Strong Arm Steady - Deep Hearted Album Review

// Strong Arm Steady - Deep Hearted Album Review //

// West Coast Hip Hop artists Strong Arm Steady Hip Hop Album Review //

LA, CA // Strong Arm Steady is a West Coast super-group, consisting of the cream of California’s underground hip-hop scene, namely Phil the Agony, Mitchy Slick and Krondon. Over the years, Strong Arm Steady has toured relentlessly and pounded the mixtape circuit for years, independently distributing over 200,000 mixtapes worldwide. SAS has become the staple sound of the new West Coast movement.

Strong Arm Steady’s debut album, Deep Hearted, (featuring Chamillionaire, Juvenile, Black Thought of The Roots, Xzibit, Talib Kweli, Dilated Peoples, Ras Kass and more) is the culmination of years of hard work. Their never ending grind and consistent track record of creating great music shows why Strong Arm Steady is a force to be reckoned with.

Deep Hearted is the debut album for the super-group Strong Arm Steady.The group consists of Mitchy Slick, Krondon & Phil Da Agony After loads of mixtapes and years of self promotion the group has finally collected there years of work into one album. Although Xzibit the founder of the group is no longer apart of it he features on there album. Strong Arm Steady have recently signed to Talib Kwelis record label Blacksmith Records. Yet the album will be distributed on Nature Sounds. SAS (Strong Arm Stead) are predominately produced by Da Riffs but on this album you can see production by Dubb Knox, Thayod Ausar, Da Riffs, DJ Khalil, DJ Babu, Madlib, Blaqtoven, Evidence, J Thrill & J Macc. As for featured artist they consist of Jack Nicholson, The Game, Planet Asia, Chamillionaire, Ras Kass, Xzibit, PnB, Jellyroll, Dialted Peoples, Black Thought, Saukrates, Talib Kweli, Tha Links, Stylistic Jones, Ina Williams, Blastoff & Juvenile.


Xzibit is responsible for bringing together this formidable grouping of rugged-voiced West Coast MCs (Phil da Agony, Mitchy Slick, and Krondon) but he bowed out before the crew dropped their debut album, DEEP HEARTED. And though X-to-the-Z is largely absent (he appears on one joint), DEEP HEARTED benefits from an impressive barrage of guest appearances from such fearsome lyricists as Planet Asia, Ras Kass, Chamillionaire, Black Thought, Dilated Peoples, Tha Liks, Talib Kweli, and Juvenile. On the production side, DEEP HEARTED is a brooding, cinematic listen with a scattering of neo-soul/R&B-influenced tracks thrown in. Beats come courtesy of Evidence, DJ Khalil, Da Riffs, J Thrill, Thayod Ausar, Blaqtoven, DJ Babu, and Madlib.

Strong Arm Steady's debut album, Deep Hearted, (featuring Chamillionaire, Juvenile, Black Thought of The Roots, Xzibit, Talib Kweli, Dilated Peoples, Ras Kass, Phil The Agony and more) is the culmination of years of hard work. Their never ending grind anQ (Magazine) (p.121) - 3 stars out of 5 -- "[With] Chamillionaire's turn on 'You Ain't Me,' which boasts G-funk swagger worthy of Dr. Dre."

Now reading threw the featured artists you’ll see Jack Nicholson and you’ll be think what is he doing on a album. He is on the introduction they sampled a speech from Departed the film.



So lets talk about the album “Deep Hearted” for me the start of the album got me really hyped for the rest of the tracks. But it didn’t seem to reach my expectations of the first couple of tracks don’t get me wrong it’s a solid album. Yet I feel if they’d have continued the tracks the way the first three where then the album would have been all round a lot better than what it is.

The general production of the album is slick and holds its own yet some of the lyrical raps that are put onto some of the tracks is something to be desired with simplistic rhymes being the focus it would seem. This works for club songs but for S.A.S this is not a style of there rap or what they represent. So I felt disappointed to hear this. Although there are some downs to this album this album still has its gems.


Lets talk hot tracks not so hot tracks.

