Music Review: Cam'ron: Crime Pays

Cam'ron: Crime Pays
8/10


After a lengthy hiatus which included the implosion of his Dipset crew, a beef with 50 Cent, a small pool, and a hot summer that never came to be, Dipset leader Cam'ron returns with "Crime Pays."

The album opens with the title track, where Cam questions the foolhardy souls who believe that obtaining a college degree and becoming firemen or police officers will eventually get them the luxury cars they envision ("this ain't math class/this isn't adding up," he says).

It's clear that Cam is channeling those frustrated with the recession, especially with songs like "My Job," where Cam spits from the perspective of, get this, the average joe. The theme is quickly squandered by songs like "Chalupa" and "Who" where Cam is in rare form, speaking about mustard colored jeeps and money stacks galore.

The only thing Cam isn't as rare is coming up with memorable hooks, as songs like "Cookies N Apple Juice" (I dont know what that means either) and "Spend The Night" contain some embarrassing choruses. The hilariously named "Silky (No Homo" (yes, it's really called that) is one of the album's most notorious filler tracks that could have been left off.

"Crime" is an LP that in some ways, harkens back to Cam's second album, "S.D.E," in it's underground grittiness, there is no mainstream pandering here. The album's production, handled mostly by longtime Dipset producer Skitzo, is light on cookie cutter synth tracks and is more in line with the mixtape version of Killa Cam, where his wordplay and multis flow excellently with the basement-like beats.

"Crime Pays" is a return to form for Cam'ron, proving that he has missed few steps in coming back to glory.

THANKS KEMPNERD!

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Volume 1: I'm @live

Music Review: Asher Roth: Asleep In The Bread Aisle

Asher Roth: Asleep InThe Bread Aisle
7/10

He's no Eminem, he's definitely not Vanilla Ice, and he isn't conscious enough to be a part of 3rd Bass, but Pennsylvania born MC Asher Roth has made his mark in creating what could be best described as "rascal rap."

"Asleep In The Bread" aisle makes no qualms about it's subject matter and listening to the first song, the infectious "Lark On My Go-Kart" has Roth name dropping Teddy Rumpkin and exclaiming that his "Mario Kart skills are outrageous." The album is knee deep in marijuana and alcohol fueled fun. "Blunt Cruisin" has Roth and some buddies doing just what the song says ("who got the munchies? I got the dutches"), while they crash into trees. Innocent fun.

Perhaps the most standout track on the album is undoubtedly the eye-opening "As I Em," where Roth speaks on his elephant in the room--the comparison to Eminem. Asher manages to thank Em, and also forsake the naysayers who say he sounds a little too much like him.

Roth will probably always be known for the ballad to education institutions; "I Love College." Asher's close friend and producer Oren Yoel produces this (and most of the album) Weezer sampling ode to women,drinking and parties (but not learning! that's so passe right?).

The problem with "Asleep" is that Roth isn't yet strong enough of an MC to carry an album by himself (listen to him get lyrically eviscerated by Busta Rhymes on "Lion's Roar"). His flow on some songs is sometimes questionable, and the lyrics are above average at best. Asher has a long way to go, but his debut album is at least a step in the right direction, he has the tools to possibly be just as good as the other blonde haired rapper people compare him to.

Music Review: Rick Ross: Deeper Than Rap

Rick Ross: Deeper Than Rap
9/10


Miami native Rick Ross has his feet firmly imprinted in the sand, facing a major beef with 50 Cent (the Goliath to his David if Ross tells it) and a possibly street- cred threatening discovery of his past as a Corrections Officer. Ross, who has built his brand under the character of "The Boss", is in a dilemma that most rappers would crumble under--does the person you used to be overshadow what you are capable of doing? What ever the case may be, "Deeper Than Rap" will surely silence those who doubt his musical prowess, and stand as one of the standout albums of 2009.

