “Red Pumps”, and “Never Over”

Wale – Attention: Deficit album review

After years of putting out critically acclaimed free mixtpaes, DC rapper Wale, has finally put out an official album (Technically the cd is out Nov. 10, but it leaked). For everyone who deosn’t know, here’s Wale in a nutshell: DC rapper, who combines rap and elements of DC go-go music, who was signed to the record label of Grammy-Winning producer Mark Ronson. In the past many publications have compared him as a combination of Lupe Fiasco and Lil Wayne, which really is accurate, but this album proves he is more original than that.
Just as his mixtapes, Wale is most at home when he is backed by ornate production, which the album is full of. Almost all of the songs are full of energetic horns, percussion, hand claps, and the occasional synthesizer. The album contains production from Ronson, as well as, the Neptunes, Green Lantern, 9th Wonder, and Cool and Dre. If you think the production variety is big, then see the guest list; Bun B, Lady Gaga, Pharrell, Chrisette Michele, Jazmine Sullivan, K’Naanm J. Cole, and the man, the myth…Gucci Mane (and others). Usually when debut artists have this much production and guest vocals, it usually is a way to hide the lack of talent of the artist, but Wale definitely holds his own. Tracks like “Momma Told Me”, “Mirrors” , and “Beautiful Bliss” show Wale’s lyricism, while “90210”, “Diary”, and “World Tour” give the listener a taste of his ability to tell a story.
Attention: Deficit’s does have drawbacks, as does every ambitious debut. At times the production can be a little to overpowering for the rookie MC, and you may find yourself listening to the beat, rather than Wale. Also, not all of the guests work well with Wale. Lead single “Chillin’” is clearly one of the weaker songs, with weak lyrics and Lady Gaga doing her best M.I.A. impression. Obviously the point of making this a single was to capitalize off of the pop singer’s fame (no pun intended). Also, Pharrell’s contribution “Inhibitions” falls short of expectations. On the other hand, Bun B and K’Naan’s appearances on “Mirrors” and “TV in the Radio” respectively upstage Wale’s efforts. The best collaborations come from 2nd single “Pretty Girls” (Feat. Gucci Mane) and “Beautiful Bliss” (Feat. J. Cole and Melanie Fiona). On these two, Wale is complemented, and the results are pretty great. In all, the album is a very good listen and has my pick of rap debut of the year. It shattered my already high expectations, despite a few missteps and, turned out to be a great foot to officially start a career on.

8.5/10: Listen to: “Pretty Girls”, “Beautiful Biss”, “Momma Told Me”, and “90210”
Avoid: “Chillin’” and “Inhibitions (Let Loose)”

Lil Wayne – No Ceilings mixtape review

It’s a well-known fact that I don’t like Lil Wayne. Personally, I think all Lil Wayne does is put words together, instead of actually rapping about something. He gives occasional entertaining moments, but I always thought he was more known for being hyped up by his own flood of mediocre Internet material. Apparently I’m the exception, because aside from some hipster circles who value “real hip hop” (the stuff no one buys outside said hipster circles), everyone loves Lil Wayne. So when it was announced Wayne was coming out with a new mixtape, “the streets” (the Internet, college campuses & urban-pop radio dj’s) were in frenzy. So how is the mixtape you ask?
There are two things that can’t be taken away from Wayne; dude knows how to make a punch line and he is naturally infectious. The mixtape is what any other generic mixtape is, a bunch of assorted freestyles and scrapped songs lumped together with a few drops to make some cohesion. Through the tape, Wayne raps over everything from Mario’s “Break-Up”, to Jay-Z’s “Run This Town” to Black Eyed Peas’ “I Gotta Feeling”. His flow is amorphous and seems to adapt to all of the different beats, while still rambling his seemingly bottomless supply of one-liners. My personal favorite is “Leave a p***y microsoft like Windows Vista”. I have to admit he really is the biggest name of the genre for a valid reason.
I guess the flaws of the tape are when he lets his weed carriers aka Young Money try to make their names for themselves. Jae Millz was and still is unnoteworthy, Shannell will probably always be Nicki Minaj’s second banana, Gudda Gudda’s only function (other than being another body cavity to smuggle coke, weed or whatever rappers smuggle these days through an airport) is to fill time for Wayne to catch his breath, while Tyga is still most notable for being the punching bag of the hip hop, before Yung Breg took that from him. The only fault with Wayne’s performance is that he pretty much does the whole kill you and screw your girl free association thing for almost an hour. Fans will love this, but the average listener will get bored, which I was. It made me realize the purpose of seemingly obscure detours of his catalogue, such as “Lollipop” and “Prom Queen”. They were unpredictable, which is what the mixtape lacked, but after all it is only a mixtape. For now, I guess you win Mr. Carter. However when you screw up, next time, I’ll be on your ass like…you and Birdman (pause).

