Amerie
Album - Touch Record Label: Sony Urban/ This album marks Amerie’s return to the scene after an extended hiatus and it seems to be a return of mixed results. The album starts of really strong with the #1 club banger single, “1 Thing,” with its crazy, infectious, & bass-laden beat laced with heavy drum & horn sounds. Then every song after that seems to be a let down from the pace, rhythm, or mood set by “1 Thing.” Most of the other cuts on the album seem to be up-tempo records but they just simply pale compared to “1 Thing.” Songs like “Touch,” “Not The Only One,” & “Rolling Down My Face” are nice up-tempo songs but just aren’t on the level of “1 Thing." There are also some nice, slow, & mellower songs on the album such as “Just Like Me” & “Falling.” Amerie does have a nice & serviceable voice and it is highlighted on these slower songs. Her voice also seems to fit the more uptempo songs as she does hit her high notes nicely and adequately when they are needed, the song, “1 Thing,” is a perfect example of this. On most of the album, Amerie seems to sing in the nice mid-range level and most of the songs that she sings this way sound nice. The overall production of this album done by Rich Harrison is the nice mix of mid-tempo and mellow rhythms with the production on “1 Thing” being the exception. There is a “1 Thing” remix on this album that marks the return of Eve to the rap game, perhaps taking a little break from her acting endeavors. She shows that she hasn’t lost a step with a shot like, “You was the last dude I thought I’d be attached to/Caught me off guard, started feeling on my tattoo…” This is a nice album by Amerie but it just sounds like a “club banger” sandwich (starts with the hot “1 Thing,” filled with nice, but regular sounding cuts, & ending with the hot “1 Thing remix, feat Eve”). Maybe Amerie’s next album will be more even. Rating: 7/13 |
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Common Album - Be Record Label: Geffen / Universal The first thing that struck me about this album is the shortness of it, it only has 11 tracks (10 if you exclude the intro). The last rap album I remember being this short was Heather B’s last album (the one with “My Kind Of N***a”). The next thing that strikes me about this album is that it really sounds like an adult’s album in an industry dominated by children. This album seems to be perfect for the lounges that are springing up nowadays where adults just congregate, get their drink on, and relax – dancing optional, not essential. There are no club bangers on this album that would satisfy the young’uns, nor is this an album where one would get their groove on. The sounds of this album produced by Kanye West seem to have the lounge type feel to them; something that one can head nod to while cooling out. The beats, while having strong and nice basslines, aren’t of that overpowering, club-banger type variety which allows the lyrics said by Common & the guest artists to shine through clearly. The greatest strength of this album is the lyricism of Common and the guest artists who manage to match his lyrical zeal with the exception of one misstep by Kanye, “... so I hadda did what I hadda did/Cause I got the kids …” Common manages to present the current state of hip-hop in one line, “… so many raps about rims/surprised n***as ain’t become tires on the street …” (“Chi-City), and he also talks of a subject rarely touched on by rappers, being faithful to your girl, on “Faithful” where he starts off with: “… I was rolling around in my mind it had occurred/what if God was a her? Would I treat her the same?/Would I still be running game On her/And in what type of ways would I want her ..” To discuss life topics on a conscious level with the lyrical dexterity that Common does is a wonderful gift that is sorely lacking in today’s hip-hop scene. Everything doesn’t begin and end with illegal hustling. This is one of those albums that will keep hip-hop alive, even if the sales don’t indicate as much. Rating: 9/10 (Intro doesn’t count in the rating).