Hot Tracks:
“The Movement”
“U Ain’t Me”
“King In The Deck”
“One Step” (Featured Video)

Not So Hot:
“My Homies”
“I Can’t Wait”

Track Listing:

1. Intro (Feat. Jack Nicholson & The Game)
2. The Movement (Feat. Planet Asia)
3. U Ain’t Me (Feat. Chamillionaire, Xzibit & Ras Kass)
4. Blood Money (Feat. PnB & Jelly Roll)
5. Co-Operation (Feat. Dilated Peoples)
6. Clean Up (Feat. Saturates & Black Thoughts)
7. One Step (Feat. Talib Kweli)
8. I Can’t Wait (Feat. Tha Liks & Stylistic Jones)
9. King In The Deck (Feat. Planet Asia)
10. Come & Get Me (Feat. Ina Williams)
11. My Homies (Feat. Blaqtoven)
12. Streetlights (Feat. Talib Kweli)
13.On The Grind
14. Wreckelss Words
15. Dirty Dirty (Feat. Juvenile)

Immortal Technique - "3rd World" Album Review

Immortal Technique - "3rd World" Album Review

Determined to make it on his own terms and his own time, Immortal Technique has always stood out--and apart--from the pack. Since arriving on the scene with Revolutionary Vol. 1 in 2001, the Harlem representer has been known to spit hard hitting narratives about the pitfalls of life, race relations, politics, history, and religion. 2003's Revolutionary Vol. 2 picked up where the original left off and introduced Technique to a wider audience while displaying a more lyrically mature rapper.

Though not the most polished, or politically correct MC, Technique can always be relied on for the real: raw, uncut, and uncensored. Perhaps, more important than the beats or the cadence of the hook are the lessons embedded in the music. To the politically conscious Hip Hop fan that may not be up on important current events or other events of historical significance, Technique provides that gateway to greater knowledge. Vol. 2 hipped many to the CIA's top secret experiment MKUltra ("The 4th Branch") or the late Sen. Paul Wellstone ("The Cause of Death") and 2004's "Bin Laden" explored the role of the United States' interventions in Middle Eastern affairs.

Nearly five years after his last outing, Technique returns with The 3rd World. Despite the prints of DJ Green Lantern all over the disc, this is a complete album in mix tape form. And with this year being a critical year in the history of the United States--and by extension, the rest of the world--this album comes at the perfect time and may prove to be one of the most important releases of 2008.

Powered by a single which share's the album's name, Technique takes listeners around the world, outlining atrocities that "makes the hood in America look like paradise." "I'm from where they lost the true meaning of the Qur'an/cause heroine is not compatible with Islam/and niggas know that but grow that poppy seed anyway/cause that food wrapped parachute does not come every day," he spits on the opening verse. Also thrown in are lines about the sex trade and if you thought Coke--as in the soda--didn't have blood on its hands, think again. The 3rd World alone provides enough Google worthy material to keep one busy for hours--but that's just the beginning.

"Harlem Renaissance" is another standout track that serves as an autobiography of the world famous New York area, outlining the glory days and concluding with the current efforts to gentrify the historic city. In an era where diamonds and rings dominate, "Renaissance" provides a teachable moment for anyone not up on American history.

The 3rd World shows a real progression in Immortal Technique's music. Production on the album outshines his past efforts, allowing the lyrics to stand out more. But the gems of the album are found in the numerous collaborations. In the past, Technique opted to go for self, but enlists the help of others for this outing. The Crooked I and Chino XL assisted "Lick Shots" is one of the best tracks of the album with all three men bringing their A games into the booth. Equal parts pointed lyricism and comedy, Tech rhymes "I'll paint the white house black and park my car on the lawn/I'll marry a Muslim girl and fuck her five times a day/right before we shower and pray." Even with solid verses from Technique and Crooked I its Chino XL who steals the show. "Y'all don't lick shots like killers aiming at the feds/y'all lick shots like Jenna Jameson and Superhead." Rewind worthy indeed. "Payback" is also a provocative cut, taking aim at everyone from gangsters ("and everyone flashing a gun on a DVD, I'll make them niggas shoot it out with NYPD") to George W. Bush, whom Technique urges to "kill yourself."

One of the staples of Immortal Technique albums are the commentaries, and The Third World provides no exception. "Open Your Eyes" ties the seldom reported on developing countries to the seldom seen--and seldom heard--underground world of Hip Hop. "Parole" offers a glimpse into prison life not often glorified in many of today's songs: getting out--and staying out. "Mistakes" and "Reverse Pimpology" also do not fail to disappoint, and for listeners who want a twist on the music, "Golpe De Estado" brings the Revolución in Español.

At times, the mixing and scratches detract from the The 3rd World, but aren't enough to take anything away from the album. Hardcore Technique fans will love this, and new fans will come away with a wealth of knowledge--just make sure to keep the search feature handy if you bump this on the computer.

Immortal Technique Website

Immortal Technique on Myspace

Dead Prez - "Let's Get Free" Album Review

Dead Prez - "Let's Get Free" Album Review

Stic and M1, who make up the duo Dead Prez, see themselves as hip-hop freedom fighters following in the footsteps of the Black Panthers, always gearing up for the inevitable struggle. They're training in martial arts, living a health-conscious lifestyle, and gathering like-minded people to their side. Their enemies are the gargantuan forces of capitalism, imperialism, and white supremacy, manifested in tangible form by police, schools, politicians, and giant corporations. Dead Prez are looking for a few good revolutionaries, and their debut Let's Get Free is the invitation for you to join the team.