The album's sound is more in the vein of Brian de Palma's "The Untouchables" than Ross's previous two LP's and this is mostly in part due to super producers J.U.S.T.I.C.E. League who lace the album with some of the most sonically pleasing beats of the last few years. "Maybach Music II" features Kanye West and Lil' Wayne spitting memorable sometimes hilarious (see: Wayne rapping "all black maybach i'm sitting in the a**hole) lines over a beat that sounds like it could be the beginning of an epic symphony, and the Jamaican influenced "Yacht Club" has crossover potential with Ross exclaiming himself as "the fat Tommy Lee."

"Deeper" also shows Ross' lyrical progression as well, as tracks like "Mafia Music" and "Usual Suspects" (which features a seemingly rejuvenated Nas) can attest. Ross even services hit single friendly tunes such as "All I Really Want" (featuring The-Dream) and Lay Back (where Robin Thicke steals the show, doing his best Justin Timberlake impression) impressively.

Opponent 50 Cent isn't spared on tracks such as "In Cold Blood" ("Got about 50 and keep 50 in my pocket) and "Valley of Death" ("you aint a G and unit means together), as Ross outs 50 as a megalomaniac who is essentially breaking the unity in hip hop. Ross is as self depreciating as he is accusatory, shedding his image in order to detail his past ("I'll shovel s***/I'll C.O./just so my family can bow over the meat loaf).

"Deeper Than Rap" is not only one of the best LP's of the year, but it's also a shining example of not counting someone out when he's down. Time will tell if the Boss will gain the credibility he so desperately looks for, but as long as the music is great, who cares?

Music Review: Jadakiss: The Last Kiss

Jadakiss: The Last Kiss
7/10



Raspy voiced MC Jadakiss has a lot to live up to on his third offering "The Last Kiss", his first on Jay-Z's Roc-A-Fella records. Jada has gained a following as being the most underrated rapper of the last decade, and this LP is his chance to prove his worth in the game, and besides a couple of setbacks he manages to deliver his strongest work yet.

His signature style of gangster rap mixed with razor sharp lyricism is not lost on tracks like "Pain & Torture" where he offers his opinion of the state of the industry ("I' take the responsibility for bringing it back/They rappin' with hostility, meanin' they whack"), and the dream team collabo with Lil' Wayne on "Death Wish".

"Smoking Gun" has Jada in familiar territory, lyrically approaching a story about an emotionally abused girl while ending every verse with a reference to a gun ("Inside that was crushing her/I got something to discuss with her/I'm coming with the tech/
With the ear holes and the mufflers"). "What If" is like a sequel to his 2004 hit "Why", as he teams with Nas to pose their own intuitive (if not impossible) questions about society.

The album's biggest problem is that it feels bloated. of the 18 tracks there is at least one featured artist and a new producer with a completely different sound. While some collaborations fit excellently (see "Cartel Gathering" with Ghostface Killah & Raekwon), some are "WTF" worthy (who invited OJ Da Juiceman?). The album has no real feel like his other albums have, making it feel like a big budget soundtrack.

"The Last Kiss" has it's ups and downs, but this should finally solidify Jadakiss as a real contender in the ever changing landscape of hip hop.

Music Review: UGK: 4 Life

UGK: 4 Life
9.0/10



The past two years have been a roller coaster for the two man team known as the Underground Kingz, better known as UGK. A mix of incredible highs which started with the most influential member, the charismatic and at times lyrically harsh Pimp C, had just been released from a long bid in prison, and their last album released in 2007 was released to fan fare and even more critical success. The ride came to an end with the untimely death of Pimp C in late 2007, putting the group's future in question.

Surviving member Bun B has deemed "4 Life" the final album for the legendary duo, and encompasses all of the work that Pimp finished before his passing. Though he may not be here in spirit, it's clear that the legacy of UGK will still live on through this album.

Pimp C's touch is all over this album, he produced over half the album, with the signature jazz and country meets 808's sound that UGK has been known for since their debut almost 20 years ago. "Still On The Grind" is vintage UGK, and exemplifies the juxtaposition of Bun's breed of street smart tales and Pimp's explicit and rough outlook on life.