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Faith Evans The First Lady (Faith Evans)
A couple of pleasant surprises about this album are that there are, thankfully, no annoying skits (best left to the rap albums) and its short length of 13 tracks. Faith has always been known as a strong songwriter and, even though she just co-writes most of the album, one can tell her songwriting abilities shine through with the subject matter going from just hanging with the girls (“Goin’ Out”), to jealously & insecurity (“Jealous”), to finally getting what love is (“Until You Came”), to wishful thinking & hope for the future (“Hope”). The subjects sung about on this album are almost as varied as those in the good neo-soul albums. The production, mainly by the duo of Carvin “Ransum” Haggins & Ivan “Orthodox” Barias, is another strength of this album as it ranges from strong horn & guitar elements (“Stop N Go”), to keyboard/xylophone elements (“Jealous”), to smooth bassline & cymbal elements (“Catching Feelings”). The production also has nice tempo shifts ranging from an up-tempo hip-hop type beat (“Goin’ Out”), to an updated form of the classic ‘60’s or 70’s sound (“Again” & “Mesmerized”), to a cabaret-suitable tempo (“Stop N Go” & “Until You Came”), to the classic “lovemaking” R&B tempo (“Catching Feelings”). Faith’s voice just fits wonderfully with each song as its range and nimbleness are showcased throughout the album. Her highs are evident in each song and her mid-range is just right. This is an album that Faith on which Faith can claim that “first lady” title. Albums like this let me know that all is not lost in the world of R&B. Rating: 11/13 -Kirk Anthony Walker |
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ODB Osirus – The Official Mixtape Record Label: JC Records Before this particular review, I would like to send a R.I.P shout out to Old Dirty Bastard.; may he be at eternal rest. This mixtape finds ODB being his usual unorthodox self, rhyming over unusual beats. With anyone who is unorthodox, the question becomes whether the work is a good unorthodoxy or just unorthodox just to be so. The mixtape starts off strong with the lead single, Pop Shots (Wu-Tang), produced by DJ Premier with its jazz guitar infected bassline that is very rhythmic. “Stand Up” showcases ODB & Cappadonna trading hard NY rhymes over a hard, quick, early 90’s bass beat. The highlights of this mixtape are the three bonus cuts: “Move Back” is a banging posse cut w/Drag-On, Jae Mills, Cardan, The Lenox Ave Boys, & Terra Blacks that arguably has the best lyrics on this mixtape. “Fire (Dirty Dirty Alt Mix)” is a hot track over the “Sucker MC’s” bassline that has ODB at his decipherable illest. “Pop Shots (Clinton Sparks Remix)” is a smooth sounding remix of the lead single done by Clinton Sparks. Unfortunately, that’s the end of the good unorthodoxy. The remainder of this mixtape is bogged down with unbelievable lyrics - given what he went through during the last couple of years of life and so-so production. Tracks such as “Who Can Make It Happen Like Dirt?” and “If Y’All Want War?” exemplify this. Due to his various issues, ODB “couldn’t make it happen” in the game like he probably could have and he definitely wasn’t the one to talk about putting bullets in somebody. The production to “P***y Keep Calling” done by K-Def is strong (the sample sounds familiar), but the lyrics are kind of unbelievable and can’t even be considered humorous given ODB’s issues. “Down South” is a throwaway cut that makes me wonder why a lot of non-southern artists have to have that one southern song; it just doesn’t work most of the time. This is a disappointing album/mixtape by one of hip-hop’s all-time entertainers/showmen. It’s fortunate that we have his previous work to remember ODB by. Rating: 5/16 (2 skits don’t figure in the rating) -Kirk Anthony Walker |
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MOP Marxmen Cinema
Disc 1 – Marxmen Cinema This disc is the usual M.O.P which is gunplay, hustling, and getting paid and telling these tales with their trademark ferocity. M.O.P seems to always be blessed with great production and this disc is no different. “Here Today, Gone Tomorrow” sounds like a sparse bass arrangement supplemented by another M.O.P. trademark, the gun clack which just sounds so smooth, but the M.O.P aggressive telling of examples of being “here today, gone tomorrow” hood style fits this beat perfectly. The versatility continues with “The Game’s Been Fixed” where they temper their aggression to fit the mellow sounding track. They sample “Mind Playin’ Tricks On Me” on the cut, “Nine And Two Clips” quite effectively where they slang their usual tales of gunplay over the track. “My Hood” is a slammin’ ode to the ‘hood that rides over what sounds like a keyboard over another smooth bass track for which the vocals don’t appear to sound like Lil Fame or Billy Danze. “Story Of My Life” is done over a beat that features a guitar sample riding a drum bassline and cymbals on which they elaborate on their life story. “Beats By Fizroy” starts with M.O.P. having a humorous take on the process of