Dead Prez aggressively and articulately attack the forces that contribute to inequality in modern society. While there are current hip-hop groups who are just as politically motivated, I can't think of another act in the hip-hop game right now who is quite as outspokenly Afrocentric. They see themselves as Africans stranded in a land where they don't belong, living in a thoroughly unequal society where the deck is consistently stacked against them. Let's Get Free recalls the day when strongly Afrocentric groups like X-Clan, Poor Righteous Teachers, and Brand Nubian not only existed, but were successful. This is a relief for those of us who miss that side of hip-hop, who understand Dead Prez' concern that capitalism is invading music to too great an extent. A key difference between Dead Prez and the Afrocentric groups of the past is that they have more concrete goals and plans; they're calling for community building and grassroots activism. They also give their message a deeper layer by focusing on the economic roots of injustice instead of just complaining about the surface-level problems.

Dead Prez don't pull punches; these are two MC's who deliver their message as forcefully as possible. The big shame here is that they have such a dull musical backdrop for such bold statements. The album's beats and musical flourishes have nothing distinct or interesting about them whatsoever. Maybe this is intentional; all the attention is drawn to their voices, since there's hardly anything else of interest to listen to. But even their rhyming skills aren't all that exciting. They make their points, yes, but it's all direct communication. There are no rhymes delivered in a way that makes your jaw drop or makes you want to rewind and catch that last verse again.
As a means of delivering a message, Let's Get Free is effective. The extent to which Dead Prez rely on messages to carry them means your taste for their music might depend on how much you agree with what they have to say. Dead Prez have unbreakable conviction that what they're saying is true and important. For this very reason, this album is powerful enough that it can't help but spark discussions, which seems to be one of Dead Prez' goals. On the track "Mind Sex" they express the desire to have good conversations. With Let's Get Free, they've created quite a tool for getting people to talk about timely issues.

Dead Prez Official Website

Little Brother - "Seperate But Equal" Album Review

Little Brother - "Seperate But Equal" Album Review

Sometimes a good strategy can be to go back to the drawing board, and recreate things that worked for you in the past. Obviously the North Carolina duo of Little Brother agrees with that line of reasoning, because they’ve re-released their 2006 mixtape Separate But Equal, which was hosted by DJ Drama, with Separate But Equal (Drama Free Edition).

One of the biggest changes is the fact that DJ Drama is no longer ranting throughout the album, and there are three new songs that accompany it. The previously unreleased tracks ‘Deeper’ featuring Dynas and ‘Passionflower’ are both produced by their former crew colleague 9th Wonder, while ‘Playin To Lose’ is handled by The Kreators.

Other than that, Little Brother deletes a handful of outdated skits, but basically sticks to the script and once again includes songs like ‘Let It Go’ featuring Mos Def, ‘Can’t Let Her,’ ‘Speed Racin’ featuring Skyzoo and Chaundon, ‘Macaroni,’ and ‘Candy’ featuring Bun B and Darien Brockington.

For those who didn’t get an opportunity to hear this album two years ago, this is a perfect to chance to get a little more familiar with Little Brother’s catalog. But for the ones who do have this album in their collection, make sure to check out the newer tracks if you haven’t already through message boards and such.

Little Brother is the epitome of the “blue-collared MC,” with lyrics that can relate to virtually everyone whether your bank statement reads well into the six figures, or negative thirty dollars. In the crusade to preserve quality Hip-Hop, Big Pooh and Phonte rank amongst those who can be considered as Hip-Hop’s top activists in the cause.

Kanye West - "808's & Heartbreaks" Album Review

Kanye West - "808's & Heartbreaks" Album Review

On September 11th, 2007 the Hip-Hop world received a shot of adrenaline when rap’s number one bully, 50 Cent went up against the most confident man in Hip-Hop, (or in the world for that matter) Kanye West—as they dueled it out for first week sales bragging rights. When the smoked cleared, Graduation took Curtis to school by a score of 957,000 to 691,000. But the celebration would be a short-lived one, because two months later in November, his mother Dr. Donda West would die due to complications of plastic surgery.

From that point, many doubted if he could cement a comeback, and return to his usual “Kanye” self. Those questions were quickly answered when he took home the Grammy award for best Hip-Hop album of the year that following February. Notorious for his award show antics, he called out the producers of the show on live television, and told them shut off the music, and to stop rushing him off the podium while he accepted the award on behalf of his mother with the word “Mama” shaved into his head.

