ALBUM REVIEWS
Eminem - Relapse
4 / 5 Stars
Record Label: Aftermath / Shady / Interscope
Article By "MP" For www.DaStreetBuzz.com
MP@DaStreetBuzz.com
4 / 5 Stars
Record Label: Aftermath / Shady / Interscope
Article By "MP" For www.DaStreetBuzz.com
MP@DaStreetBuzz.com
At the same time America was hooked on Eminem’s music and the controversy that enveloped him, Slim
Shady was hooked on pills, an addiction that landed him in rehab and resulted in a four-year absence. Now
Eminem has re-emerged to release the perfectly titled Relapse, an almost impossibly dark album he lobs at
hip-hop like a hand grenade. Relapse reunites Em with his mentor Dr. Dre , but the album’s production is
largely drowned out by Eminem’s frighteningly intense rhyming, resulting in a work that’s more of an event
than an album. Eminem didn’t make Relapse for us, he made it for himself as a therapy, an antidote.
To call Relapse a horrorcore album would be a gross over-simplification, but it’s a good place to start. The
majority of Relapse is a cinematic affair so brutal it makes Saw look like High School Musical, starting with 3
AM, a psychotic stream of consciousness that I simultaneously never want to hear again and put on repeat.
After all, who else could drop a line like “My cousin/I wrapped him in Christmas lights/pushed him into the
stinkin tub” and effortlessly make “cousin” and “tub” rhyme? Still, 3 AM is far from the album’s most gruesome
Shady was hooked on pills, an addiction that landed him in rehab and resulted in a four-year absence. Now
Eminem has re-emerged to release the perfectly titled Relapse, an almost impossibly dark album he lobs at
hip-hop like a hand grenade. Relapse reunites Em with his mentor Dr. Dre , but the album’s production is
largely drowned out by Eminem’s frighteningly intense rhyming, resulting in a work that’s more of an event
than an album. Eminem didn’t make Relapse for us, he made it for himself as a therapy, an antidote.
To call Relapse a horrorcore album would be a gross over-simplification, but it’s a good place to start. The
majority of Relapse is a cinematic affair so brutal it makes Saw look like High School Musical, starting with 3
AM, a psychotic stream of consciousness that I simultaneously never want to hear again and put on repeat.
After all, who else could drop a line like “My cousin/I wrapped him in Christmas lights/pushed him into the
stinkin tub” and effortlessly make “cousin” and “tub” rhyme? Still, 3 AM is far from the album’s most gruesome
The Game - LAX
4 / 5 Stars
Record Label: DefJam
Article By "MP" For www.DaStreetBuzz.com
MP@DaStreetBuzz.com
4 / 5 Stars
Record Label: DefJam
Article By "MP" For www.DaStreetBuzz.com
MP@DaStreetBuzz.com
Yes sir: there ain’t no party like a Meth and Red party, cause a Meth and Red party don’t stop…until you’re
in jail. But they seem like the kind of guys who would bail you out.
America’s been inhaling Meth and Red’s energetic brand of hip-hop since 1999, when they released their
joint debut Blackout!. In the decade that’s followed they’ve done numerous solo and group projects, released
an immensely inappropriate and hilarious movie aptly-titled How High, and borrowed money from me to eat at
a Domino’s outside of Boston (that’s a story for another time). Now the chronically dope duo is back with
Blackout! 2, a simultaneously gutter and sky-high album that will have hip-hop heads everywhere putting one
in the air.
Any party with Meth and Red would have to start with A Yo, Blackout! 2’s soul-based lead single. A Yo is a
worthy re-introduction to the pair’s frenetic ways, from Red’s unapologetically dirty verses to Method rhyming
in jail. But they seem like the kind of guys who would bail you out.
America’s been inhaling Meth and Red’s energetic brand of hip-hop since 1999, when they released their
joint debut Blackout!. In the decade that’s followed they’ve done numerous solo and group projects, released
an immensely inappropriate and hilarious movie aptly-titled How High, and borrowed money from me to eat at
a Domino’s outside of Boston (that’s a story for another time). Now the chronically dope duo is back with
Blackout! 2, a simultaneously gutter and sky-high album that will have hip-hop heads everywhere putting one
in the air.