The best track on the album would have to be the Ronald Isley assited "The Pimp & The Bun", a smoothed out track that harkens back to their classic "Ridin Dirty" album in it's production and it contains the best definition of their relationship as well (as Pimp C says: "its the bun and the pimp the steak and the shrimp write my name across the sky in the blimp its UGK")

"4 Life" doesn't break the mold or show the duo in a new light, which actually isn't a downfall of this album. It is the quintessential album for the influential group, and I doubt that many die hard fans will be disappointed. Pimp C starts the album eerily stating that he's "in 2009, light years away". Hopefully the legacy of UGK will be around longer than that.

Music Review: Jim Jones: Pray IV Reign

Jim Jones: Pray IV Reign
6/10

Ex-Diplomats hypeman and tough talker, Jim Jones has done seemingly the impossible. He's come from under his boss and mentor and managed to carve his own niche, parlaying the fate of similar "right hand man" artist failures. However with all of his accomplishments, his 4th album "Pray IV Reign" is ultimately a disappointing album that does little to show his growth.

"Reign" is a bit heavier on the more mainstream side than the thug posturing of his earlier efforts, but Jim is more comfortable in this spot. "Pop Champagne" has run the charts for a while with its infectious hook and braggadocios claims of wealth, and the Ryan Leslie assisted "Precious" is strictly for the females and is classy without being corny.

Jones waxes nostalgic on tracks like "My, My, My" dedicated to slain rapper Stack Bundles, and "Let It Out", two of the strongest tracks on the disc, that will honestly surprise the most jaded Jim Jones nonbeliever.

While Jones' strength has never been his lyrical delivery, he usually has great production on his albums. "Reign" has half-baked and derivative production by Chink Santana and Ron Brownz (who should really know better). "How To Be A Boss" features Ludacris and Busta Rhymes over a Swizz Beatz soundalike track created by Brownz, "Frenemies" is ripped straight from Jay-Z's "A Week Ago" (Jay is ironically Jones' enemy on wax). The biggest offender of the album is the juvenile "Medicine" which manages to rip off (surprise surprise) "Jigga What, Jigga Who", and be lyrically terrible as well.

"Reign" sounds like an extended Byrdgang album, bookmarked by the many appearances by the (unimpressive) group on the album. "Reign" had good intentions, but maybe next time Jim should Pray for a more cohesive album.

The-Dream: Love Vs Money (Review)

The-Dream: Love Vs Money

8.5/10

Okay, we get it now, The-Dream wants you believe that he's the king of love. And on his sophomore album he makes lofty claims against the Cupid himself ("Cupid Aint Got S*** On Me"), and also manages to make an album that is filled with low tempo love anthems such as "Put It Down" and "Sweat It Out", along with his own fusion of R&B-Pop that anyone would be proud to play in their car stereo.

"Single Ladies" writer Dream's sequel to "Love Hate", is surprisingly not that much different in terms of content, though it touts two heavyweight collaborations (Kanye West and Mariah Carey), the album is the summer blockbuster of R&B albums, with a story that is readily accessible to men and women.

The production, handled chiefly by Dream and partner Tricky Stewart, is as unusually catchy as the songs themselves, merging symphonic piano melodies with Portishead-meets Lil'Jon drum patterns. "Rockin That Thing", is perhaps the best marriage of the two, though the six minute "Fancy" is a standout track that has to be heard to be believed.

The star of the album is the cohesion between every song. The-Dream has mastered the art of making an R&B album that even guys can understand, and the "Love Vs Money" two part song opus where Dream exclaims "Stars get their hearts broke too", and the anthemic "Take You Home To My Mama", which speaks for it self.

"Money"s overarching theme is that of the importance of economic wealth over love, though even if, like any other summer blockbuster, you skip the message you'll still have a great time.

Music Review: Common: Universal Mind Control

Common: Universal Mind Control

8/10


Seemingly more of a vanity project than any he's ever had before, Common returns after 2007's "Finding Forever" with the futuristic tinged "Universal Mind Control", an album that is sure to leave many of his fans perplexed, especially after his string of more traditional releases.