Most of the time when he has an award show breakdown, the crowd turns the other cheek, but this time around they actually applauded him for speaking his mind, and not caring about the consequences or repercussions of his actions. After that, the outspoken comments he made a few months earlier on a disoriented and p op-bellied Britney Spears stumbling across the stage and struggling to keep her balance in hooker stiletto boots at the MTV Video Music Awards back in September came to light. After publicly blasting the music channel that rarely plays music anymore on their “Britney debacle,” they handed him an olive branch and let him close out the 2008 VMA’s (and probably to avoid being thrown under the bus again).

Which now brings us to the present. Once more, fans and bloggers alike were glued to their television sets waiting for another less-than-stellar installment of the VMA’s to end so they could hear a new Kanye West track. Would it be along the lines of ‘Through The Wire,’ ‘Jesus Walks,’ ‘Touch The Sky,’ ‘Gold Digger,’ ‘Stronger,’ ‘Champion,’ or ‘Can’t Tell Me Nothing,’? No, none of the above. It was a song called ‘Love Lockdown,’ a composition featuring Auto-Tune with his quirky metaphors being replaced by singing instead of rapping. That move alone that took everybody surprise including his colleagues, and even the former foe he defeated, 50 Cent poked fun at the song.

Nonetheless, Kanye Omari West arrives at the threshold of music’s doorstep one more time with his fourth studio album in four years 808s & Heartbreaks. The album is a complete strip down of what his listeners are accustomed to hearing from him, as he adopts the Auto-Tune technology throughout the project with the help of drums patterns courtesy of the TR-808 Rhythm Composer. Besides the assistance of his mentor No I.D. on two tracks, (‘Love Lockdown’ and ‘Heartless’) the rest of the album is handled by Kanye himself, with a handful of artists dropping in like Lil Wayne, Young Jeezy, and G.O.O.D. Music’s newly signed Kid Cudi.

With that said, the album starts off with ‘Welcome To Heartbreak,’ featuring Kid Cudi. With Auto-Tune cued up, Kanye weighs his life of extravagance against those who have far less, and then realizes that he’s actually the one who has nothing, “My friend showed me pictures of his kids/and I can show him was pictures of my cribs/he said his daughter got a brand new report card/and I all got was a brand new sports car/dad cracked a joke, all the kids laughed/but I couldn’t hear him all the way in first class/look back on my life, and my life gone/where did I go wrong.”

Actual rapping on 808s & Heartbreaks is few and far between, but Young Jeezy helps out a little on ‘Amazing’ behind tribal drums and wild animal adlibs, “I’m amazing, yeah I’m all that/if I ain’t on my grind, then what you call that/victorious, yeah we warriors/we make history, strive off victories.” A synthesizer joins the fray on ‘Paranoid,’ which is the only song on the album that shows Kanye rhyming a little more while switching back and forth from his real voice to Auto-Tune, as he tries to calm down his worrywart of a girlfriend.

Some of Kanye’s heartbreak comes in on ‘Bad News,’ and the track itself is probably the closest thing to his previous material that you’ll find on the CD with him belting out a quick verse, and then allowing the production to be its own feature by letting it ride out for over two minutes. Lil Wayne and Kanye have an Auto-Tune war brewing on ‘Tell Everybody That You Know,’ as they both broadcast their breakups to anyone within ear’s reach. Kanye continues to sulk on ‘Coldest Winter’ as he contemplates on if he’ll have another attempt at finding love again. The son of Chi-town pours the rest of his emotions into the remaining songs like ‘Say You Will,’ ‘Streetlight,’ and ‘Pinocchio Story’ (Live in Singapore).

Always one to wear his feelings on his sleeve like it was an accessory to compliment his flashy style and designer duds, Kanye West treats 808s & Heartbreaks as if it were a psychiatrist absorbing all of the pain that he talks about so freely. Sonically this album is easily his darkest one to date, and comparing it to his past work is utterly impossible because, the soundscape itself puts the listener in a place that’s light years away from songs like ‘Good Life,’ and ‘Flashing Lights.’ As an artist, it’s clear that the most self-assured man this side of the galaxy is evolving, and isn’t scared to take on new forms of music just as André 3000 did on his side of the Speakerboxxx/The Love Below album.

Even though he [Kanye West] can’t be credited for resurrecting Auto-Tune (that honor distinctly goes to T-Pain), he can give himself a nice pat on the back for having the courage to incorporate the technique and utilize it for an entire album, while completely going away from what first established him—and from what people have grown to love from him. Gone are the unique drum breaks, braggadocio attitude, and perfect sampling, but what replaces that is an individual who humbles himself and admits to some of his faults by using this album as a confession of sorts, while still keeping you entertained in only the way he can.

