Hip-Hop Island

Seems these days everyone is spitting rhymes and doing beats, so it's a wonderful gem when an artist not only masters his verbal art form, but also commands the stage as a true performer. Boston native Akrobatik took over the New York City's Tap Room at the Knitting Factory on Thursday night (11/29) for a small but energized audience and gave them a heated show packed with conscious vibes and on point flows.

Rock Hip-Hop duo The Metermaids warmed up the crowd before Akro took the stage with their intense form of Rock-Hop. With tight flow and precision, The Metermaids turned just another Thursday into a night of good time anthems. Fellow conscious rappers Loj and Born Talent warmed up the small crowd, but at the end of the night the crowd was hyped for Akrobatik's performance.

Even though the crowd weakened a little as Akrobatik took the stage just after midnight, he was still ready to give it his all. Performing songs from his upcoming album Absolute Value (Fat Beat Records), Akro gave concert goers a preview of what should be a great album filled with collaborations with Talib Kweli and Little Brother to name a few. Akrobatik had everyone throwing their fists up as he spit over the J. Dilla produced "Put Ya Stamp On It."

Akro's form of conscious lyrics over heavy beats had even the most tired fans bobbing their heads. He took the stage and created his own cipher while freestyling anti-Bush sentiments and chants to bring home our troops. Akro's stage presence created a great connection with his audience; as they responded with hollers of satisfaction to his every rhyme. Point blank, Akrobatik didn’t disappoint.

Originally published @ http://allhiphop.com/blogs/reviewsmusic/archive/2007/11/30/18947328.aspx

Holy hotness!! Last night, Omarion and Bow Wow previewed their upcoming album, Face Off, and we were there for the party -- along with some lucky MySpace winners. Seriously, with production from T-Pain and T.I., this album is gonna be ridiculous. And if you haven't checked out the new video for "Girlfriend," you're in luck because we've got it right here! Check out more pics here!

In preparation for Wu-Tang's much anticipated 8 Diagrams due out next month, long time Wu-affiliate DJ Mathematics Presents Wu-Tang Returns (The 8 Diagrams Official Mixtape). With five new tracks slated for the upcoming album, lost gems and remixes of some of their classics; Staten Island's finest so far are living up to the hype.

As Wu-Tang comes together for December's 8 Diagrams, it's obvious they're missing the heart and soul of their group ODB. The tape’s exclusive "Life Changes" is an amazing tribute to their lost soldier. While it's rumored "Watch Ur Mouf" may not make the official release due to sample clearances; the DJ Scratch produced track makes its debut on the mixtape. Method Man spits his best lines on this track: "All my soldiers is lined up, my corners is crimed up/Ni**as know where to find us, settin' the grind up/Police checkin' them pies up, my rims are shined up/Wu! We on the rise up, crops supplied up."

Wu is clearly at their strongest when they form like Voltron. RZA's production has never been better especially on the posse cut "Weak Spot." With unpredictable breaks, this Bobby Steels produced track is a throwback to the great days of 36 Chambers. The energy that defines Wu-Tang is apparent on many of the unreleased remixes like "Wu Banga 101" and "Maxine."

Macy Gray guests on two ODB driven tracks "Intoxicated" and the Elton John re-make "Don't Go Breaking My Heart”. Macy always brings her own uniqueness to any song, but teaming up with ODB creates a loveable quirkiness to each track. Mathematics also gives us a preview of Raekwon’s delayed Only Built 4 Cuban Linx II work with "State of Grace." Additionally the already popular Jay-Z dis track, "Da Destroyer" features Raekwon's at his finest: "Militant, to play your perimeter, hold wifey now before I get her/You know what Wu do, RZA, tell 'em, now we got, Dre in the kitchen, son/It's on, Part Two, watch me sell 'em /Cuz New York is me, homey, watch me throw the crown in the trash."

The Clan's remaining eight original members are putting together some of their finest work since Wu-Tang Forever. DJ Mathematics definitely shows that the swords are still very much sharp at the Wu dungeon. Hip-Hop may still have some hope; as New York's killer bees can still bring the ruckus.

Originally published at http://allhiphop.com/blogs/reviews/archive/2007/11/12/18870491.aspx

From Kanye to Common, the Midwest is burning with talent and Chi-town native Soulstice throws his own words into the competition with his latest Dead Letter Perfect (Wandering Soul), making him a viable contender. Soulstice, one half of the group Wade Waters, returns with this solo effort as he spits soulful lyrics and conscious rhymes. It's no shock that Soulstice tackles heavy subject matters with intelligence; he does have a Master's in electrical computer engineering.