7.9/10 Listen to: “Swag Surfin’”, “D.O.A.”, “I Run This Town”
Avoid: “Break Up”, “I Think I’m In Love”, and “Poke Her Face”

Donnis – Diary of an ATL Brave mixtape review

So when the mixtape originally came out in August and I found out 10 Deep (the hipster NY clothing brand that brought you hipster rap mixtape classics such as; Wale’s “100 Miles and Running” and “The Mixtape About Nothing” and Kid Cudi’s “A Kid Named Cudi”) presented the tape, I figured it would be like listening to T.I. talk about skinny jeans. So when I heard the opening “It’s 10 Deep shawty!” drop, I quickly deleted the tape. Fast forward to earlier this week. (Kanye’s DJ) A-trak, whom I like his remixes, blog and brother’s duo “Chromeo”, singed Donnis to Fold’s Goold Records, I was interested. A-trak is known for techno, so in an attempt to look for something to hold me over before Wale’s Attention: Deficit album on November 10th (no thanks necessary Daniel Wiesman), I decided to see what this mixtape was about; and honestly I am impressed.
The intro “Beginnings” properly introduces who he is, the challenges of being a “hipster rapper” and making it in the industry. Not to mention, he really is lyrically talented. When Donnis raps, it does sound like he is channeling some of his fellow hipster labeled contemporaries; “Beginnings” sounds like Drake with a southern accent, while other times he adds his southern twang to songs I wouldn’t be surprised if Wale made in a different world (using Go-Go, rather than southern influences, of course) like “Underdog” and “Country Cool”. Donnis even works with some of Wale’s frequent collaborators; Bun B (Country Cool) and Colin Monroe (I Am Me). However, Donnis really shines when it seems the hipster mentality and southern swagger form a unique identity; like the pump-upper anthem “Gone” and the smooth “Sexytime”. Also, it helps that the force behind Rick Ross’s longevity, J.U.S.T.I.C.E. League, provide their usual triumphant production for many of the songs. Honestly, none of the songs are flat out awful. Maybe “Song For Every Ex” may e the cliché “I did my lady wrong song” and “Here to Stay” isn’t Marsha Ambrosius’s best hook ever, while :Over Do It” is more or less just okay. In all the mixtape more than holds its weight and I look forward to more from Donnis.

7.5/10: Listen to: “Gone”, “Sexytime”, and “Pop Them Thangs”
Avoid; “Over Do It” and “Here to Stay”