Kanye West Official Website

Scarface - "Emeritus" Album Review

Scarface - "Emeritus" Album Review

There have been a few occasions in hip-hop where an artist has actually announced his retirement as opposed to being unceremoniously escorted from the building. It’s rarely stuck as we saw with Jay-Z but this time it’s legendary MC Scarface who is hanging up the mic. If you’ve read the interviews you probably felt the same way I did, that Face was just of bored with hip-hop, sick of the politics, and just down right ready for a change.

Scarface is one of a few MC’s who can’t fall off lyrically if he tried. On “High Powered” Face spits like a man possessed and show his street cred with verses like, “Real nigga he don't talk about it he be about it, cause he a G about it/I got a problem with a nigga I go squeeze him out/And what the fuck am I gon' talk to the police about? / I'm from the streets doin the type of shit you read about/ I got chrome 45's under pressure, and in the dresser/ And now you're froze on the stretcher/ You wanted trouble, I wouldn't settle for lesser/ I'm the devil in the flesh, my pistol is my protector/ See my reflection as it fades into black/ When I reappear on a nigga it's a ragin attack yeah/ And I solemnly swear, any problem I have/ I just empty the clip and him callin square/ That's on my life because I represent the mob/ Since you niggaz want that heat I'm bouts to, turn up the knob to high power.

On “Redemption” Scarface sums up how people have viewed him as an artist with this verse, “A rapper - you hated to love, respected and feared/what I'm capable of there's nothin they say in our ears/ I'm a soldier for fortune, I've got murderous plots/ Plus I'm suicidal, walkin this parking lot/ With my dangerous thoughts, I'm a dangerous dude/ When I up it and cock the hammer I'm aimin dude/ I came in to do, I'm a killing machine/ And with life comes a price so I triple the fee/ When it's trippin with me, either you win or you lose/ In the end he who wins is he who finishes fools/ I'm sentencin you, to a home in the sea/ With the lint in your pockets, you rolled with weed/ Exposin the weak, you hoes fin' to sleep/ with the fishes bitches and y'all should know the demeanor.

Other standout tracks on the album include “We Need You”, “High Note”, “Who Are They”, and “Can’t Get Right”. But the problem with this album is the fact that it was hard for me to label and songs, as standouts and I couldn’t label any songs as straight up wack. I attribute that in large part due to the lackluster production. There are no beats that just catch your ear from jump and there aren’t any beats that make you want to skip the track. The beats are just there.

Face delivers lyrically but like I said that’s no surprise. Face could spit the hottest lyrics you’ve ever heard at the drop of a time. The problem with this album is that it’s just there. It doesn’t break any new ground but it doesn’t exactly stick to that old Scarface formula. It’s just there. It feels like it’s in hip-hop limbo. It’s indifferent. The album does feel like Scarface is bored with the genre and ready to move on.

If you’re looking for classic tracks like “My Block” or “Seen A Man Die” you won’t find them here. If you’re a die-hard Face fan and you want to hear him spit that raw you will get that. This was a hard album to review. It’s neither here nor there. Is this Scarface’s last opus? I highly doubt it. When that hip-hop bug bites again he’ll be back. This wasn’t a bad album at all and it is worth a listen. It’s just not typical Scarface. Make of that what you will.

Scarface on MTV

Ludacris - "Theater Of The Mind" Album Review

Ludacris - "Theater Of The Mind" Album Review

Since his formal introduction onto the main stage back in 2000, Christopher “Ludacris” Bridges has been a symbol of consistency. So far every album he’s released (aside from DTP projects) has landed him a nice shiny platinum plaque to hang in his Atlanta mansion. Now with his sixth studio album on deck, Theater Of The Mind, he hopes to keep that streak intact. The whole idea behind Theater Of The Mind is for each song to replicate a scene from a movie, which means the artists who accompany the Atlanta lyricist on the album aren’t being “featured,” they’re “co-starring.”

So after you buy your tickets, grab a tub of popcorn, and find your seat, the opening credits begin with a patented “Luda” intro with him unleashing his comical lines like, “Tell them other n*ggas we see danger/probably, cause I got enough albums to fill your CD changer.”

The first co-starring role comes from retired Welterweight boxing champion Floyd “Money” Mayweather Jr. providing Ludacris with a pep talk on ‘Undisputed.’ Behind the horn-drenched beat supplied by Don Cannon, he continues to express his lyrical individuality, “What you want from me, I got pistols for the haters/ya fam will be in black like they were playing for the Raiders/and your music isn’t favored/and DJ’s, they never bring it back/like when you go and borrow so mething from yo ur neighbor.”