Also a master lyricist, Soulstice proves his verbal agility through powerful and insightful prose heard throughout Dead Letter Perfect. Thankfully, his wordsmanship overshadows the sometimes inconsistent beats that riddle this album. Good thing for Soulstice he doesn’t pretend to be the perfect rapper admitting his faults on “Not Perfect”: “Nah, I’m not perfect, in fact sometimes far from it/Might break rules depending on how bad I want it/Sometimes patient, sometimes I’m not/Sometimes forget to appreciate what I’ve got.”

Soulstice doesn’t disregard the imperfections found in his music; instead he does what he does best and fills Dead Letter Perfect with verbal explosions full of intelligent rhymes. On the album opener “Southside Ride,” Soulstice sets the stage for his lyrical power. “Explode on contact, lines of shrapnel/You know it’s raw when you hear the vinyl crackle/Pen is my muse, drawn not from women and booze/Uh, a little bit but not enough to get it confused/Soulstice spit grimy and gritty as hell/Not too many other cats rep my city this well/Chi-town, ride down, Southside we live/Got sick night game plus a nine-to-five.”

On "World On Fire" Soulstice trades verses with his Wade Waters partner Haysoos. The chemistry displayed between these two easily makes this the best track on the album. He also teams up with D.C. based rapper Oddisee on the business plan anthem "Get It Right." Even though Dead Letter Perfect has a few weak tracks including "Be Strong" and "The Time;" Soulstice still manages to put together a healthy album full of conscious music over soulful beats. His music sounds nothing like his Midwest peers, but no one ever got noticed for following in another's footsteps. While Soulstice isn't the world's greatest MC, he's taking a chance to change the world of Hip-Hop with his own version of soul.

Originally published @ http://allhiphop.com/blogs/reviewsmusic/archive/2007/11/06/18835200.aspx

Talib Kweli's latest album Eardrum brings conscious hip-hop to a new level. This time Kweli focuses on the production element of his music and combines that with his lyrical mastership proving both can work together to create amazing music. Collaborating with the Kanye West, Just Blaze, Will.I.Am, and UGK just to name a few, Kweli took some time to answer a few Qs about the new album, running his own label, and the state of hip-hop today.

Tell me about the new album, specifically the title, why Eardrum?
I called the new album Eardrum so people could focus on the musicality of what I do, and not just the lyrics.

You had a bunch of guests like Norah Jones, UGK, and Sizzla on Eardrum. Was there anyone you wanted to get on the album who you couldn’t sort things out with?
No, not particularly. I recorded songs that I did not use though.

Why will Eardrum top your last album?
Because it's the first release out on my own label, Blacksmith.

How is the tour going?
Great, I'm always on tour.

What do you think it is that makes you such an incredible MC?
I've honed my skills and mastered my craft. I take it seriously.

Whose your favorite rapper out at the moment?
Jean Grae and Mitchy Slick, Krondon and Phil da Agony from Strong Arm Steady.

Who would you like to work with that you haven't already?
Premier, Bjork, a bunch of folks.

What's the toughest thing so far about being CEO of your own label?
Changing the dynamics of your relationships with your friends and colleagues because you're a boss now.

Is there another Blackstar album coming out sometime soon?
No time soon because we have to make one first.

What do you make of hip-hop today?
I love it!

Why do you choose to take the "conscious" route with your music?
That route choose me. I do what I know, and master my own formula, not another man's.

Do you think major labels put a lot of pressure on their artists?
No, I think majors should put more pressure on their artists to perform. These majors in urban music set up the artists for the fall by depending on first week sales and radio play to sell records. The artists are following suit and becoming lazy.

Would you say the best hip-hop comes from the underground?
The best hip-hop comes from the heart.

What would you say the highlight of you career has been?
This interview! peace. :)

Originally published @ http://www.collegeclub.com/article/view/3704

Chamillionaire's going all political on his new album, Ultimate Victory (Universal Motown), and this time he doesn't care if he impresses anyone with slick punch lines and metaphors. Instead, Cham packs this album with intelligence and a sick flow. Coming off his Grammy-winning single "Ridin'," Cham shows no signs of fall off on his delayed re-up and has no problems relaying his anger about the state of Hip-Hop. "Hip-Hop, crunk music, hyphy music, snap music/Sounds like a nursery rhyme, get a beat and rap to it/Ain't speaking with a purpose, I'ma call it crap music," Cham fires on the opening track, "The Morning News."

That said, the Houston product lashes out against the recording industry and the fake friends and women that come along with being an entertainer. On "Industry Groupie," Cham throws dirt at gold diggers who are always looking for an easy way in and up the chain of rich ballers. "Now your business all over the radio and it's the penalty that you have to pay/You made the choice to go and be a freak, even Akon been smacking that/Her plan was to get ran through by a linebacker or a quarterback."