"Control" clocks in at a speedy 38 minutes boasting 10 tracks (seven of which are produced by The Neptunes), that are less of the conscious variety and instead display a more fun-loving, sexually charged emcee, on tracks like "Sex 4 Suga" and "Punch-Drunk Love" Featuring longtime friend and collaborator Kanye West as he spits "What make ya feel so good that type of stuff you cant explain/ I do what I do to do to make it rain", and other lyrics that may make your mother blush.

Though his album is devoid of many of the topics that have become status quo for Common, it doesn't take away his lyrical prowess. On "Gladiator", Common releases his inner Maximus Meridius exclaiming "They say he's a radical he dont fit the game, a heart full of glory, a fist full of pain" over a heroic sounding Neptunes beat complete with appropriately placed horns and synths.

The album is more or less a love letter to the days of Afrika Bambaata, with it's spacey production (think more Whodini and less "Graduation") and Common's more defined syrupy flow.

"Universal Mind Control" works in the sense that Common is comfortable enough as an artist to come out of his own comfort zone (a big theme for rappers in 2008 it seems), and is still able to take listeners through an enjoyable (if short) journey.

Music Review: T.I.: Paper Trail

9/10


With the inevitable reality of prison looming, T.I. (or T.I.P. if you want to be technical) releases perhaps his most introspective material yet on "Paper Trail."

Though the name is a direct reference to his choice to once again write his rhymes down with pen and pad (the rapper du jour of the current generation is to go pen less), "Trail" doesn't squander its content or lose it's way with a gaggle of filler tracks.

T.I. is at his most brutally honest on "Paper Trail," speaking candidly about the implications of his arrest on "Ready For Whatever", and putting a certain Atlanta naysayer in his place on the hard hitting and in your face anthem "Whats Up, Whats Happenin," produced by Drumma Boy.

T.I. once again teams up with longtime friend and producer DJ Toomp who produces 5 of the strongest tracks on the album, including the long awaited team up with Ludacris on "On Top Of The World," which also features Grand Hustle newbie B.O.B. The song is excellent of course and T.I. and Luda have great chemistry which will hopefully lead to many more collabs with them over time. "Paper Trail" also features the infectious mash-up "Swagga Like Us" which features Kanye West, Jay-Z and Lil' Wayne as four of the most popular MC's today lyrically sparring over the M.I.A. sampled tune.

"Paper Trail" is also light on the upbeat bop of past T.I. albums and even though the Jim Jonsin produced "Whatever You Like" gets in that zone, there are few tracks on the album like it. It's the confessional of an artist facing one of his biggest trials, and as a fan it's worth taking the journey.

Music Review: DJ Khaled: We Global

7/10



Another year, another Khaled mixtape album, though this time "Global" makes up for the fatal missteps of last years "We The Best" (one of the worst albums of last year in my opinion). Focusing on what made his first effort, 2006's "Listen", such a solid album, Khaled ditches the tried and true formula (the Wayne, Baby, Ross, Fat Joe superteam that molested your ears last year) and gives us new mashups and all around better production.

Khaled uses "We Global" to showcase breakthrough producers The Runners, who produce a quarter of the album, including the Kanye West helmed "Go Hard" which features T-Pain in a autotune anthem that is up there with Khaled's best anthems, like "I'm So Hood".

"Global" isnt short of its share of anthems, which include the first single "Out Here Grindin" which features Akon, and a myriad of southern artists, and the title track which features Trey Songz and Ray J surprisingly waxing gangsta over a smooth Runners produced track.

The album also features appearances by Nas and the Game, who serve to raise the quality of the album (and the authenticity of Khaled's guest verse address book). Busta Rhymes, Missy Elliott and Pitbull also make appearances of negligible quality. If there's one thing you cant fault the album for is the feeling of freshness that it has Lil' Wayne is nowhere to be found, Fat Joe is on only one track, Rick Ross' appearances are at a minimum as well. Newcomer Ace Hood has a excellent showing on the album as his rapid fire delivery and grimey flow highlight one of the reasons Khaled puts him on most of the album.