Ludacris and T.I. continue their friendly truce, as he co-stars on ‘Wish You Would.’ This time with DJ Toomp tracking the beat, both Southern boys discuss what they have, and how they dare someone to try and take it from them. T-Pain co-stars on ‘One More Drink,’ so the concept behind the title should be self-explanatory, but for those who can’t figure it out—it’s about drinking and hooking up with women.

Boston native Clinton Sparks loans his touch on ‘Call Up The Homies’ co-starring both The Game and DTP member Willy Northpole. The Game and Ludacris take turns trading lines on how they’re getting ready for war, while alerting their crew on speed dial, with Willy Northpole batting clean up. ‘Southern Gangsta’ actually has a real actor on it, as it co-stars Playaz Circle, Rick Ross, and the voice behind the BET series American Gangster, Ving Rhames.

The veteran performer depicts all three acts just as he does on American Gangster for the hook, while they all back up his research with their verses. ‘Everybody Hates Chris’ co-stars the creator of the actual sitcom Everybody Hates Chris in Chris Rock. The funnyman rambles off a quick intro and outro for his fellow “Chris,” as the rapping Chris goes on tirade about why people probably hate him in between.

‘MVP’ is one of only two songs that star Ludacris all by his lonesome, and it was a perfect one to hog the limelight on, because DJ Premier steps in and takes over the 1’s and 2’s. North definitely meets South, with Ludacris fully completing the unmistakable production and scratch-laden hooks with lines like, “Eight years in the game, ain’t a damn thing changed/so I brought it back to one of the tracks of where the damn thing came.”

Little Brother’s former spin doctor 9th Wonder sets the stage for director Spike Lee and Common to co-star on ‘Do The Right Thang.’ The drawn out production is the perfect match for both slow-flow experts to bring in their own flare, as “Mars Blackmon” caps it off with a quick soliloquy. The rest of the album contains honorable mentions like ‘Last Of A Dying Breed’ co-starring Lil Wayne, the big-budget film of ‘I Do It For Hip-Hop’ co-starring Jay-Z and Nas, the clap-happy ‘What Them Girls,’ co-starring Chris Brown and Sean Garrett, and ‘Stay Together’ where he pleads for all broken Hip-Hop crews to set aside their differences, bury the hatchet, and reunite.

Ludacris’ sixth album is another well-put together project with the MC having no trouble navigating his path right past imitators in order to stand alone. Usually when an artist has an album that features, or in this case “co-stars” so many other established acts, the host can sometimes get overwhelmed and out shined. But that doesn’t happen in this case, with Ludacris holding more than his own on every contribution. Filled with funny metaphors, original material, and solid production; Theater Of The Mind is a flick definitely worth checking out.

Ludacris on Def Jam

Ludacris on Myspace

Snoop Dogg - "Malice N Wonderland" Album Review

Snoop Dogg - "Malice N Wonderland" Album Review

We all want the next new thing. Kobe hadn’t even finished his rookie season before he was the next Jordan (turns out he wasn’t), and when Doritos came out with their Pizza flavor America went crazy, until a couple years passed and everyone realized the old school Nacho Cheesier were still the best. Consistency is admirable, but it’s not exciting, it’s not sexy, and so we all overhype the hot new thing and downplay what came before, a paradox that’s affected even the almighty Snoop Dogg. An astounding sixteen years after he first entered the scene, no other rapper in hip-hop history has been on top of the game for so long, but now that we’re staring 2010 in the face, that unbelievably consistent run of domination is both a blessing and a curse for the Doggfather.

In order to stay relevant Snoop has to continue to innovate, but long time fans will always demand that classic laid back flow we first heard on Gin and
Juice

. Caught between the past and
the future

, Snoop’s forced to walk an almost impossibly precarious line, a feat he accomplishes admirably on his new album Malice in Wonderland. His tenth studio album, Malice in Wonderland comes on the heels of the sometimes boldly experimental but only moderately successful Ego Trippin, so we shouldn’t be surprised that on Malice Snoop doesn’t venture into unfamiliar territory, choosing instead to rework his tried-and-trued formula while relying on guest features to keep the younger generation interested. More specifically, Malice in Wonderland is an album that contains both Crip-walking and an auto-tuned Soulja Boy. Exactly.