Any party with Meth and Red would have to start with A Yo, Blackout! 2’s soul-based lead single. A Yo is a
worthy re-introduction to the pair’s frenetic ways, from Red’s unapologetically dirty verses to Method rhyming
track, an honor that would have to go to schizophrenic Stay Wide Awake or the rape fantasy Same Old Song and Dance. I’m not saying
Eminem is actually as violent as Relapsesuggests, I’m just saying Nick Cannon should be worried.
If Relapse was nothing but 3 AMs radio programmers wouldn’t touch it, a reality that’s obviously not lost on Eminem (or his label bosses).
Accordingly, the album takes a few stabs at radio success, all of them uninspired at best and manufactured at worst. Crack a Bottle is a full-
fledged Aftermath reunion that’s also the album’s only track that could be remotely described as “club.” Bottle’s success has more to do with
50 Cent’s guest appearance and Dre’s dope double-duty on the mic/beat than Eminem’s relatively meager contribution – in fact, the track
succeeds almost in spite of him. Similarly forced is the celebrity hit-piece We Made You. Now I can’t front, I laughed at We Made You‘s video
like everyone else, but ultimately it’s a half-hearted attempt by Emimen to stir up some controversy, as if he’s cursed to remake the nearly
decade-old My Name Is over and over again. In an album full of wanton violence these tracks are
the real evils; necessary evils, but evils none-the-less.
Eminem is actually as violent as Relapsesuggests, I’m just saying Nick Cannon should be worried.
If Relapse was nothing but 3 AMs radio programmers wouldn’t touch it, a reality that’s obviously not lost on Eminem (or his label bosses).
Accordingly, the album takes a few stabs at radio success, all of them uninspired at best and manufactured at worst. Crack a Bottle is a full-
fledged Aftermath reunion that’s also the album’s only track that could be remotely described as “club.” Bottle’s success has more to do with
50 Cent’s guest appearance and Dre’s dope double-duty on the mic/beat than Eminem’s relatively meager contribution – in fact, the track
succeeds almost in spite of him. Similarly forced is the celebrity hit-piece We Made You. Now I can’t front, I laughed at We Made You‘s video
like everyone else, but ultimately it’s a half-hearted attempt by Emimen to stir up some controversy, as if he’s cursed to remake the nearly
decade-old My Name Is over and over again. In an album full of wanton violence these tracks are
the real evils; necessary evils, but evils none-the-less.
What saves Relapse is its intensely personal look into Eminen’s pill-fueled collapse and subsequent sobriety. Only a rapper as fearless as
Marshall could let us this close, and Relapse is at its best when it lets us listen to Em’s raw nerves. For my money Deja Vu is the album’s
standout, a reflection on his overdose that name drops pharmaceuticals like Soulja Boy name drops Gucci. Underneath all the punch lines
Eminem is a storyteller at heart, and the story Deja Vu tells is captivating. More disturbing is Insane, a frantic track that paints a painfully vivid
picture of physical and sexual abuse. Some other writers seem to be intimidated by the overwhelming force of Eminem’s vision, but the truth is
Relapse will not go down as one of his better albums. He’s at his best when he walks the razor thin line between control and recklessness, and
on Relapse he crosses that line one too many times, making the album engrossing but too erratic to be a classic. Relapse is the album
Eminem had to make in order to continue to make albums, and if that’s what it took to get one of the best rappers in history back behind the
mic, then hip-hop fans should embrace Relapse. Welcome back Marshall.
