Born Sinner [review]....by Charlie Mango

Honestly, I didn’t listen to J. Cole’s debut album, Cole World. Oh, I’m a fan of his, many would argue, classic mixtapes (as classic as a mixtape could be): The Come Up, The Warm Up, and Friday Night Lights. But none of the singles from his album moved, touched, or inspired me like so many of his previous tracks. In fact, his songs were too structured and felt soulless; so, I decided to skip the album all together. I didn’t even download it; I didn’t want to hear him flop after falling off.

MCHG [review]....by Charlie Mango

Once again, Jay-Z sets a new bar (not lyrically, but maybe sonically or financially: platinum before the album dropped, never done before) with his latest offering Magna Carta Holy Grail.  Don’t believe me, pay attention to the black bar through his name and on the artistically statuesque cover, no coincidence. Additionally, the title of the album proclaims a new set of rules will be established, a la Magna Carta, while people search for their Holy grail (cue Dan Brown’s The Da Vinci Code).

Yeezus [review]....by Charlie Mango

   When “Yeezus” first sprang a leak, the internets rushed and gulped it down. Forwarded emails, containing various links to wet transfer and other file sharing sites, were excitedly opened to hear the new Yeezy “Yeezus.” Like many, I downloaded it, but I didn’t listen. Nope. Instead, I went to Twitter, the source of all news and tomfoolery, and looked at the up to date reviews of the barely five minute old unofficial release. And the good folks of Twitter-verse lambasted Yeezus, throwing stone after rock towards this ten-track opus.  These one listen reviews were funny as many proclaimed that Yeezy finally missed, ruining his streak of classic albums. As a result, naming Yeezus the official weed plate (though at the time, no one had a physical copy of the album) of the summer. 

Reservation/Angel Haze [review]...by dashxtrouble

Angel Haze’s EP, Reservation, serves as a fourteen track, heartfelt introduction to the twenty year old rapper with skills and self-knowledge beyond her years. From the dark and brutally honest opening, “This is Me,” to the optimistic, yet emotionally thought-provoking closer, “Smile N Hearts,” Angel Haze demonstrates her dexterous lyrical range throughout the course of album. The album opens with “Somewhere over the Rainbow” played by a baby mobile, before the “This is Me” beat slips into a dark rhythm, on which she raps and sings to her mother, her sibling, and herself about their difficult times together. While hurt by these experiences, Angel maturely recognizes that they have made her who she is. Undoubtedly, this track sets the emotional tone for the album.

The next song, “Wicked Moon,” continues along this darkened path by highlighting the evil imagery of demons and acknowledging the battle between God and Satan during a cutting experience. This track is full grown teenage angst, mixed with the seedlings of self-realization.

Angel follows these two emotionally draining songs with “Chi,” her first of a few love songs. In it, she weaves questions and declarative statements together as she wonders what will make love work, while giving great advice on how to do so.

Track four motions a distinctive change in the feel of the album; no longer only pondering the deep philosophical heavy questions of life and love, Angel Haze raps with a braggadocio that naturally follows those previously deeper introspective songs. She declares that she’s “gone full circle,” moving from a time when she was not being true to herself. She triumphantly shines on this track as the audience witnesses her emergence from her past into her present; it has a butterfly from the cocoon feel to it all.

Angel Haze fully displays her deft lyricism on the popular single, “New York.” She alludes to the Chris Stokes and Raz B sexual situation, the thick strippers at DC’s Stadium, all while professing, “I’m satan, and I’m take your ass to church now.” She sprinkles this complex questioning of religion throughout the album, demonstrating her personal struggles with heaven and hell, or proverbially “right and wrong.” Her funny, thoughtful similes and societal jabs abound on the “Werkin’ Girls,” “The Realest,” and the only rap collaboration, “Jungle Fever.” The latter features Kool AD from Das Racist and causes one to rewind a couple times to understand and enjoy the verbal word play, discussing her love for rough sex (though she hasn’t had none), Darwin as the second coming, and her mostly imaginary friends. The free association rap style illustrates her intelligence and strong command of words; easily it is one of the stand out tracks.

“Hot like Fire” and “Gypsy Letters” are two more love songs addressed to former flames (note: Angel Haze identifies as queer; her music does not focus on who she loves but rather on love and its resulting feelings), wondering how to find and maintain that love lost. The former samples beat from Aaliyah’s classic of the same name; Angel sounds natural atop the Timbaland baseline, but strangely shows her youth with simple lyrics.  