Mr. Hudson – Straight No Chaser album review

So if you couldn’t get enough of Kanye West’s 808’s & Heartbreak the first time and you found yourself craving even more borderline-suicidal sounding “singing” after 808’s Part II (Kid Cudi’s Man on the Moon: The End of the Day), then don’t hesitate to cop part 3 of the trilogy (unless Common screws up what he has with Serena Williams and decides to go emo as well), Mr. Hudson’s Straight No Chaser. Hudson, along with Kid Cudi were both instrumental pieces to Kanye’s 808’s & Heartbreak, so when Cudi’s cd came out, it was easy to see what he brought to the table. Mr. Hudson’s G.O.O.D. music debut also makes it clear what he brought on 808’s as well, however, a lot of people did not like it the first time, more did not like it the second time, so a third helping may not be the best thing.
That being said, it’s obvious the cd isn’t going to be the most danceable thing in the world. Like 808’s and Man on the Moon, this album’s strength is in the amazing choruses. The (UK) smash “Supernova”(Feat. Kanye West) is a prime example. The chorus fits the 80’s synths and it is guaranteed to get stuck in your head. Along with “Stiff Upper Lip” and “Time”, these are uplifting moments of the album manage to be catchy, without the melodrama that can make the rest of the cd easier to listen to an a bad day. “There Will Be Tears” and “Knew We Were Trouble” has chorus and production combinations as well as “Supernova”, but at the wrong time, the songs can come off as grating and annoying, more-so “There Will Be Tears”. Then, some of the songs are, to be blunt; boring. “Instant Messenger” and “Central Park” really are what you would expect when one (from an American point of view) thinks of as boring British music. Then, the two Kanye guess spots “Supernova” and “Anyone But Him” make the songs seem like it’s Kanye’s album all over again, while Mr. Hudson plays back-up. The cd wasn’t bad and it definitely proves “Paranoid” and “Street Lights” on Kanye’s 808’s & Heartbreak were not just catchy flukes. Mr Hudson, as well as West and Cudi are all doing well with the alterna-pop route, it’s just Hudson isn’t doing as good a job as the other two.

6/10: Listen to: “Supernova”, “Time”, and “Knew We Were Trouble”
Avoid: “Anyone But Him”, “Instant Messenger”, and “Central Park”

I finally listened to the Blueprint 3: Jay-Z – The Blueprint 3 review

Initially I didn’t want to give BP3 a chance since the leeks were frankly…atrocious. “Off That” is a cliché bouncy, yet still monotone Timbaland throwaway club attempt, with Drake at his most interchangeable, “Venus ys Mars” is the same thing (minus Drake or club intentions), and Reminder is still horribly annoying. Luckily, they were easily the worst songs. The singles “D.O.A.”, “Run This Town (Feat. Kanye & Rihanna)”, and “Empire State of Mind (Feat. Alicia Keys)” are indications for the album as a whole. The album has lyrics, but are overshadowed the the catchy beats and guest hooks. “On to the Next One (Feat. Swizz Beatz)”, “Already Home (Feat. Kid Cudi)”, and “Young Forever (Feat. Mr. Hudson)” are all replayable and are definite highlights. It’s also nice to see Kanye at his best, actually using pretty unexpected samples, rather than the laziness he’s been known for lately (“Swagger Like Us” “Brooklyn We Go Hard”, and “Make Her Say”). In all the album turned out very good, minus the maybe 5 low points of 15 songs. To answer my own poll; it is good (rather than the expected weedplate).

8.6/10 Listen to: “D.O.A.”, “On to the Next One”, and “Young Forever”
Avoid: “Reminder”, “Off That”, and “Venus vs Mars”

Kid Cudi - Man on the Moon: The End of the Day album review

Ever since the XXL Freshmen 2009 cover, the new rappers on that cover have surrounded by buzz for their respective debut projects. While some came and went in a flash of mediocrity (Asher Roth, Charles Hamilton, and Ace Hood), others used the buzz to reach new heights in their careers. Kid Cudi is in the latter of the two categories. Since then, "Day N' Nite" has become an international hit, "Make Her Say" is climbing the charts, and supposedly the "A Kid Named Cudi" mixtape has reached one million downloads. Now that the official cd has leaked, (it will be out next week) it is time to see if Scott Mescudi confirms expectations.

From his mixtape or if you did not bother to listen and decided to go by XXL's interpretation, you know Cudi has a reputation for having a sing songy delivery, exceptionally catchy hooks, and the theme of being lonely and having mental issues. The final product of all this hype does in fact confirm the reputation he has built. Between Cudi's sing songy delivery and the spacey synths and orchestration, the cd comes off as more Alternative than regular Rap. There is no real display of lyrical excercise (by Cudi anyway), Cudi's strength relies on the production and his raw emotion displayed in his hooks. "Day N' Nite" was so succesful, because the hook was cathcy and also, because you genuinely believe he is a lonely stoner. This is what seperates Kid Cudi form Drake in my point of view. Cudi is less talented, but his songs sound genuine and less formulated. "Pursuit of Happiness", "Heart of a Lion", "Solo Dolo", and "Sky Might Fall" work for all of the same reasons "Day N' Nite " do, because of the beats, hooks, and you can feel what he is saying.