"More money, more problems" seems to be Cham's sentiment throughout his sophomore effort. From living the flashy, luxurious life on "The Ultimate Vacation," to so-called friends trying to sabotage his career on "I Think I Love You"—both produced by the Beat Bullies— Chamillionaire's got a beef with everyone who gets in his way to the top. "Having money is like a relationship/Everybody's always gonna get in your business/Trying to break it up, trying to get involved in it/But they really need to mind their own business/Money don't do nothing but bring you trouble."

And for all those fake rappers who are spitting out "crap music," Chamillionaire's got words for them, too. Cham calls out all those wannabe hustlers and gangstas who claim to have street cred on the synth soaked "Come Back To The Streets." Taking a citizen journalist perspective, the Mixtape Messiah sheds light on currents events always blaming Hip-Hop culture as the problem over producer Kane’s tense strings on "The Evening News." "Don Imus made comments that made everybody forget about him/That's him, Anna Nicole got pregnant and had kids by him/Rest in peace to Virginia Tech, too many innocent kids dyin'/Well let's just blame Hip-Hop and act like that's the big problem."

Chamillionaire's flow and lyricism is rampant through each track on Ultimate Victory while the production work itself—which included the likes of JR Rotem, Happy Perez and Play-N-Skillz—gives this record value. Add in Cham's quick rap skills and personally reflective lyrics, as well as selective features from folk like Pimp C (“Welcome To The South”), Bun B (“Pimp Mode”) and Lil Wayne (“Rock Star”) and this sophomore bump has hit written all over it. After all, to the victor belongs the spoils.

Originally published @ http://allhiphop.com/blogs/reviews/archive/2007/09/17/18600622.aspx#comments

Fashion Week has taken over New York, but Kanye West hasn't let that steal his thunder on the day that his much-anticipated album, Graduation, comes out. Alloy's fashion editor Emily and copy editor Deepa got the chance to meet up with Kanye at designer Alexis Phifer's fall 2007 fashion show (she's Kanye's fiancé).

As G-Unit adds to its entourage, newest member Spider Loc reps the west coast with the release of West Kept Secret: The Prequel (Baymaac/RBC/Koch) setting the stage for his major label debut. Spider Loc uses his laid-back flow to bring subtle realism back to Los Angeles gangsta rap. He keeps to his hustler status without flashing meaningless rhymes, and he does so without getting up in your face. Could it be that G-Unit has finally found the perfect verbal sparring partner to fight off The Game?

Spider's first single, "Blutiful World," throws back to his Crip roots and gang bangin' lifestyle. He spits about the luxurious appeal of bangin'—having everything in life from clothes, and women to drugs and his homies—without coming off as an egomaniac. The best example of his gangsta status is heard on "Big Blacc Boots" featuring Ice Cube. Spider gives props to Cube for being an original gangsta, and Cube's solo proves he'll never be deadbeat, has-been rapper: he kicks, “Drive by music use it don't abuse it/Please don't confuse it with R&B bullshit/Ice Cube ain't no broke back rapper/I'm one flop away from a fuckin' kidnapper/Hip-hop or Hollywood, bitch, I gotta win.”

Spider Loc reflects on the rough life growing up in a gang and always hustling just to get by on "All I Know." He brings conscious lyrics to his not-so-right lifestyle without being regretful. "Pursuing paper is such a dangerous race/He's got hustle in his blood though/His veins are laced/He's still hangs out where his gang is based." And like every hustler out there, Spider puts together his business plan on "Hustle To You Come Up," and raps about the everyday ghetto grind on "Close To The Edge."

West Kept Secret: The Prequel is packed mostly with gang bangin' anthems, but Spider Loc does attempt to show his soft side on "Cry And Cry," a plea to his woman to accept his lifestyle because it's the only way he knows. But "Make You Love Me" sums up who Spider Loc is—a west coast rapper who's going to do anything and everything to come up those charts as the newest spit fire member of G-Unit. "Look close tell me what you really despise/Understand haters make up the silliest lies/I know it's kinda hard to believe and you're hard to deceive/And a lost trust is hard to retrieve/I'm gonna keep it 100 make it harder to breathe in this rap shit/Serenade the heart of the thieves."

Spider's prequel blends 90's gangsta rap music with the current hustler status of Hip-Hop culture. This is just a taste of what we have yet to hear from Spider Loc's G-Unit debut – he's brings more meaning and realism to gang culture than other wannabe hustlers who have suffocated today's rap music. The verbal attacks from The Game have already started; we can only imagine how the retorts will sound.

Originally published @ http://allhiphop.com/blogs/reviews/archive/2007/09/11/18571239.aspx

Welcome to Hustlenomics 101, today we learn to get it done by any means necessary. That pretty much sums up Yung Joc’s latest Hustlenomics (Block Entertainment/Bad Boy South)—lying, cheating, stealing, and genuinely being sly are the building block to any successful hustler. And Joc plays an amazing hustler because he sure did a great job hustling the public into thinking this album would make bank.