“Castle on a Cloud” delivers some of the most personal lyrics as Angel discusses, seemingly for the first time on a record, her past sexual molestation, and the damaging ramifications of it on her self-worth. After listening to the prior track, which claims that she is the realest in traditional rapper fashion, sans the bling, Angel proves she is “triller than the trillest” with this track, digging deep into her emotional self to share it with her fans. It feels as if she let the world read a few pages from her diary, and its emotional charge changes the mood of the album, back to an introspective side.

On the acoustic sounding, “Sufferings First,” Ms. Haze discusses the importance of suffering and, more importantly, how love is the cure. She details issues with her friends, who are upset that she has changed, and questions, “But, how the fuck you make a difference and still stay the same?” Deep questions from an thoughtful soul.

Angel provides one last lyrical workout on “Drop It” before the album’s dismount, the emotional, “Smile N Hearts.” The latter deems, “Struggle is worth it” as she confesses that she dreams with her eyes open so she can see where she is going.

Overall, I look forward to future Angel Haze material; she is insightful and thought-provoking with a quick wit. She reminds me of Drake, ready for the fame, success, and acceptance, but uninterested and even scared of it all. She, like all of us, is a walking contradiction, filled with contradictory beliefs and desires. It is her ability to rap, which 98% of us are unable to do well,  about those complexities that make her album worthy of multiple listens. Her sincerity shines through the pain, which causes the audience, specifically this reviewer, to wish her nothing but champagne when she eventually wins.

~by dashxtrouble
(to read more by dashxtrouble, go to his blog Between The World And Me)

Recovery [review]......by dough

Recovery [review]
by dough

The genius of Eminem’s early major label releases was so potent, it was impossible for a fan not to be disheartened by the abomination of his last two releases.  His winding word play, intricate rhymes and self-conscious cartoon violence showed genuine growth and insight between The Slim Shady LP and The Eminem Show.  This made it all the more dispiriting when they devolved into the sludging labor of Encore and the bizarrely unfettered horror-porn of Relapse.  Luckily for the millions of us who want him back, Eminem is keenly aware of his descent and is trying to do something about it. To that end he has made explicit in both the press and the lyrics in the new album, that Recovery is his apology and step forward into a new and re-solidified future.

Well, maybe not a step forward as much as an about face.  This album is not filled with the rape fantasies and drug fueled vengeance that contributed to Relapse’s sad one-listen status.  It is however, heavy laden with many of the same minor chord, slow-roll beats that made its predecessor feel achingly melancholy and depressing.  Eminem is at his best when he’s high energy and full blast.  His top tracks let the intensity build like when his rocket rhymes crescendo through songs like “Kill You” or slyly wind and slide through tracks like “Brain Damage”.  Unfortunately, the melancholy downer that started with Encore and reached full force in Relapse is still present in Recovery.  This slow tempo ties the hands of a kinetic artist like Eminem, whose power comes from slippery lyrics with intertwining pacing.

That’s not to say that Eminem’s lyrics aren’t in top shape. If one thing stands out in Recovery it’s his solid affirmation that those labyrinthine lyrics are back at dizzying (if not previously unachieved) heights.  The intricacy of his inner rhymes, double entandres and punchlines stand tall as perhaps the best argument for the stupefying effect that drugs can have on an able and agile mind.  Perhaps more poignantly, those lyrics testify to the fact that sobriety can bring such a mind back into sharper and more potent relief.

And yet, the topics of those winding and swooping lyrics have not changed much from his earlier concerns.  I was frustrated by the popular success  of “Lose Yourself” as I could never take a positive irony-free Eminem spitting plaitudinal drivel seriously. It seems as though he’s tried to replicate that formula on every album since 8 Mile.  Recovery is no exception with several tracks falling into this trap including the first single “Not Afraid” as well as “Talkin’ 2 Myself” and “Going Through Changes”.  I get it: “drugs are bad”, “handle your biz”, “time to straighten up”.  These are lovely messages but coming from Eminem it always feels forced and shameless.  There’s probably a lot of honest heartbreak and lessons learned in there, but after you’ve ass raped and murdered your mom on a track it’s hard to hear you preach “be yourself and persevere”.

The other pitfall that Eminem repeats is regurgitating slow jam psuedo-love songs like “Superman.”  I realize that “Superman” was about not being there for someone but this trend of slowing it down for the ladies is not his strong suit.  He re-attempts this with “Seduction” and “Love the way you lie” which I fear may be equally popular to “Superman” and certainly equally painful to me.  Slow jams are great, have a wide audience and serve a useful purpose but I don’t ever need to hear Eminem say “oh girl”.