Unfortunately, the flaws are as obvious as Cudi's emotions, Kid Cudi is an average at best rapper and his singing voice is not technically... good. On "Make Her Say" Kanye, Common, and the Lady Gaga sample steal the song, "Enter Galactic" and "Alive" probably could have been done better by better singers, and "Up, Up, and Away" was pointless. Even the songs that are the higlights work, because you really do not have to pay attention to the actual verses, where he barely rhymes. All in all, the cd, as a whole was a very good listen. Just do not expect verses of the year, or the "AAAWWWW up in the cypher" moment. Really, the album is one of those cds that is more suited to ipods and quiet rooms, rather than your car. However, musically, the cd really holds up to the buzz and makes it worth the wait.

7.9/10 Listen to: "Day N' Nite", "Sky Might Fall", and "Pursuit of Happiness"
Avoid: "Up, Up, and Away" and "Alive"

Cam'ron & DJ Drama - Boss of all Bosses mixtape review

Cam'ron and DJ Drama link together to bring yet another Gangsta Grillz mixtape that is sure to "set the streets on fire". A plus to the mixtpae is that everything is new, not counting the leaks,. Especially with how lackluster Crime Pays sounded, I was definitely looking foward to new Cam. Unfortunately, like Public Enemy #1 in 2007, he uses the mixtape to showcase his new "artists"; Vado, Byrd Lady, Darnell, and Charlie Clips. Sidebar: Whatever happened to that Penz dude who was all over Public Enemy? Anyway, musically, this makes Crime Pays sound like a Rick Ross cd, yes the production is that bland, but it is a free mixtape so what do you expect. There are a nice amount of good moments though. The songs with Mase and Rick Ross are good, not to mention Cam's rhymes are consistent through the whole cd. Even Vado, who is pretty much on every song does not embarrass himself. It's just the production really was bland, a lot of the time. Honestly, the best beat was on the Charlie Clips solo "Stop", which was supposed to be a preview on the sequel to the tape. Hopefully it will be a more interesting listen.

5.9/10 Listen to: "Get It", "Drama", "Can't Say Goodbye" & "Stop"
Avoid: "We In This Thing" (really the songs did not stand out enough not to like)

Asher Roth - Alseep in the Bread Aisle album review

Asher Roth is labeled the new Eminem for two reasons, because: A. Roth has a freakishly similar voice to post Encore Eminem and B. because they’re…tall (Fresh Prince reference) – because Roth is the first White rapper with a real buzz since Eminem (sorry Bubba Sparxxx, homeslice from Atmosphere, and whatshisface that won that white rapper show on VH1). Though they’re both white and sound the same, there are obvious differences. Eminem uses extraordinary lyrical prowess to explain subjects that are as light-hearted as picking up girls and being a bad influence to the deep and borderline too personal topics of his family’s past. Asher Roth, on the other hand, is more or less an average suburban college graduate(?) who raps about what he knows…girls, weed and partying, which really isn’t creative at all. Asleep in the Bread Aisle is pretty much about those three subjects. Occasionally, he’ll try to get deep like on “His Dream”, which is about his father or “Sour Patch Kids”, which is Asher’s stab at social commentary, but to be blunt the cd is just girls, partying, and weed. That necessarily isn’t a bad thing, but the problem is, Asher really isn’t a talented rapper. “Lark on My Go-Kart” is Asher’s staple “lyrical exercise song”, a song that every rapper needs to prove they can actually rap, but really, it is just him putting random words together. What the cd does excel in is the surprisingly good production and Asher knows how put together catchy choruses. Whether he is doing his song’s chorus/hook in songs like “I Love College” and “La di da” or being assisted, like “Be By Myself” featuring Cee-Lo, “As I Em” featuring Chester French or “She Don’t Wanna Man” featuring Keri Hilson, the songs really are catchy. One big problem for me however was that, frankly, I can not stand Asher’s voice. In a nutshell, the cd really is listenable, however do not expect to be impressed. It’s a mostly fun cd aimed at young adults and to be honest, it fills its purpose.
5/10 Listen to: “I Love College”, “Lark on My Go Kart” & “His Dream”
Avoid: “Lion’s Roar”, “She Don’t Wanna Man”, & “Fallin’”