Marshall could let us this close, and Relapse is at its best when it lets us listen to Em’s raw nerves. For my money Deja Vu is the album’s
standout, a reflection on his overdose that name drops pharmaceuticals like Soulja Boy name drops Gucci. Underneath all the punch lines
Eminem is a storyteller at heart, and the story Deja Vu tells is captivating. More disturbing is Insane, a frantic track that paints a painfully vivid
picture of physical and sexual abuse. Some other writers seem to be intimidated by the overwhelming force of Eminem’s vision, but the truth is
Relapse will not go down as one of his better albums. He’s at his best when he walks the razor thin line between control and recklessness, and
on Relapse he crosses that line one too many times, making the album engrossing but too erratic to be a classic. Relapse is the album
Eminem had to make in order to continue to make albums, and if that’s what it took to get one of the best rappers in history back behind the
mic, then hip-hop fans should embrace Relapse. Welcome back Marshall.
in his trademarked relaxed mode. More than anything, A Yo’s a reminder that while people may never take Redman seriously because of his
borderline-insane style (and fantastically insane appearance on Cribs), he’s one of the best in the game when he’s on point. Similarly laid
back is Mrs. International, the closest thing to a for-the-ladies track that we’re going to get. On the real, Mrs. International is a little boring, a
description I never thought I’d apply to a Meth and Red song. International’s not great, it’s not bad, it just, is. Much better is Hey Zulu, a cut
that brings in every production trick in the book, from a chopped vocal sample to an auto-tuned chorus, but the pair embed the track with
enough style and creativity to make it come to life. It’s hard to see Blackout! 2 spawning any huge singles, but it’s got more than enough to
spark the party, and spark something else.
All those feel good tracks are fine, but I prefer my Meth and Red a little more destructive. That’s why I love Errbody Scream, a quickly-paced
track that, well, I think the chorus explains it all: “When we in the house, s**t get retarded.” Exactly. Even better is the cinematic 4 Minutes to
Lock Down, a track featuring Meth’s other family members, Raekwon and Ghostface Killah. It’s hard to imagine a better line-up than this for a
true East coast street anthem, and 4 Minutes delivers (especially, as always, Ghostface). By contrast the bouncing City Lights bangs, but
only half as hard. While Meth and Red certainly do the damn thing, the track’s slowly marching production gives Bun B home field advantage.
City Lights is a hell of a song, but it sounds more like a Bun cut featuring Meth and Red than the other way around, and getting upstaged on
your own album is never a good thing. (Side note: at the end of City Lights our very own DJ Z gets a
shout out…kind of…ok, not really, but still).
The past decade has inevitably matured the mischievous Meth and Red, making Blackout! 2 a more well-rounded but slightly less compelling
album than the original. Ultimately that means that while Blackout! 2 won’t go down in hip-hop history like its predecessor, for fans who’ve
waited years for more criminally-minded rap from the duo, it more than delivers. Even after all these years, when it comes to weed-smoking,
skull-stomping hip-hop no one does it better. And if I was one of those kids with cancer who got to make one wish, I think I’d wish to spend just
one night partying with Meth and Red. Now that would really be inspirational.
borderline-insane style (and fantastically insane appearance on Cribs), he’s one of the best in the game when he’s on point. Similarly laid
back is Mrs. International, the closest thing to a for-the-ladies track that we’re going to get. On the real, Mrs. International is a little boring, a
description I never thought I’d apply to a Meth and Red song. International’s not great, it’s not bad, it just, is. Much better is Hey Zulu, a cut
that brings in every production trick in the book, from a chopped vocal sample to an auto-tuned chorus, but the pair embed the track with
enough style and creativity to make it come to life. It’s hard to see Blackout! 2 spawning any huge singles, but it’s got more than enough to
spark the party, and spark something else.
All those feel good tracks are fine, but I prefer my Meth and Red a little more destructive. That’s why I love Errbody Scream, a quickly-paced
track that, well, I think the chorus explains it all: “When we in the house, s**t get retarded.” Exactly. Even better is the cinematic 4 Minutes to
Lock Down, a track featuring Meth’s other family members, Raekwon and Ghostface Killah. It’s hard to imagine a better line-up than this for a
true East coast street anthem, and 4 Minutes delivers (especially, as always, Ghostface). By contrast the bouncing City Lights bangs, but
only half as hard. While Meth and Red certainly do the damn thing, the track’s slowly marching production gives Bun B home field advantage.