"We Global", while not the most lyrically sound mixtape albums around, serves as a great diversion in an increasingly cramped Fall and Winter for hip hop music. I'd definitely give it a listen.

Music Review: LL Cool J: Exit 13

6.5/10



LL Cool J isnt lying when he exclaims (as he has done many times before) that he helped build a fledgling label named Def Jam into the powerhouse it is today. He's remained at the company for over two decades and "Exit 13" reflects an end of an era as his Def Jam tenure ends. Though it isnt his best work, "13" is the most focused LL has been in years.

Opening the album with the "300"-esque sounds of "Prepare For War", LL puts young rappers on blast expressing his frustration ("when i walk in the room young boys look at me strange/as if i am a relic from some long forgotten game") at being seemingly forgotten in the current state of music. LL struggles to prove his worth on songs like "Rockin Wit The G.O.A.T.", or "Ringtone Murder", ("drop jewels like yoda, my young students love me") proving that he is still a competent spitter, weathered by years of polish. "You Betta Watch Me" is a damn near throw back to LL's old teenage "Bigger and Deffer" years, once again pleading a case of relevance ("you cant compare me to them line for line, im beyond that i represent eras and time").

LL is of course a great MC after all these years, though "Exit 13" features some pretty limp production overall. Ryan Leslie, Dame Grease and Marley Marl all contribute, though on "Get Over Here" you wonder why the producer (or the guest artists) even tried.

"13" also manages to be bogged down with filler that borders and crosses the corny boundary. "Baby" (Featuring The-Dream) would have you fooled into believing that this album was another "Todd Smith" disaster (lyrically the song is confusing), and "I Fall In Love" is even more disgusting. Who thought that including the "Baby" remix (with Richie Sambora!) two songs after the original was a great idea?

"Mr. President" features Wyclef Jean and also strikes as foul on LL's part as it's too little too late, and along with the other offending tracks on the album (just wait until you hear the "American Girl" song) it creates an album that is schizophrenic in its delivery. LL wants to go hard again, this being his last album and all, but he seems to fall into the same caveats that got his past few albums panned critically.

"Exit 13" is a bittersweet ending to LL's era at Def Jam, as LL proves that he is more than capable at holding his own lyrically in this day and age, but he makes certain decisions that prove that he is out of touch as well. Will LL be able to come back rejuvenated with a new deal, or will it end here? Only time will tell

Music Review: Gym Class Heroes: The Quilt

7.5/10


Popular Alt Rock/Hip Hop playboys, Gym Class Heroes, have enjoyed an almost whirlwind year, starting with the breathrough of their popular single "Cupid's Chokehold", and the charismatic leadership of frontman and MC Travis McCoy. Where the band lacks in a real definition of their genre, they gain in their pertinent anthems about, pretty much anything someone from 16-25 could understand.

"The Quilt" sees the band embrace more of their hip hop stylings, teaming with Cool & Dre, who frequently team with artists like Fat Joe and Lil' Wayne, Tricky Stewart and R&B act The-Dream. The result is ultimately mixed, as it is in direct conflict with the more traditional underground pop style that they have carved a niche out of. Songs like the first single "Cookie Jar" (featuring The-Dream) are nice diversions, yet "Kissing Ears" (also...featuring The-Dream) is bordering on corny. Cool & Dre seem to understand the band more, and thus fare better with "Peace Sign/Index Down" and "Home" where their production compliments the groups weaknesses.

The rest of "Quilt" is pretty much by the numbers, aside from the new risks the band takes with production. "Blinded By The Sun" features Patrick Stump from Fall Out Bou is sure to be the new anthem for the anthem, and "Catch Me If You Can" follows the formula the band set when they worked closely with Stump. Perhaps the most perplexing feature on the album isnt a The-Dream or Lil' Wayne (whose verse on "Dont Tell Me Its Over" is suspiciously missing), but Daryl Hall from Hall & Oates on the 7 minute "Live Forever (Fly With Me)". It's almost as if the gods of pop rock/soul are handing off the reigns to the next generation...a distinction that GCH are glad to take.