Cam'ron - Crime Pays: Album Review

After "disappearing" for two years, Cam'ron is back with his 6th cd. Cam'ron is one of those rappers you either love or hate, because of either his trademark flow (some call it ABC flow, others call it style) or what he represents as the cliche' NY gangsta rapper. Cam has always managed to remain relavent in hip hop, because he's always been entertaining. From beefs with Jay-Z, Nas, 50 Cent & now his fellow Diplomats, he knows how to create drama & uses it to influence his craft. Honestly, this cd is everything what's wrong with rap music; Excessive language, violence, sex content, drug dealing & materialism, but Cam's dry wit & rhyme scheme have always served to distinguish himself from hundreds of other no-name rappers doing the same thing.
Oddly, this cd probably has the worst production value of any Cam cd yet. Beats on songs such as, "Never Ever", "Chalupa", "Woo Hoo" sound pretty cheap and generic. It sounds like someone is rhyming over video game soundtracks. Then, some of the better produced songs sound pretty cliche'd anyway, like "Homicide" and "Got it for Cheap". However, when the songs do work, they are gritty and full of classic Dipset style. "Cookin' Up"'s whole first verse is quotable, "Spend the Night" is hypnotic, "My Job" is probablly some of Cam's best lyrics and concepts ever, while "Get It in Ohio" is straight gutter music. All in all, the cd plays like a mixtape, since most of these songs have been around for like a year, and because of the production. However, more than any of Cam'ron's other cds, Crime Pays puts the spotlight on Cam & his lyrics and delivery, which he has enough for a few rappers.
6.9/10: Listen to: "Cookin' Up", "Spend the Night"& "Get It In Ohio"
Avoid: "Cookies & Applejuice", "Never Ever", & "Bottom of the P***y"

Jay-Z - Reasonable Doubt classics review

This is Jay-Z's first album, and is claimed by hip hop heads & hipsters alike as Jay-Z's best cd. It is even seen on the level of Nas' Illmatic FYI: Which is the best rap album EVER (according to those same hipsters & old people). So is Reasonable Doubt that good? In 2009, it still is, honestly. Of course the "Columbian"(probablly Puerto Rican) talking nonsense on the beginning of a lot of the songs is annoying, and some of the production seems dated, being 13 years later. Other than that, Jay is at his best lyrically. "Can't Knock the Hustle", "Aint No Nigga" & "Brooklyn's Finest" (Feat. Biggie) still run respectable radio rotation in NY stations, because those songs still emain lyrical, yet catchy even half a (young black - let's be real)lifespan later. "D'Evils" and "22 Two's" still remain witty and hardhitting lyrically, while "Feeling It" and "Regrets" are laid back riding anthems. I'm not one of those old people (who frankly should have stopped listening to rap, in favor for circa 90's R&B) or hipsters (who should be at some Santigold or Cool Kids or whatever they listen to concert) who tell you IF YOU DO NOT HAVE THIS CD, YOU'RE NOT HIP HOP. However, the cd really is good. It isn't repeatable for casual listeners of 2009, like say Jay's 2001 Blueprint. If you do enjoy 90's rap or raw lyrics, though, you'll love this.

9/10 Listen to: "Brooklyn's Finest", "Feelin' It", "D'Evils" & "Dead Presidents"
Avoid: "Coming Of Age" ...really thats it

Kanye West - 808's & Heartbreak album review

(I know I'm real late, but I just downloaded the new version of Paranoid & thought now's a good time.)