Between Joc’s southern drawl and weak rhymes about dealing drugs and being the greatest hustler known to mankind, Hustlenomics is packed with much-needed guest appearances from Hip-Hop’s biggest names Snoop Dogg, Diddy, Jim Jones, The Game and Rick Ross. Joc’s collaborations manage to save this album from itself, yet it’s still a lame collection of get-rich quick anthems.

On the Fixxers produced “Cut Throat” featuring The Game, Jim Jones and Block, Joc and his boys brag about kickin’ it with the greatest gangstas from the east to the west coast. Jones outshines the rest of the players on this track with his solo: “You either slang crack/Or had a wick jump shot/Either or there was no between/It was either be poor/Or move coke and feigns.” On “Getting to da Money,” Joc not so cleverly manages to connect the dots of hustling—it’s all about making money. Really? We had no idea. Thanks, Joc.

“Coffee Shop” has already become a summer favorite because of its playful beat and childish, anthem-like lyrics, but Hustlenomics features jumpin’ club tracks like “BYOB” where Joc rhymes over a Neptunes provided, slinky-like beat, “Gotta make the quota/I mix it with the soda/I chop the dope and sell it/With the rings of the Motorola.” Then there’s the R&B flavored track “Livin’ The Life” where Joc tries to show off his soft side for the ladies as he boasts about his hustler ways and player status.

Giving thanks to his mother on “Momma,” Joc unconvincingly attempts to come off as a newer version of Tupac by showing respect to the game and respect to the woman who made him who he is. Hustlenomics features snippets of greatness which comes mostly from guest artists; on “Brand New,” Snoop’s OG status overshadows Joc’s weak chatter. Joc put this album together with a “go get it” attitude, and unfortunately he fails to actually get anything going. This Bad Boy hustler's ideology lacks a strong thesis as to what really makes a hustler; instead, Hustlenomics is a collaborated effort of weak songs with no vision.

Originally published @ http://allhiphop.com/blogs/reviews/archive/2007/08/27/18484996.aspx

Daaaamn!! EMI Music probably has one of the hottest rooftops locations in Manhattan, and their summer concert series is off the hook! Capitol's newest artist Che'Nelle performed tonight, and even though Hurricane Dean pushed the performance off the roof and back inside, Che'Nelle didn't disappoint. This girl's got some real talent; she's not just another bubblegum, pop star cutie. She's opened with "Mantaker" a hot club track that's will definitely burn the charts this fall. And don't let the hyped up beats and bangin' synthesizers fool you, this girl has got a voice. She showed off some of that talent with a few slow joints, "When Will We Meet Again," "Stick With Me," and the slow-sex jam"Sprung On My Booty Call." And of course, it's not show without club favorite "I Fell In Love With The DJ." Cham surprised the crowd as he walked on stage to perform with Che'Nelle. Check out pics from the event here. And check the video below of Che'Nelle performing "Sprung On My Booty Call."

Swizz Beatz has been producing club beats for years, and his newest solo album One Man Band Man doesn't fail to get the party started. Following Timbaland's valiant effort Shock Value (great beats, but completely outshined by his collaborations), it's great to see Swizz actually show off his talent as both a producer and performer.

"I'm 28 with $96 million/my catalogue is a senior citizen/my number are senior citizens/I'm just giving you good music to vibe to," Swizz boasts on "You Know Your Boy Did That." That's the exact flow you get throughout One Man Band Man -- feel good party music that's all about having fun.

Swizz breaks open with bragging rights on "Product Man" and follows with the guilty pleasure "It's Me Bitches." The most playful track on the album, "Take A Picture" samples Bill Withers "Lovely Day" and mixes in Grandmaster Flash's classic "The Message" -- Swizz plays up his celebrity status and life under the flashing lights.

Swizz manages to flash a bit socially conscious rap on "Part Of The Plan" featuring Coldplay's Chris Martin. "So who cares if I'm stretch on the scene/Surrounded by homicide forensics team, yellow tape/Haters glad I'm dead/Pedestrians walking by and they just shakin' their heads." He even gets heavy on "The Funeral," but dark lyrics aside, Swizz remembers to have fun with his music.

One Man Band Man makes having an identity crisis look good -- Swizz sways between happy party music and spitting hood life rap lyrics. Swizz is an amazing producer, and thankfully, he doesn't boast to be anything more on this album. He just does what he does best -- producing hot beats for good times.

Originally published @ http://www.collegeclub.com/article/view/3702

The Screamfest 2007 Tour (featuring T.I., Ciara, T-Pain, Lloyd, and Yung Joc) is already in full swing and coming to a city near you! But between shows and long bus rides, Yung Joc made some time to chat with us about touring and his new album (dropping August 28). Wanna know who Yung Joc is crushing on? Keep reading...