Snoop Dizzle is undeniably at his best on Malice when he’s by his lonesome, free to drop the kind of intensely relaxed flows that first made him famous. Just take That’s The Homie, the album’s most lyrically oriented cut, a Danja and Timbaland produced banger that features almost six minutes of Snoop’s always mellow flow and not much else. I don’t care how hard you try to restrain yourself; you’re nodding your head to this one. In terms of pure emcee ability the vicious 2 Minute Warning comes in a close second. One of the hardest tracks Snoopy’s dropped in years, 2 Minute Warning is a minimally produced cut that Snoop uses as an opportunity to remind us just how deep his resume runs: “I promise, no Shug, no Dre, I’d a did this regardless.” Mission accomplished. As powerful as these tracks are as reminders of Snoop’s undiminished mic skills, the true key to his success has always been his ability to translate those rhymes into hits; hits like I Wanna Rock. Wanna Rock is more than that new song that every rapper wants to freestyle over (I can’t blame em, that Scoop Deville and Dr. Dre beat is ill), it’s the latest testament to Snoop’s ability to transform his heavily west coasted sound into something the entire country can rock to. And with that we’ve covered every Snoop-only track on the album, meaning that, ironically, one of my biggest complaints about Malice in Wonderland is that it doesn’t contain enough Snoop.

Speaking of which, we might as well starting digging into the album’s myriad guest features, starting with the album’s lead single Gansta Luv. Featuring some trademark danceably electronic production and yet another catchy hook from The-Dream, Gangsta Luv is Malice in Wonderland’s mandatory song for the ladies, and on that level the track’s hard to hate on. The same can be said for deeply enjoyable Different Languages featuring Jazmine Sullivan and the R. Kelly collaboration Pimpin Ain’t EZ, a smoothly styled track that’s good but not nearly as great as you’d hope for from these two. Unfortunately the album’s biggest stumbles come when Snoop gives his guests too much influence, starting with the failed attempt at a club hit 1800, featuring an aggravating Lil Jon, and ending with the regrettable Pronto, a terrible track that will hopefully at least introduce Snoop to some of
Soulja Boy’s

fans; because if it doesn’t, then Snoop just made one of the worst songs of his career for nothing.

In the end what we need to appreciate about Malice in Wonderland is not how good it is – it’s only slightly above average for Snoop – but that sixteen years after his debut album Snoop Dogg is still putting out top-shelf albums. That kind of consistency may not be exciting, but it’s the reason Snoop will still be making hip-hop after today’s hot young rapper has faded back into obscurity. Suckas better recognize.

Snoop Dogg Official Website

Snoop Dogg on Myspace


Snoop Dogg on Myspace

Rakim - "The Seventh Seal" Album Review

Rakim - "The Seventh Seal" Album Review

Before Rakim there was no rap. Or more accurately, there was rap, but not in the form we know today. In the early ‘80s hip-hop was dominated by DJs, with emcees a distant second, but then Rakim and his partner Erik B. dropped the seminal album
Paid in Full

, almost single-handedly introducing the concepts of lyricism, metaphor, and flow that became the pillars of modern rap. It’s crazy to think that there was a time before rap, but there was, just like there was a time before cars, electricity or the internet. There’s a reason Rakim is called the God emcee.

So how could Rakim’s new album The Seventh Seal be so average? As I’ve written before, unlike athletes there’s no inherent reason for a rapper to lose their flow as they age, so why is it that I’m so thoroughly unimpressed by The Seventh Seal? Rakim’s skills couldn’t have simply diminished, could they? Actually, no. In many ways Rakim is the same rapper he was more than 20 years ago, and that’s exactly the problem. Unlike other old school rappers like KRS-ONE who stayed active in the game, constantly tweaking their delivery as hip-hop evolved, Rakim has been almost completely absent, releasing only a meager three albums over the last 17 years. Think of it this way: in 1903 the Wright brothers flew the first functional airplane, an invention of almost unparalleled magnitude. But now, more than 100 years later, the Wright brother’s early aircraft simply couldn’t keep up with the modern jet. Does that diminish their genius or accomplishment? No, not at all, but the field they created inevitably surpassed their original vision. Now substitute the Wright brothers for Rakim, and airplanes for rap.

Back to the lesson at hand. To clarify, The Seventh Seal is only average by Rakim’s lofty standards, and in fact it contains more than a couple tracks that, while not instant classics, sound like the work of a legendary rapper, starting with Documentary of a Gangster, a cinematic track featuring Rakim at the peak of his storytelling powers. While a piano-laced beat courtesy of Y-Not bumps in the background, Rakim tells the tale of a young and reckless gangster with carefully crafted lyricism and a deceptively complex delivery. To put it bluntly, do not f**k with Rakim on Documentary of a Gangster. While some would prefer for Rakim to leave his religious views at home, I’d also throw Holy Are You into this group (his fearless rhymes more than makes up for the track’s shaky production), along with the celebratory Satisfaction Guaranteed, a pacing cut featuring Rakim flowing over the shaking production with ease. The man’s still got his fastball, even if he doesn’t throw often.