trying to get producers to work on cuts for an artist and how much they charge then it ends with Fame talking the usual M.O.P. talk. The female vocalists on “Story Of My Life” & “Beats By Fitzroy” are respectable. I hope they can move further on in the industry as there is nothing in the credits (there aren’t any credits) to indicate who these ladies are. This disc is yet another hot one from Rating: 10/12 (4 skits don’t figure in the rating) Disc 2 – Bonus CD: Rare & Unreleased This disc has rare and unreleased earlier M.O.P material which is a treat for M.O.P fans, which should definitely hold them over until the hopeful release of their Rocafella album. The disc basically continues the M.O.P. M.O: ‘hood tales featuring gunplay, hustling, etc. The production also continues on this disc on tracks such as “Half And Half” feat. Guru, which is actually released here, with the xylophone & jazz sampling done by DJ Premier, “Hilltop Flava” with its sampling of horns over its bassline, & “The Life” with its strong guitar and drum cymbal sample. M.O.P talks of ghetto angst in “Victim Of The Ghetto” and “The Life.” On this disc’s hottest track, “Got To Go,” they take shots at their former label and talk the talk as they always do. This disc is a nice collection of their rare, unreleased, or released work which will also help hold over their fan base until that Rocafella release drops (hopefully it does) Rating: 13/14 (The intro doesn’t count in the rating) Overall Double CD This is one double CD where there is actually two CD’s worth of nice material which is a rarity when artists make double CD’s. The production is tight as always on a M.O.P project and M.O.P. just continue to bring it which each album they drop. The only negative on this double CD is the overuse of the N word and their limited subject matter (guns, braggadocio, etc) Overall Rating: 23/26 (4 skits & an intro didn’t figure in the rating)
-Kirk Anthony Walker |
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Nas Streets Disciple Record Label: Columbia Records Streets Disciple was one of the most highly anticipated albums of 2004. Nas made it a double album and, as a fan, I was wondering if I was getting a double classic or the basic double album where there is only one album’s worth of good songs. Here is my review, one disc at a time: Disc 1: It seems like Nas is really taking the streets’ disciple title seriously on this disc. He calls out who he feels are uncle toms on “ The song “Disciple” finds Nas basically announcing that he is the streets’ disciple. “Sekou Story” featuring Scarlett finds Nas & Scarlett telling the tale of a playa named Sekou who eventually falls to the streets and Scarlett capably rhyming as his widow. Nas’ expert storytelling continues with “Live Now” feat Scarlett in which Nas urges brothers to live now and don’t waste life while Scarlett rhymes as a woman on her deathbed telling her man to live now. “Just A Moment” feat Quan is a beautiful ode to those who have fallen. “Reason” featuring Emily finds Nas wondering the reason for certain conditions with Emily sounding nice on the hook. The lead release, “You Know My Style,” with its “Jam Master Jay” sample is the one song where Nas allows himself to brag a little. This disc is a solid one from Nas which really showcases his superior storytelling skills. Rating: 8/11 (intro didn’t figure in the rating) Disc 2: This disc features the reason why Nas can be considered the “King Of New York,” the song “U.B.R. (Unauthorized Autobiography Of Rakim)” where he actually rhymes quite accurately the musical biography of arguably the greatest MC of all time, Rakim.. I don’t think there is another active MC that can pull this off. The production is a deep bass line with a chime sample done by Nas himself. I consider this the best single of 2004 (I know that’s a big statement, but I’ll stick by it). I hope he really does part 2 to this song, an autobiography of KRS-1, on his next album. Nas also has some fun with friends in “Virgo” featuring Ludacris and Doug E. Fresh on the beat box. It just has the fun old school feel and Ludacris definitely holds his own with Nas and Doug rocks the hook. He allows the braggadocio to come out again in “Remember The Times” where he reminiscences on trying to get with a few girls. The second released single, “Bridging The Gap” feat Olu Dara, his father, is a nice blues & jazz tinged track where Nas links the blues and jazz of his father to his hip-hop. The disc finishes off with two nice smooth cuts, “War” featuring Keon Bryce where Keon sings a lovely R&B hook to the track and a wonderful dedication to his daughter, “Me & You (Dedicated To Destiny)” There is also a bonus track, the previously released “Thief’s Theme.” This disc has Nas covering more aspects and feeling; he’s not as much on the disciple mode as he was on the first disc. It still showcases his storytelling and verbal wordplay skills quite effectively. Rating: 8/12 (intro not included in rating) Overall Double CD: This is a double CD where it is just only slightly too long. The good cuts could have been squeezed on to one CD and that would have been a classic. It seems he used this double disc to introduce his disciple side to him, yet still keep fans with a dose of his latter day Stillmatic self. Overall Rating: 16/23 (two intros didn’t figure in the rating)