Originally published @ http://www.alloy.com/5/35/4536/1/

Swizz Beatz hosted a listening party on July 31 for his heated summer debut One Man Band Man. And like any hip-hop icon, Swizz rolled up in his Lamborghini and started the party with the liquor flowing. Check out pictures from the party.

Jamaica-born, Miami-native, 17-year-old Sean Kingston brings nothing but feel-good, dance music in his self-titled debut. Combining hip-hop, reggae, and a taste of old-school doo wop, Kingston doesn’t front trying to pose as a thug or show off his street cred, instead, like any teenager, he chases after beautiful girls and vents about the ladies he’s lost.

He’s already reeling from the radio success of “Beautiful Girls” and “Me Love,” but within a mostly pop-filled album, Kingston manages to gives us a few gems. On “Dry Your Eyes,” Kingston shows respect for the most important girl in his life – his mom. Raised by his brother, Kingston reminisces about his mother being sent to jail – “Seventeen got a little money/Feelin’ kinda blue/Cause it's lookin’ you doin’ 10 to 20/Ridin bein’ broke ain’t funny/It's all bein’ hungry/But ima keep hustlin’ for my mommy.”

A few tracks allow Kingston to redeem himself as more than just another pop icon, proving he has lyrical control. On “Drummer Boy,” Kingston raps “I’m marching with an army of kids/All my soldiers in the streets/Raise you’re arms like this/It’s a marathon/We’re here for the crown/So if you don’t diggin’ the movement/Get down.” But it’s on “Change” where Kingston strives for a better world in this anthem-like song. “Hope to see black people living longer/Also less kids without fathers/We should all come together/Please stop fighting and killing each other.”

It would be hard to accept Kingston taking a serious tone with his debut album – that’s probably why he took the safe route and stuck to reggae-love songs. Tracks like “Got Not Shorty” and “Your Sister” purposely appeal to Kingston’s younger audience. Can’t blame a teenager for wanting to have a good time. On “There’s Nothing,” Kingston matches up with Paula DeAnda for another flawless rapper-diva duet that’s a staple in popular hip-hop culture.

Kingston’s debut is guaranteed to provide summer-lovin’ dance favorites, but beyond that his artistic value tends to fall into the shadows of his pop favorites. The album is suffocated with hand-clapping beats and songs that almost sound the same – Kingston entertains but fails to impress.

Originally published @ http://allhiphop.com/blogs/reviewsmusic/archive/2007/08/07/18373227.aspx#comments

East African emcee Edwin “Krukid” Ruyonga brings conscious hip-hop to international levels with his sophomore album African (Cash Hill/Rawkus Records). Although his lyrics tend to resemble typical urban life, Krukid systematically lays out the storyline of African plight through captivating beats.

African’s title track sets the album’s nationalistic thought – Krukid uses his music to represent not only himself, but his country as a whole. On “City Life” Kru journeys through a Uganda and sheds light upon the critical state of a poor city: “Local politicians with probably some teeth missing/Spend money to make high school girls their other women.” The track “My Music My Country” is the ultimate affirmation of Krukid’s African pride – he pushes aside international affairs and political discontents to show off the beauty of his people and his county.

Along with the country’s perpetual state of destruction, Krukid reflects upon the lost children of Uganda who are forced to become soldiers on “Invisible” – “From all over Uganda to southern Sudan/They made me murder as a youngin’/ I’ve got blood on my hands/When the killed my father/And they raped my mother/And the first life they forced me to take was my brother’s.”

Kru’s social commentary throughout African is lyrically phenomenal and his storytelling skills are never outshined by the musical production. If anything, the heavy drumming and ridged guitars used throughout the album only support the strife Krukid brings with his lyricism. Tracks like “Family” and “Kru” are anthem-like songs that combine rock ‘n’ roll’s loudness and hip-hop’s lyrical rhythm.

Krukid’s a welcomed new sound to the conscious hip-hop movement – his take on African culture and lifestyle brings a well-rounded internationalism to hip-hop that is usually ignored. African is an album packed with powerful messages, and Kru represents the voice of the unheard.

Check out some of New York's (and Jersey's) finest poets who are reppin' their state at this year's National Poetry Slam in Austin, Texas. Slam night hosted at 13 Bar in NYC was just practice for these competition hopefuls, but let's just say NYC poets are bringin' da heat with these performances. Teams Urbana and Nuyorican led the slam tonight with teams LouderARTS, Jersey's Loser Lounge and White Plains not far behind.

Remember those days when chillin’ in the park and vibing to music was all you lived for? Boston-native, Raheem Jamal brings everyone back to those laid back summer days with feel good music blasting from his Boombox (Brick/Traffic). Jamal’s lyricism fills Boombox with all the essentials: women, love, money, weed and social change.