City Lights is a hell of a song, but it sounds more like a Bun cut featuring Meth and Red than the other way around, and getting upstaged on
your own album is never a good thing. (Side note: at the end of City Lights our very own DJ Z gets a
shout out…kind of…ok, not really, but still).
The past decade has inevitably matured the mischievous Meth and Red, making Blackout! 2 a more well-rounded but slightly less compelling
album than the original. Ultimately that means that while Blackout! 2 won’t go down in hip-hop history like its predecessor, for fans who’ve
waited years for more criminally-minded rap from the duo, it more than delivers. Even after all these years, when it comes to weed-smoking,
skull-stomping hip-hop no one does it better. And if I was one of those kids with cancer who got to make one wish, I think I’d wish to spend just
one night partying with Meth and Red. Now that would really be inspirational.
Busta Rhymes - Back On My B.S
2.5 / 5 Stars
Record Label: Flipmode / Universal Motown
Article By "MP" For www.DaStreetBuzz.com
MP@DaStreetBuzz.com
2.5 / 5 Stars
Record Label: Flipmode / Universal Motown
Article By "MP" For www.DaStreetBuzz.com
MP@DaStreetBuzz.com
Don’t forget, there was a time when Busta Rhymes was arguably the most creative man in hip-hop, a time
when he held the entire rap game in check – woo ha! – while America begged him to give us some more.
Then, and it seems like Pass the Courvoisier was a turning point, Busta took a decidedly more commercial
turn. The former leader of the new school began to water his music down, a trend that’s unfortunately
continued on his new album, Back On My B.S.. Fans who only know Busta from the Touch It era should
rightfully enjoy Back On My B.S., but for those of us who grew up listening to the mad rapper’s schizophrenic
flows, Busta’s latest effort will be just another opportunity to pull out that old Scenario tape and ask
nostalgically, remember when…?
Now I’ve got nothing against making money, especially in this economy, but did it have to be Arab Money? I’
ve got so many problems with this track it’s hard to know where to start. First, Busta’s flow is anemic by his
standards, plus the lyrics only occasionally make sense: he apparently doesn’t read the news because
when he held the entire rap game in check – woo ha! – while America begged him to give us some more.
Then, and it seems like Pass the Courvoisier was a turning point, Busta took a decidedly more commercial
turn. The former leader of the new school began to water his music down, a trend that’s unfortunately
continued on his new album, Back On My B.S.. Fans who only know Busta from the Touch It era should
rightfully enjoy Back On My B.S., but for those of us who grew up listening to the mad rapper’s schizophrenic
flows, Busta’s latest effort will be just another opportunity to pull out that old Scenario tape and ask
nostalgically, remember when…?
Now I’ve got nothing against making money, especially in this economy, but did it have to be Arab Money? I’
ve got so many problems with this track it’s hard to know where to start. First, Busta’s flow is anemic by his
standards, plus the lyrics only occasionally make sense: he apparently doesn’t read the news because
Arafat’s been dead for five years and taking “trips to Baghdad” isn’t exactly a good idea. Second, can some Arabic speaking member of the
DJBooth family tell me if the hook’s actually sung in Arabic, or is it just gibberish? My money’s on gibberish. As long as we’re on the subject, it’
s good to see Ron Browz again, but he’s too good a producer to resort to knockoff auto-tune tricks. Speaking of which, the real T-Pain shows
up for the slowly pounding Husler’s Anthem ’09. If this was almost any other rappers’ track I could shut up and enjoy it, but for the great Busta
Rhymes, Hustler’s Anthem is nothing
short of lazy.
Let’s get back to the original question; what happened to Busta? Why is Back on My B.S. so disappointingly average? We may never know
for sure, but my guess is that about five years ago Busta made a conscious decision to change his focus from making great music to making
successful music. That’s the only way to explain how a track like the quasi-house World Go Round gets on the same album as the formulaic
Don’t Believe Em and the undeniably dope Decision. Busta tried to make an album everyone would like – and buy – and in the process only
made an album no one will love. If Busta Rhymes was once the Michael Jordan of rap, we may now be witnessing the Washington Wizards
portion of his career. When Busta’s deservingly inaugurated into my imaginary Hip-Hop Hall of Fame and the montage video of his career is
playing, I seriously doubt it will feature any Back on My B.S. highlights.