-Kirk Anthony Walker |
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Ghostface Killah
The Wu's most active in the game right now is back with his latest, The Pretty Toney Album. Ghostface Killah manages to spit his brand of current lyrics against a backdrop that for the most part sounds like it could serve as the soundtrack of a blaxploitation movie. He also manages to make a hip-hop album that touches on themes varying from the usual street tribulations, to radio-friendly party joints, to matters of the heart in his unique style. The producers on this album manage to sample, rearrange, and create these old soul beats that seem to fit Ghostface perfectly. He sounds perfectly comfortable rhyming to the beats on this album. Ghostface continues to show that he is one of the most vivid lyricists in the game with his one-of-a-kind metaphors and off-da-hook descriptions. "Brothers around here stick together like cheap rice / so run little doggie / wolves is comin', tell 'em london / ya get done in, flame boiled his brains / hangin' out his onion," is an example of the vivid lyrics Ghostface Killah consistently brings to the table. There are few guests on this album and the best thing is that they don't detract from the album at all. Newcomer Trife hangs quite well with his benefactor in the hot joint "Biscuits,” Sheek Louch & Styles P from the LOX trade gunplay barbs with the Ghost in "Metal Lungies,” and Jadakiss is his usual lyrical self in "Run.” Missy Elliott ("Tush"), Musiq & K. Fox ("Love"), and Jackie-O ("Tooken Back") also mesh well with Ghost in their collaborations with Jackie-O being a pleasant surprise. This is a solid album that should be getting more play and support than it is currently getting. I wonder when the industry and hip-hop fan base will realize that it is okay to step off the beaten path. Rating (13/13 - 5 are skits and the intro, I don't rate those).
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Mobb Deep
For the fans of da Mobb, this album is anything, but a nightmare. It is definitely vintage and classic Mobb Deep through and through. The things one can count on from a Mobb Deep product are evident here: banging beats & production, and tight lyrics from Havoc & Prodigy. There are two major things that separate this album from the other Mobb Deep projects. Almost half of the album was produced by a producer other than Havoc and the hottest beats are by the newcomers. This is not a knock on Havoc at all, it's just that Alchemist came up with some serious, heaters. The lead single, "Got It Twisted," which samples the 80's pop hit "She Blinded Me With Science," is just the start of the heat. Alchemist turns up the heat even more with the backdrops for "Win Or Lose" and "When You Hear The." Kanye West also serves up a nice one with "Throw Your Hands (In The Air)." Havoc does show his status as one of the best producers with the beat for "One Of Ours - Part II" and "We Up." On the lyrical side of things, Prodigy is his usual consistent self while Havoc continues to improve with each album. Lines like, "Here I go again, lettin' the Mac blow / slugs bubble up in ya stomach like lactose," show Havoc's ever improving wordplay.They both hang well with Jadakiss, who some are trying to anoint the next King Of NY, on "One Of Ours - Part II." Twista doesn't run too far away from the track on "Got It Twisted - Remix." There are only two small stick out sore points: their gun play subject matter is never changing and they still manage to find different ways to talk about the subject matter and don't forget about their awful attempt to capture the southern rap market by teaming up with Lil Jon on the terrible and out of place "Real Gangstas." Overall, this album is another hot, solid effort by one of Queens' finest. (13/16 rating - I'm feeling 13 of the 16 tracks). -Kirk Anthony Walker |
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ANITA BAKER My Everything Record label: Blue Note Records
After a lengthy self-imposed hiatus, Anita Baker gracefully returns to the scene with My Everything. The songs on this album use a live rhythm section, which gives it a jazz/cabaret feel. Listening to this album had me imagining that she was singing in front of those Frank Sinatra/Tony Bennett type bands. One would think that an R&B voice wouldn’t mesh well with a jazz/cabaret beat or rhythm, but Anita’s voice fits seamlessly with the backdrops. The album is like one long letter to the one she loves where she talks of the depth and intensity of her love for him. The lows & highs - she reaches with her uniquely huskier voice, along with the production, effectively reflects the soulful emotion she conveys on each song. This is another instance of the production and voice being a perfect fit. I don’t think anyone else would be able to pull of these songs as she does. Here is an example of what an adult R&B album should be, (Rating: 10/10).