As Jamal brings the generally positive lyrics, producer Raydar Ellis manages to switch up the sound using heavy beats mixed with guitars and horns. On “High Energy,” Ellis counterpoints Jamal’s quick flow with subtle horns that creates a smooth groove. The following single, “Right Now,” changes the pace immediately with an upbeat heavy bounce. Together, Jamal and Ellis back each other perfectly though each track on Boombox.

Beyond the 90’s house-party feel, Jamal spits about the desires of men, the evils that bring them down, and the current world of turmoil. On “When” and “When? Part 2,” Jamal attempts to find solace in a time of war as he hopes for change: “This may sound crazy but if there's a mothership/Consider this an S.O.S/Please beam me out of this.” On “Act Right,” Jamal protects the reputation of his art form as he works towards change. “Turn on the radio the suckers all sounds the same/What am I supposed to do, just walk away, say fuck it, hope that it all change/If I want change, then I gotta be the change.”

Boombox also tells the story of love and loss in every relationship. On “Women, Weed and Washingtons,” Jamal explores three of the strongest forces in a man’s life. Jamal then gets busy with the ladies as he plays the field on “Not The One.” But it’s on “Never Be Afraid” where he finally finds “the one” and struggles to keep it together.

Jamal’s Boombox is an amazing collection of songs that tell the story of one man trying to make it through life one day at a time. The one artist-one producer combination makes Boombox a record for the masses without the fluff and hype of having a commercial value. Ellis’ low-key production is a perfect balance to Jamal’s insightful lyrics—neither one outshines the other.

Originally published @ http://allhiphop.com/blogs/reviews/archive/2007/07/11/18244474.aspx

Huey comes out barking on the intro to his album, Notebook Paper (Jive Records), promising to be different and attempting to stray away from the rapper stereotype. Unfortunately, the St. Louis representative lacks in the lyrical department. However, thanks to a great production team, Notebook Paper is actually a bearable listen. Tight beats and unoriginal lyrics fill this weak album.

Huey’s going to have to fight one-hit wonder status with the popularity of “Pop, Lock, and Drop It.” Bakery Productions produced a slamming beat that is already a club favorite, but as for the rest of the album, Huey’s sound is redundant and overdone. On “2 Nite,” Huey attempts to create another party popper as he boasts about his player status and macking abilities, “Maybe later on 2 nite we can get us a room/She can have a couple of friends that come with her too/Let’s drink, get drunk, and see what it do.” Luckily, this song is saved by its energetic bounce and Huey’s double-time flow.

Notebook Paper has a high production value, and it’s too bad Huey couldn’t follow suit lyrically. Song like “Closet Full of Clothes” and “Money Ova” have perfect precision rhythmically, but with lyrics like “Money ova bitches/Getting rich is what I live by,” Huey needs to spend some more time actually writing in his notebook. Huey’s collaborations with Lloyd and T-Pain show some promise for success. On “When I Hustle,” Lloyd’s smooth R&B voice and Huey’s precise flow seem perfect together. And on “Glad 2 Be Alive,” T-Pain and Huey combine their mindful lyrics about getting out of the ’hood with a soulful rhythm—a refreshing sound compared to a mostly fast-paced record filled with heavy beats.

Perhaps the best song on this album is “Nobody Loves The Hood.” It’s one of the few songs where the music is outshined by lyrical abilities. Huey raps about “out of control” ghetto and the lack of hope in its children, “Some say they’ll die before they do time/Because jail ain’t the place to be/Might be the place for you/ But ain’t for me.” It’s the latter part of Notebook Paper where Huey keeps his word to be different. Cluttered with tired lyrics, Huey’s got a lot of work to do if he doesn’t want his notebook’s entries to fade out of the scene.

Originally Published @ http://allhiphop.com/blogs/reviewsmusic/archive/2007/07/01/18207589.aspx

Finally, we get a glimpse into Arab-Muslim culture through its youth without the tainted images of war. “I Love Hip Hop In Morocco,” directed by Josh Asen and Jennifer Needleman, documents Moroccan hip hop culture coming to rise in this impoverish country. Asen and Needleman follow Moroccan DJs and rap artists as they put together the country’s first ever hip hop festival, I Love Hip Hop In Morocco.

Unlike American hip hop, Moroccan hip hop artists struggle with censorship inflicted upon them through religious views and their country’s lack of freedom of speech. Hip hop culture grew in America because of its freedom of expression, so how do Moroccans balance the views of Islam that calls popular music a sin and still find solace in their music? They don’t – and that torn feeling fuels their music.

Asen and Needleman introduce us to DJ Key, a self-taught pioneer on the turntables, H-Kayne, a rap group rising to celebrity status, Fatima, a woman trying to make it in a man’s world, and Brown Fingaz, a street rapper who rhymes his true expression in English. Together these artists with the help of the American Embassy in Morocco work to put together a three-city hip hop festival.