The premise of the cd was that Kanye was mourning the passing of his mother & split from his fiance, so in a cathartic rush, he released a cd about how he felt for those few months. To be honest, because of the autotune, for most of the cd he sounds like he is singing while a garbage disposal is running behind him. He really does not have a horrible normal voice, so the lightly autotuned songs are very impressive, as well as the production of the cd as a whole. It's just the autotuned vocals that ruin the effort. Songs like Coldest Winter, Say You Will & Paranoid work, because the autotune isn't as prominent as other tracks. While songs like Robocop, Heartless & Love Lockdown have production so interesting, it really doesn't matter who is singing over it. Either way, the cd is generally good, but the vocals can get grating at time. Also, because of the rush to put the cd out, some songs seem unfinished. Streetlights is basically 1 hook being repeated over and over, Bad News is more of an interlude, and the cd version of Paranoid (though undeniably catchy in it's futurisdtic retroism) is barely two minutes of Kanye singing (I guess...). All in all, if the same production was given to an actual singer (say Ne-Yo) who took the time to write full songs, this cd would have been near perfect. Oh well. Kanye doesn't screw up that badly doing his own singing.

7.9/10 Listen to: Say You Will, Coldest Winter, Heartless (& download the video version of Paranoid)
Avoid: Street Lights, Love Lockdown, See You In My Nightmares

Chester French - Love the Future album review

D.A. Wallach & Max Drummey are the singer & producer duo known as Chester French. Over the past year they have been accumulating a very diverse/unique fanbase from many factors:
1) They are a pop group.
2) They are the Neptunes (Pharrell Williams & whatshisface)'s new artists.
3) They spent 2 weeks as MTV artist of the week
4) They stay on hip hop blogs as the "when you need a break from rap artists".
5) Random cosigns from: Q-tip, Lupe Fiasco, Kanye West, Jermaine Dupri, Common, Lindsey Lohan & Ja Rule.
The cd is in a nutshell: hip hop flavored surf-rock from Harvard graduates, which sounds awful, but it works mostly. The best songs are usually combinations of rock guitars, synthesizers, hip hop break beats, along with D.A. Wallach's poppy vocals. Also, the cd switches from dramatic Portuguese, to surf rock/pop, to "Hey Ya!", then country with ease. Though it shows the group's range, it is also the biggest flaw. The collection as a whole can appear to be pretentious and cheesy, in it's attempt to appeal to everyone. Lines like "Just another shorty w/ a fatty" & "[Kan]Ye said there'd be Drunk & Hot Girls" prove how at times they seem desperate to appeal to the hip hop base. Not to mention, at times Wallach's voice can be annoying and Drummey's production can be a little too quirky. All in All, the whole cd is full of hits and misses. Either the song are fun and catchy or just corny. However, it was definitely an interesting listen.
8.2/10: Listen to: The Jimmy Choo's, She Loves Everybody, Not Over You
Avoid: Neal & Beneath the Veil

Wale - Back to the Feature review

Wale, one of the Freshmen XXL claimed was the future (before ex-Tim Horton doughnut cashier Drake was the next big thing), finally dropped his 5th official mixtape. The tape in 22 songs and loaded w/ guest appearances (ie Back to the Feature-duh). Wale's last two mixtapes, since signing w/ Mark Ronson (producer/pimp/dealer to Amy Winehouse) have become critically acclaimed and this one follows suit. Production-wise, 9th Wonder does most of the beats, which leaves the tape w/ a very 90's feel to it, with the samples & boom-pap drums. Also, the couple Mark Ronson beats are his best in a while ( as in not post Amy Winehouse sounding). The flaw of the tape may be it has too many guests. Sure Bun B, Black Thought, Lady Gaga, Beanie Sigel, Freeway, etc. sound good on paper, but it looses what made the last two tapes so good. They were mostly Wale just rapping. Here te amount of guests do not take the focus off Wale completely, but start to get boring after a while, if you're listening to the tape to hear Wale. Another flaw of the tape is when Wale tries to go catchy, rather than lyrical (a la Chillin'). Nightlife is a prime example of a song that probably was just made to give the mixtape a mainstreamish appeal, while leaving the real pop sensability for the album cuts. Overstuffing guests & poppish fails aside, the production is the best of all of his mixtapes & lyrically Wale is on par as "100 Miles & Running" or "The Mixtape About Nothing".

8/10: Listen to: Rhyme N Reason, Say it Again, Um Ricka & Wordplay
Avoid: Chillin' (Catch vs 9th) & Nightlife