DJBooth family tell me if the hook’s actually sung in Arabic, or is it just gibberish? My money’s on gibberish. As long as we’re on the subject, it’
s good to see Ron Browz again, but he’s too good a producer to resort to knockoff auto-tune tricks. Speaking of which, the real T-Pain shows
up for the slowly pounding Husler’s Anthem ’09. If this was almost any other rappers’ track I could shut up and enjoy it, but for the great Busta
Rhymes, Hustler’s Anthem is nothing
short of lazy.
Let’s get back to the original question; what happened to Busta? Why is Back on My B.S. so disappointingly average? We may never know
for sure, but my guess is that about five years ago Busta made a conscious decision to change his focus from making great music to making
successful music. That’s the only way to explain how a track like the quasi-house World Go Round gets on the same album as the formulaic
Don’t Believe Em and the undeniably dope Decision. Busta tried to make an album everyone would like – and buy – and in the process only
made an album no one will love. If Busta Rhymes was once the Michael Jordan of rap, we may now be witnessing the Washington Wizards
portion of his career. When Busta’s deservingly inaugurated into my imaginary Hip-Hop Hall of Fame and the montage video of his career is
playing, I seriously doubt it will feature any Back on My B.S. highlights.
Jadakiss - The Last Kiss
4.5 / 5 Stars
Record Label: Rock-A-Fella / Ruff Ryders / DefJam /
D-Block
Article By Vena For www.DaStreetBuzz.com
Vena784@DaStreetBuzz.com
4.5 / 5 Stars
Record Label: Rock-A-Fella / Ruff Ryders / DefJam /
D-Block
Article By Vena For www.DaStreetBuzz.com
Vena784@DaStreetBuzz.com
On his latest CD, The Last Kiss, It's been five years since his last release, and honestly no one can really
f—k with him lyrically. First off after getting with Def Jam he utilized his resources. Jada will always be a
battle rapper instead of a deep thinker so he enlisted a star studded cast like a block buster movie to sell
his units. .The Last Kiss features guests such as Mary J. Blige, Nas, Styles P, Ghostface Killah, Raekwon,
Ne Yo, Lil Wayne, Young Jeezy, Pharrell, and Faith Evans. The best song so far is “Things I Benn Through”
a bite of Luther Vandross’s “Promise” that reflects Jada’s struggles in the rap industry. In my opinion this is
one of the best rap albums in the last year.
There's a lot more here that works than doesn't though. "Grind Hard" with Mary J. Blige is a throwback to
the mid-1980's with a staccato electronic beat resulting in perfect chemistry between the two Yonkers
natives. "One More Step" on the other hand takes finger snapping and slinky funk all the way back to the
1970's as fellow D-Block compatriot Styles P trades bars with him Run-D.M.C style. Nas wrecks the set
lyrically with his bars on "What If. Enough things are right that you can't go wrong with "The Last Kiss," but
f—k with him lyrically. First off after getting with Def Jam he utilized his resources. Jada will always be a
battle rapper instead of a deep thinker so he enlisted a star studded cast like a block buster movie to sell
his units. .The Last Kiss features guests such as Mary J. Blige, Nas, Styles P, Ghostface Killah, Raekwon,
Ne Yo, Lil Wayne, Young Jeezy, Pharrell, and Faith Evans. The best song so far is “Things I Benn Through”
a bite of Luther Vandross’s “Promise” that reflects Jada’s struggles in the rap industry. In my opinion this is
one of the best rap albums in the last year.