In a country that is ruled by king, most Moroccans live in utter poverty, but its own brand of hip hop culture has brought life and spirit to the youth – something their king has never given them. In Moroccan hip hop, you’ll never misogynistic terms or materialist values because these ideas have no existence in Moroccan culture. Through their music, these artists are expressing their love for Islam and their hatred for the country’s poverty. It’s street music everyone in Morocco can relate to.

“I Love Hip Hop In Morocco” gives an incredibly in-depth look at the melding of American hip hop culture and Moroccan youth. The film documents the youth’s views on America, Islam and world politics told through music.

Originally published @ http://www.hhnlive.com/reviews/more/147

Before Hurricane Katrina, life in the New Orleans projects was nothing to brag about. Filled with drugs and violence, the streets of the Desire Projects were congested with people living in tightly packed shacks. To an outsider, completely unlivable, but for two brothers, Killer and Gangsta, they own the streets and hustle for a living. Desire is their home, it’s everything they know, and getting out is usually a short lived dream.

Set five days before the fatal hurricane hits, "Waters Rising," directed by Greg Carter and Shawn McEiveen, takes us inside the lives of one family’s emotional turmoil before their lives change forever. Katrina took over 1,800 lives, but how many were saved and altered for the better?

Recently released from prison, Gangsta has just served time for a car theft committed by his young brother Killer. As Gangsta vows to leave behind his criminal lifestyle and run away with his girlfriend, Killer brings him back for just one more job. What should be a simple heist turns into a suspenseful disaster that is thrown off course as lives are taken.

“Waters Rising” is an amazing look at the disaster that was Katrina and lives that defined New Orleans. Literally, Katrina destroyed and ravished everything in its path, but on the other end of the spectrum, the hurricane took away everything that was killing and depriving the lives of the poor in New Orleans. Sad, but true.

Gangsta and Killer come from a broken home – crack-addicted mother, father lost to violence, and younger siblings growing up too fast. Unfortunately, they symbolize most of New Orleans youth. "Water Rising" is an incredible story of one family's drive to stick together for a better tomorrow and fight the brewing storm.

Originally published @ http://www.hhnlive.com/reviews/more/146

They drop verbiage all over the place, spit rhymes that make you scream in awe, and leave you wishing for more. Director Rotimi Rainwater's ”Sp!t” documents the journeys of four slam poets as they struggle to make a living through their art and find resilience in their failures and accomplishments.

Revolving around the National Poetry Slam Championship, Rainwater brings the art of slam poetry to life through the artists that create it as they compete for spots in Nationals. We meet Shihan Van Clief, the accomplished slam master, Mollie Angelheart, the amateur, and east coast poets Oveous Maximus and Al Be Back. “Sp!t” is a glimpse into the world of spoken word, and through competition you’ll find yourself rooting each of these artists on.

The film discovers the fine line between spoken word and hip-hop culture. Today’s bling-bling obsessed rap music has lost the raw truthfulness that hip-hop culture was once vibrant with, but these slam poets use their flow of poetry to bring back everything that is missing in hip-hop.

Rainwater brings the art of slam out of the cafes and back to the street corners where these verbal battles began. The artistry is real because none of these poets come from a glamorous background – their socially conscious struggle to change the world comes from their personal experiences within this urban culture.

“Sp!t” gives us everything we’ve always wanted from hip-hop. Pushing aside all the BS and the commercialism that has filled the airwaves, Rainwater brings us back to the roots of the culture and the brilliance of poetry.

Originally published @ http://www.hhnlive.com/reviews/more/145

You know your career's on fire when you've got a platinum album (The Evolution of Robin Thicke) and you're interviewing with Oprah, but what else does R&B singer/producer Robin Thicke have up his sleeves?

You probably saw Robin's performance on American Idol, and if you didn't, you better YouTube it because it was ah-mazing. And apparently Oprah couldn't get enough of Robin the first time because he's coming back for another episode. "We're doing a Robin Thicke band session on Oprah and I'm supposed to bring on a couple of friends," Robin says. So not only does Robin produce music, but he's producing this episode of Oprah.

Was it just me, or did John Legend and Corinne Bailey Rae send every woman in the audience home a little more frustrated about her love life?! One of the hottest tours of the moment stopped in New York City recently -- the show was incredible, but the emotions were all over the place.

Corinne started off the night with "Trouble Sleeping" from her self-titled album, and that set the mood for the rest of show. The audience fell in love with Corinne as she belted "Put Your Records On," and they felt her heartache as she yearned for her significant other in "I'd Like To." But Corinne's best performance was her rendition of the Led Zeppelin classic, "Since I've Been Loving You."