Music Review: Young Jeezy: The Recession

8.5/10

Who knew that Young Jeezy of all people would be educating the nation on the effects of one of the biggest financial droughts of our time? On "The Recession", coke rap professional Young Jeezy not only shows growth, but a new found sense of introspective-ness mixed within his thug motivation. Has the snowman turned over a new leaf in light of an election year?

Starting with the fist pumping intro by southern legend DJ Toomp, Jeezy proclaims that "everyone is broke" and that he's here to help. It's hard to believe at first, however throughout the album (which is incredibly light on features surprisingly), Jeezy holds his own, shedding the simplistic rhyme schemes and punchlines of his two albums, he's almost unrecognizable here as the same rapper we heard in 2004 keeping the yams in his auntie's house.

This newfound confidence helps, not hinders Jeezy's more poignant statements. On the Don Cannon produced "Circulate", Jeezy questions his lavish purchases in light of the current economic climate ("feelin like my watch was a bad investment"), and on the trunk rattling "Crazy World", he mentions the alarming discrepancy between the time given for drugs versus a convicted murder.

But it's on "My President", which features Nas, where Jeezy breaks away from the numerous copy cat's he is compared to. While still a heavy endorsement toward Obama, the trapper dreams of a change, where hopefully coke prices are lower no doubt.

Though he waxes political, Jeezy hasnt forgotten the anthems that made him popular. He and Shawty Redd team up once again on the booming "Who Dat", while Drummaboy provides Jeezy with the mega popular single "Put On" featuring Kanye West in one of his most memorable features yet, and the stand out "Hustlaz Ambition" where Jeezy does his best Tupac rendition.

"The Recession" is Jeezy's strongest effort yet, however time will tell if he can actually start to change his focus and move forward from his 2004 subject matter. He shows signs of a more rounded artist here, but it only leaves your appetite whet for more of Jeezy's world view.

Music Review: The Game: LAX

9/10



Whether it be the escalating nature of rap beef, or the declining record sales in the music industry, The Game has proven to be one of Hip Hop's most resilient if not unbalanced figures. His short yet illustrious three year career has seen him trade barbs with the likes of Joe Budden to 50 Cent (and Jay-Z if you want to get technical), though in the midst of that he has risen awareness to the West Coast.

Now The Game returns with the much anticipated "LAX", though this album is not highlighted by the now dead G Unit beef (which is beaten to death at this point, though there are still shots thrown in the album), but the threat that this may be his last album. The feeling of a finite ending is strewn throughout the album, which is preceded and ended with a prayer by DMX, who has been considered misunderstood as well throughout his career.

The one thing that stands out about the album is the more aggressive tone of The Game, especially when standing next to Raekwon on the surprisingly concise "Bulletproof Diaries". When he isnt standing toe to toe to the Chef, he sits the listener right next to him in the car on "House Of Pain" the DJ Toomp produced next single. Game has declared war on his doubters, and is set to prove that he belongs on the "Top 10" next to Kanye and Lil' Wayne (who appear on the album as a producer and a feature respectively). While his snubbing on the list is questionable, the album has the dubious honor of being Game's best album to date, and that should surely net him a spot soon.

"LAX" also features the Triple A production known from The Game, featuring Cool & Dre, Nottz, Hi-Tek and a sizable contribution by Jonathan "J.R." Rotem. Just Blaze and of course Dr. Dre are missing here however.

It's also interesting to mention the awesome "Let Us Live". Produced by Scott Storch (where is he?) Game does his best Nasir Jones impression (Nas makes an appearance here as well) with rapid fire delivery mixed with Westcoast brutality. I'd go out on a limb and say its one of the Game's best songs ever.

That's not to say that the album doesnt have any rough patches. There is obvious filler here, such as the utterly boring Ludacris featured "Ya Heard" or the Ne-yo assisted "Gentlemen's Affair", both of which scream cutting room floor additions.

"LAX" doesnt stray too far from Game's formula of albums as far as production and content goes, though as an MC he has improved, and whether he is leaving the game or not he shows the growth of an artist that is still on the verge of a breakthrough.