Unfortunately, moments like Documentary are the exception, not the rule, on Seventh Seal. The average Seventh Seal title track could be described as sub-par production paired with good but not great vocals and rhymes from Rakim that, while impressive, certainly don’t feel like the work of a hip-hop deity. Just take Won’t Be Long, a track whose beat sounds unfinished, a shaky sonic backdrop that Rakim uses to complain about the current state of hip-hop without any real creativity. On the same tip is the failed love song Psychic Love and the mismatched You & I, a track that swings but never connects. I’d actually put Walk These Streets among the best of this disappointing group. Now a lot of purists have decried Maino’s appearance on the track – no disrespect, but Rakim has one guest rapper on his album and he goes with Maino? Really? – but Maino does fine, but more importantly, on Walk These Streets Rakim sounds almost like he’s intentionally dumbing down his flow, making his anti-hater proclamations sound like a dad who tries to copy his kids’ slang. And yes, it almost hurts me to write about Rakim like this.

To keep the analogy orgy going, when Jordan came back to play for
the Wizards

he was still an above-average NBA player, but the distance between “greatest ever” and “above-average” is enormous, and it was painfully evident to anyone who watched Jordan that year that he was a shadow of his former self. This is by no means the final chapter for Rakim, he could easily become an elite rapper again, but for now he’s more of a living piece of hip-hop history than a current contributor to the culture. Take it or leave it, but that’s the truth. All praise due.

Rakim Official Website

Rakim on Myspace

Eminem - Relapse Album Review

Eminem “Relapse” Album Review

Okay – so this album did drop a long time ago. And I am months behind on reviewing it. But being that Eminem doesn’t really fit HHL’s underground niche, I had no plans to talk about “Relapse” on the site. That was until a couple weeks ago when I posted Déjà Vu as quotable of the week and started reading all the negative responses toward it. And it immediately became clear that underground hip-hop fans are hating on Eminem right now – so I had to put in my two cents.

Eminem Official Website

Eminem on Myspace

Mr Lif - I Heard It Today Album Review

Mr. Lif “I Heard It Today” Album Review

I’ve got to admit, I’ve been a little disappointed with hip-hop’s lack of awareness recently. While everybody came together in support of Obama, we all just seemed to drop off in the months following the election – as if there was no economic instability, housing crisis or social injustice being done in this country. Luckily, Mr. Lif stepped up with “I Heard It Today,” an album intended to create dialogue about various problems that plague our nation today.

Mr Lif on Definitive Jux

Mr Lif on Last.fm

Brother Ali - Us Review

Brother Ali “Us” Album Review

This is probably the best album of the year. And that’s saying a lot – because a couple classic hip-hop albums have dropped in 2009. I’ve been listening to Brother Ali’s “Us” consistently for over a month now, and it is almost flawless from beginning to end. I believe this could be the definitive album of Ali’s hip-hop career. It appears to be the accumulation of years of hard work, sacrifice and growth. If you haven’t picked up a copy of Brother Ali’s “Us” yet, now is the time.

Brother Ali Official Website

Brother Ali on Myspace

Dead Prez - RBG Review

Dead Prez: RBG Album Review

Politically charged rappers Dead Prez follow up 2003's "mix tape" GET FREE OR DIE TRYIN' with another powerful statement, RBG: REVOLUTIONARY BUT GANGSTA. Musical revolutionaries in the tradition of Gil Scott-Heron and Public Enemy, Stic and M1 are as concerned with educating as they are entertaining. This time around, the duo's main goal is to widen the appeal of their politically conscious vision by embracing a more mainstream sound. "Hell Yeah (Pimp the System)" recalls the frenzied tracks of Atlanta's Organized Noize, while "I Have a Dream, Too" captures the laid-back groove of Dr. Dre. But instead of merely dropping clever rhymes and tall tales, Stic and M1 use their time in the spotlight to discuss controversial, hard-hitting issues, such as police brutality (the aforementioned "I Have a Dream, Too"), employment ("W-4"), and racism ("Walk Like a Warrior"). In a climate that normally distracts listeners from the sobering realities of everyday life, this duo continues to provide a refreshing, albeit challenging, antidote.

Recorded at Chung King, Street Light Studios, New York, New York and Warrior Studios, Brooklyn, New York.

Dead Prez is: Stic, M1 (rap vocals).

Featuring Artists: Jay-Z, Krayzie Bone.

Dead Prez Official Website