There's a lot more here that works than doesn't though. "Grind Hard" with Mary J. Blige is a throwback to
the mid-1980's with a staccato electronic beat resulting in perfect chemistry between the two Yonkers
natives. "One More Step" on the other hand takes finger snapping and slinky funk all the way back to the
1970's as fellow D-Block compatriot Styles P trades bars with him Run-D.M.C style. Nas wrecks the set
lyrically with his bars on "What If. Enough things are right that you can't go wrong with "The Last Kiss," but
the key is that the album makes you appreciate Jadakiss .He delivers on all aspects and I'm not a big fan of a lot of East Coast rap music. I
just know that I have played this CD at least once a day for the last 3 weeks. It’s unfortunate that his success will die down soon and we will
be stuck with the lame simple lyrics again. Let’s just hope he gets another album before were too old to enjoy it.
just know that I have played this CD at least once a day for the last 3 weeks. It’s unfortunate that his success will die down soon and we will
be stuck with the lame simple lyrics again. Let’s just hope he gets another album before were too old to enjoy it.
Dj Drama - Gangsta Grillz The Album Vol. 2
3 / 5 Stars
Record Label: Atlantic / Grand Hustle
Article By MP For www.DaStreetBuzz.com
MP@DaStreetBuzz.com
3 / 5 Stars
Record Label: Atlantic / Grand Hustle
Article By MP For www.DaStreetBuzz.com
MP@DaStreetBuzz.com
When you decide to call yourself DJ Drama, you shouldn’t be surprised when your life gets a little crazy.
(Somewhere C Murder is nodding his head). Drama, real name Tyree Simmons, is not only T.I.’s resident
turntablist, he was the undisputed Southern King of the Mixtape , until the Feds decided that slinging
mixtapes was roughly equivalent to slinging crack. What’s more, Drama’s gone through more industry beef in
the past year than a Burger King, going head to head with seemingly the entire Cash Money crew. Yes sir, I
bet there was many a night Drama went to bed thinking, damn, I should have called myself DJ Massage and
a Blowjob.
With the mixtape industry suddenly under more scrutiny than Cassie’s nipples, it’s no surprise that Drama
has turned to the very thing he was once accused of killing, the album. His debut Gangsta Grillz: The Album
was an undisputed success, an album I called unstoppable. Unfortunately, unlike his presidential namesake,
so far 2009 doesn’t appear to be a banner year for Barack O’Drama. While the follow-up Gangsta Grillz: The
(Somewhere C Murder is nodding his head). Drama, real name Tyree Simmons, is not only T.I.’s resident
turntablist, he was the undisputed Southern King of the Mixtape , until the Feds decided that slinging
mixtapes was roughly equivalent to slinging crack. What’s more, Drama’s gone through more industry beef in
the past year than a Burger King, going head to head with seemingly the entire Cash Money crew. Yes sir, I
bet there was many a night Drama went to bed thinking, damn, I should have called myself DJ Massage and
a Blowjob.
With the mixtape industry suddenly under more scrutiny than Cassie’s nipples, it’s no surprise that Drama
has turned to the very thing he was once accused of killing, the album. His debut Gangsta Grillz: The Album
was an undisputed success, an album I called unstoppable. Unfortunately, unlike his presidential namesake,
so far 2009 doesn’t appear to be a banner year for Barack O’Drama. While the follow-up Gangsta Grillz: The
Album (Vol 2) hits some towering home runs, it also has its fair share of strikeouts. With Drama’s immense influence, resources and talent
expectations were high for Vol. 2. Maybe too high.
First the good news. Like Vol. 1’s extraordinary The Art of Storytellin’, Vol. 2 has a few tracks that are forces of hip-hop nature, starting with
the epic We Must Be Heard. Must Be Heard is the definition of a banger; when that beat drops you’re legally obligated to turn the volume up.
Plus Ludacris drops one of his best verses since I’m So Hood, newcomer Willie the Kid impresses and Busta returns to 2002 form, at least for
a minute. Also strong is the pounding Come Up Boys, a track that hooks you with its production but keeps you on its verses. Honestly, I know
very little about LA the Darkman , but in the span of a verse he completely won me over. In fact, Gangta Grillz introduction of an a mostly
unknown rapper is one of its strong points.