There are few tracks with hot beats on Recovery but Eminem catches fire on every single one of them.   My favorite, the Untitled hidden track, is a Kanye style bass & soul beat by Havoc (of Mobb Deep fame).  Given his access and resources, you’d expect a number of head boppers but this was one of only a few that actually got my head nodding. Nevertheless, Eminem assaults this track with such abandon that it made me wish the whole album had this sound. Another tight track is the sole Dr. Dre entry, “So Bad”. The beat could have been ripped from Chronic outtakes and it provides a smooth horn heavy loop that Eminem rides like a ‘Lolo.  The least traditional track, “Won’t back down”, uses a solid guitar lick and hook by P!nk.  This combination provides the right bounce for Em to let his lyrics explode and attack the listener with a rawer energy than is found on most of the other songs.

Recovery is by no means Eminem’s strongest release but it serves as an ample separation from his previous missteps and promises a new if unclear direction.  He is no longer the pop party pooper nor is he the druggy drop out.  He’s moved on from both but is still trying to find his way. Eminem’s lyricism, however, is as sharp as ever and when he finds the right track and topic, he makes a powerful case for best in the game.

Thank Me Later [review]....by pemora

Thank Me Later ~Drake
by pemora

Its interesting to me that the only song that remotely sounds like a rap song doesn't appear until the end.  I mean, the absolute bitter end.  And the title of that song?

"Thank Me Now"

Well, that doesn't really make sense when you have entitled your hip-hop album, "Thank Me Later", but I'm no rapper....then again, neither is Drake.

Just to be clear - Drake is not an MC.  He is a really cute pop artist who has a very sharp hairline and likes to sing about girls.  Which is totally okay.  But that still doesn't make him a rap artist.

The entire time I was listening to this album, I felt like I was listening to the 20-year-old male version of Sade.  And I'm still not sure if that is a good or bad thing.  Drake has some clever lines, but they are mostly supported by amazing production (you can clearly hear the influence of Timbaland, Swizz Beatz and Kanye) and some R+B-style songs.  In fact, if you are on your 5th glass of wine and have your eyes closed, you would think that Sade herself was singing on "Karaoke".

There were some moments that really had me scratching my head, including his use of the 'n' word.  I mean, homeboy is still white, right?  Are we okay with white people using the 'n' word all of a sudden?  Also, why does Swizz Beatz ever ever ever get on the mic?  I actually think 'Fancy' would be a much better song if Swizz stayed off the mic and left the mediocre rhyming to T.I. (not one of your best, papa. But I'll give you a pass since you just got out of jail and you're probably a little rusty).  I'm also completely and utterly disturbed by the usage of the Aaliyah "At Your Best" sample on 'Unforgettable'.  I am quite confused as to why Tim would do this, but I am one of those people who doesn't step on cracks on the sidewalk.  Some call it brujeria but I would prefer to call it proactive protection.  Don't mess with the afterlife, folks.

Lil Wayne's voice remains the most distinctive in the game and is quite appreciated on 'Miss Me'.  Disclaimer: Lil' Wayne could recite the alphabet and I would give him props. I heart you, Mr. Carter.  And 'Find Your Love' just reminds me of that time in high school when this boy would call me and would recite really corny poetry on the phone to me.  It was really sweet in theory but oh so painful in practice.

My baby daddy just told me that it sounds like I hate this album.  And, I don't.  Its a really nice R+B album for the not-quite-grown and sexy group.  I'm kind of torn on whether to recommend it to you, so if you want me to burn you a copy, holler at your girl.

New Amerykah Pt. 2 [review]....by MissDTM

New Amerykah Pt. 2 [review]
by MissDTM


i need to start by saying this:

there is absolutely nothing wrong with this album. nothing. 

badu's vocals and beats are on point, the flow of the album is perfection, and the lyrics are filled with the emotion we saw back in the days of "baduizm". i literally adore this album.

...this is coming from a girl who rarely listens to albums from start to finish.

...and refused to listen to "new amerykah part 1" when it was released.

i really want to sit here and tell you to just listen to the whole damn thing from start to finish. on repeat. but i can understand if you need some convincing. we've all heard (or seen the video for) "window seat" by now so let me tell you something--get off of your ass and listen to "gone baby, don't be long" then "turn me away (get munny)" to be reminded of a classic beat, before listening to "fall in love (your funeral)". if those songs don't convince you to listen to the whole thing, then there's nothing else i can say to convince you.