– Kirk Anthony Walker |
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MOS DEF The New Danger Record Label: Geffen Records
Mos Def incorporates a little bit of everything in the production on his latest album, The New Danger. The production incorporates elements of rock, blues, hip hop, & beats reminiscent of those heard in the 70’s blaxploitation movies. The rock tracks are quite competent, especially the slammin’ track Ghetto Rock. He did front a rock band, Black Jack Johnson, and that experience shows here as these tracks don’t have that “simply rap over any rock track” sound. The attempt was truly made to make rock tracks he could truly flow to. The blues tracks have that old school blues sound from the 1940’s through 1960’s, which is really exemplified on the track Blue Black Jack. Mos Def’s style just fits so well with these particular tracks. Mos Def manages to rhyme about who truly runs this rap game to the beat of Jay-Z’s, The Takeover in the track, The Rape Over, and it damn near sounds as good as The Takeover. He also finds a different and subtle way to tell a girl how much he wants to be with her in The Panties. Mos Def also gives a humble, touching, and hot acknowledgement to those who have fallen in the rap game & the game of life in the track, Champion Requiem. With all the noise given to other MC’s being anointed as the King of New York or the best in New York, this album is proof of Mos Def being one the most versatile & lyrically gifted MC’s in New York and, in fact the entire rap game. This is a fine example of a unique and fresh album and how it is okay to step outside of industry defined boxes to create good music. (Rating: 16/18).
–Kirk Anthony Walker |
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Ashanti Concrete Rose Record Label: The Inc
On this third album of hers,
As on her previous two albums, the production is the strongest asset while her vocals are more than adequate enough to make the songs sound good. Yes, there are those of the opinion that With that said, there are a few missteps on this album. The song, "U," which is basically sung over the "Freak You" remix beat done by Jodeci which just shouldn’t have been attempted. The song sounds like her pale version of Jodeci’s classic song. "Turn It Up," featuring Ja Rule & Jimi Kendrix sounds like it should have been on a Ja Rule song featuring her. Her attempt to sing along the fast and hard pace of the track just doesn’t come off right. This is another strong album by Rating: 10/12 (1 intro, 2 skits, and the "Wonderful" remix don’t figure in the rating) |
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John Legend Get Lifted Record Label: KonMan
Kanye West has found a wonderful artist to set off his KonMan Entertainment production company in John Legend as evidenced by the album, Get Lifted. This is another example of what R&B should be about: uniqueness, talent, and skill. This album’s musical backdrop runs from gospel, to up tempo R&B, to blues, to just a piano accompaniment. The production that Kanye West, John Legend, & Dave Tozer provide for this album is simply smooth and soulful with John Legend’s voice seamlessly fitting over the smooth and soulful tracks on this album. John Legend touches on some general R&B subject matter (cheating, love, etc) in truly unique and refreshing ways, and also touches in some unique ones. He touches on cheating in "She Don’t Have To Know" where he knows they’re both doing wrong with a line like, “… Never risk the chance we’ll catch her eye, oh no/She don’t have to know, She don’t have to know/And, Oh, girl I know you’re doing the same thing too/But I won’t tell your man the things we do, oh no.” And also on "Number One" with lines like “… Just because I cheat on you/Cuz you can’t see all I do/To keep you from knowin’ the things I do “You know that I love you/There’s no one above you/I said it the last time/But this is the last time/So don’t make me over/Cuz I can be faithful." He comes right back on the same album telling how dedicated to his girl he is on the tracks "I Can Change" where he talks of what he will give up to be with her, and Stay With You where he talks how he’ll stay with his girl, no matter what. He also covers other topics in this album in the same mature and grown way, a way not many R&B artists his age can display in their work. The most refreshing thing about this album after listening to it and reading the lyrics to each song in the CD liner is that each song seems to vividly and accurately describe a point a man can be in his life which seems to be the gift that shines through the most on this album. Get Lifted is an album, like many neo-soul albums, that shows today’s R&B does have room for and can grow. The art form is blessed to have someone this young and of his mindset contribute to it. Rating: 13/13 (The prelude doesn’t count in the rating)
–Kirk Anthony Walker
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