If only the entirety of Grillz was so Gangsta. Sadly some tracks on Vol.2 are not only mediocre, they’re flat-out bad. Yeah, that’s right, I’m
talking to you Day Dreaming. If Dreaming only consisted of average verses from T.I. and Snoop it wouldn’t be so bad, but on the real, that
hook from Akonmakes me want to stick my head in an oven. First of all, what grown man drinks Shirley Temples? Second, Akon can’t believe
the girl of his dreams is a go-go dancer? Really? That sounds like a perfectly predictable profession for the girl of his dreams to have. Now a
high school physics teacher, that would be surprising. Grillz other lead single Ridiculous is equally irritating. I’ll shock myself and admit that
Gucci Mane’s verse is respectable, but Gucci shows up on the album three times, more than any other rapper. Now I’m not saying Vol. 2’s line-
up is weaker than Vol. 1’s, I’m just saying Gucci Mane is its most prominent rapper. You make
your own conclusion.
Ultimately that makes Gangsta Grillz Vol. 2 the L.A. Lakers of hip-hop albums; one minute they look like champions, the next they’re mediocre
at best. Thanks to Vol. 1 we know DJ Drama can do much better, and hopefully the next time around he’ll put the drama aside and just
concentrate on the music. Maybe he should change his name. Hey, you could do a lot worse than DJ Massage and a Blowjob.
expectations were high for Vol. 2. Maybe too high.
First the good news. Like Vol. 1’s extraordinary The Art of Storytellin’, Vol. 2 has a few tracks that are forces of hip-hop nature, starting with
the epic We Must Be Heard. Must Be Heard is the definition of a banger; when that beat drops you’re legally obligated to turn the volume up.
Plus Ludacris drops one of his best verses since I’m So Hood, newcomer Willie the Kid impresses and Busta returns to 2002 form, at least for
a minute. Also strong is the pounding Come Up Boys, a track that hooks you with its production but keeps you on its verses. Honestly, I know
very little about LA the Darkman , but in the span of a verse he completely won me over. In fact, Gangta Grillz introduction of an a mostly
unknown rapper is one of its strong points.
If only the entirety of Grillz was so Gangsta. Sadly some tracks on Vol.2 are not only mediocre, they’re flat-out bad. Yeah, that’s right, I’m
talking to you Day Dreaming. If Dreaming only consisted of average verses from T.I. and Snoop it wouldn’t be so bad, but on the real, that
hook from Akonmakes me want to stick my head in an oven. First of all, what grown man drinks Shirley Temples? Second, Akon can’t believe
the girl of his dreams is a go-go dancer? Really? That sounds like a perfectly predictable profession for the girl of his dreams to have. Now a
high school physics teacher, that would be surprising. Grillz other lead single Ridiculous is equally irritating. I’ll shock myself and admit that
Gucci Mane’s verse is respectable, but Gucci shows up on the album three times, more than any other rapper. Now I’m not saying Vol. 2’s line-
up is weaker than Vol. 1’s, I’m just saying Gucci Mane is its most prominent rapper. You make
your own conclusion.
Ultimately that makes Gangsta Grillz Vol. 2 the L.A. Lakers of hip-hop albums; one minute they look like champions, the next they’re mediocre
at best. Thanks to Vol. 1 we know DJ Drama can do much better, and hopefully the next time around he’ll put the drama aside and just
concentrate on the music. Maybe he should change his name. Hey, you could do a lot worse than DJ Massage and a Blowjob.
Fabolous - Loso's Way
3.5 / 5 Stars
Record Label: Desert Storm, Def Jam
Article By Vena For www.DaStreetBuzz.com
Vena784@DaStreetBuzz.com
3.5 / 5 Stars
Record Label: Desert Storm, Def Jam
Article By Vena For www.DaStreetBuzz.com
Vena784@DaStreetBuzz.com
With Loso’s Way, seasoned hip-hopper Fabolous has created a rap record marked
by witty and hard-hitting lyrics, good hip-hop beats and A-list collabs. The album, his
fifth solo effort, represents a huge step above his last outing, From Nothin’ To
Somethin’, released in June 2007. Pulling inspiration from the Al Pacino film Carlito’s
Way, the Brooklyn-bred rapper wastes no time in getting at his detractors, putting his
women on check while vowing to keep bringing the heat in hip hop – doing what he
loves best. Where many rappers declare their love for flossin’, wild women and the
flashiest whips, Fabolous uses Loso’s Way, a 16-track record, to announce his
arrival at a new level Considering his rise to stardom, it becomes obvious that he still
could have delivered a strong album without the many cameo appearances. But the
guests, along with such hitmakers as Kerri Hilson, Tricky Stewart and The Runners,
serve to make the album better. Fellow Brooklyn Boi Jay Z adds his swagg to the
by witty and hard-hitting lyrics, good hip-hop beats and A-list collabs. The album, his
fifth solo effort, represents a huge step above his last outing, From Nothin’ To
Somethin’, released in June 2007. Pulling inspiration from the Al Pacino film Carlito’s
Way, the Brooklyn-bred rapper wastes no time in getting at his detractors, putting his
women on check while vowing to keep bringing the heat in hip hop – doing what he
loves best. Where many rappers declare their love for flossin’, wild women and the
flashiest whips, Fabolous uses Loso’s Way, a 16-track record, to announce his
arrival at a new level Considering his rise to stardom, it becomes obvious that he still
could have delivered a strong album without the many cameo appearances. But the
guests, along with such hitmakers as Kerri Hilson, Tricky Stewart and The Runners,
serve to make the album better. Fellow Brooklyn Boi Jay Z adds his swagg to the
head-nodding “When The Money Goes Remix” while Ryan Leslie brings the sexy to the hook on “The Fabolous Life”.
Of course The Dream appears on the popular “Throw It in the Bag”, which sounds like T.I.’s “Whatever You Like”.
Meanwhile Keri Hilson brings her spice to “Everything, Everyday, Everywhere”. An even stronger collabo, though, is
“Stay” (a touching song about a strained father-son relationship), which features Marsha Ambrosius, formerly of
Floetry. He also has winning chemistry with urban-pop newcomer Jeremih on the take-no-prisoners anthem “It’s My
Time”. Still, Fabolous shows he can successfully carry a track all by himself. The long album intro, “The Way”, proves
this. His flow and energy rides the bass-heavy beat as he shows off his wicked rhyming skills. Other standouts include
“Pachanga”, a track that speaks to dealing with friends and enemies; the heartfelt “I Miss My Love” (about losing
someone close)
> and the ego-boosting “Feel Like I’m Back”. However, tracks like “Lullaby”, “Makin’ Love” and “Last Time” are not my
favs on the album and I feel he could have done better. Loso’s Way allows Fabolous, shows that Fab has grown as
an artist and improved his flow over a beat and behind the mic. Hip hop may be on life support, but it is not dead —
not if real artist like Fabolous have anything to say about it.
Of course The Dream appears on the popular “Throw It in the Bag”, which sounds like T.I.’s “Whatever You Like”.
Meanwhile Keri Hilson brings her spice to “Everything, Everyday, Everywhere”. An even stronger collabo, though, is
“Stay” (a touching song about a strained father-son relationship), which features Marsha Ambrosius, formerly of
Floetry. He also has winning chemistry with urban-pop newcomer Jeremih on the take-no-prisoners anthem “It’s My
Time”. Still, Fabolous shows he can successfully carry a track all by himself. The long album intro, “The Way”, proves
this. His flow and energy rides the bass-heavy beat as he shows off his wicked rhyming skills. Other standouts include
“Pachanga”, a track that speaks to dealing with friends and enemies; the heartfelt “I Miss My Love” (about losing
someone close)
> and the ego-boosting “Feel Like I’m Back”. However, tracks like “Lullaby”, “Makin’ Love” and “Last Time” are not my
favs on the album and I feel he could have done better. Loso’s Way allows Fabolous, shows that Fab has grown as
an artist and improved his flow over a beat and behind the mic. Hip hop may be on life support, but it is not dead —
not if real artist like Fabolous have anything to say about it.