Corinne tells a beautiful story on stage, but you have to wonder: what kind of guy would break such a great girl's heart? The answer: John Legend! Damn, he's hot, but what a player! On stage, John is sexual enigma -- he seems all innocent behind the piano, but his bachelor tendencies come out to play as he croons the audience.

He opened his set with "Stereo" getting the audience riled up and ready to party. But then, just as you would expect, John switches the mood from fun to flirty exposing his cheater ways in "Number One." His set list resembles the seesaw of emotions felt throughout both Once Again and Get Lifted.

Like any guy who's broken a girl's heart, John reels you in with his performances of "Save Room" and "Where Did My Baby Go," and right when you think you have something special, he hurts you with the bitter truth in "Another Again." Thanks a lot, John. Of course, there's always the honeymoon period, and John pleases the crowd with "P.D.A. (We Just Don't Care)" and drives the women crazy with "Slow Dance," especially if you're the lucky woman chosen to share a dance on stage with John.

Minus all the promiscuous fun and love ballads, John knows how to put on an amazing show. He gets serious with "Coming Home," and during his encore (yeah, don't be that person who leaves the concert early -- wait for the house lights to come on), John brings his drive for social change home with "Show Me." He ends the show encouraging everyone to donate to the "Show Me" Campaign -- a grassroots movement dedicated to fighting economic and spiritual poverty. John will love you, cheat on you, and dump you all in one night -- and it's never felt so good.

Originally published @ http://www.collegeclub.com/article/view/3654

While Justin Timberlake and Nelly Furtado spent a good part of 2006 blowing up the charts with their amazingly produced hit singles, Timbaland actually saved the great stuff for himself...well, almost. His new solo album, Shock Value is really a collabo-packed record with perfect production and genre-crossing chart toppers.

Hit single, "Give It To Me" featuring Justin and Nelly is already burning up top 40 radio stations. The song is basically a diss single (in case you're wondering, Timbo's throwing jabs at Scott Storch, who produced Justin's "Cry Me A River"). But Timbaland doesn't need to verbally boast to prove he is one of hip-hop's finest -- his beats tell the story itself.

Timbaland hooks up with newcomer Keri Hilson on "Way I Are." Lyrically, the song is a "Promiscuous"-like back-and-forth between the two, and musically, Timbaland combines heavy bass lines and synthesizers for a club beat that will have everyone dancing. Another great dance track is "Bounce," where longtime friend and producer, Missy Elliot comes back to team up with Timbaland. Missy even throws in a small reference to Britney Spears, which kind of makes you giggle ("Hold up! Hell no/Like Britney Spears out with no draws/In the club I drink it up").

Leaving behind the sexually explicit image from his previous album, Naked, Marques Houston shows personal growth and maturity on his new record, Veteran. "The new album is really personal," Marques says. "What I've been through, it's relationship-driven -- being a man, being in love."

Veteran opens with an adorable 2-year-old Marques parroting lines from his mother as he reveals his dreams. And Marques certainly has made something of himself with 17-plus years as an industry veteran. Marques says that he's "moved away from the whole 'being-sexy-take-your-shirt-off' thing." And it's true: on Veteran, Marques takes on the relationship department as he tries to school the world on love.

The album kicks off with an upbeat track featuring Young Joc -- "Like This," a throwback to snap music. Young Joc brings the obvious southern influence to this track as he rhymes over a hi-hat and simple bass, and Marques mixes in his soulful voice to make a great dance beat for the clubs.

It's hard to believe at the tender age of 14, Lloyd was about to break open the music scene with his first album, Oh My Lloyd. Unfortunately, his then-label, Magic Johnson's MJM, failed and pushed Lloyd back into the shadows of the music world. Never one to stand on the sidelines, Lloyd, now 21 years old, has just released his new album, Street Love.

"Everything up until this point has been a stepping stone. And now that I'm 21, I'm more confident in my sound than ever," Lloyd says. With a roster including collaborations with Lil Wayne, Young Joc, Andre 3000, and Nas, Street Love is an album packed with an old school R&B feel combined with smooth hip-hop beats. Lloyd describes the album as, "hard drum rhythm beats over smooth melodic melodies -- which I call the best of both worlds: hip-hop and R&B combined to create Street Love."

Hit single, "You" featuring Lil Wayne has brought Lloyd into the spotlight. "I'm just ready to prove myself and make my mark on the world and let everyone know that I deserve to be here," Lloyd says.

"We're going to have open sexual intercourse on every street corner of America." With a song intro like that, you have to wonder who's behind it -- and it's Mickey Avalon. Keep listening, and he'll tell you flat out he was "a street walker selling cock for rock." Years have passed, and the prostitution and drugging are just vivid memories of Mickey's past. Today, Mickey's playing shows which he describes as "having sex, but with a thousand people at the same time," producing music with Interscope Records, and promoting his self-titled album abroad.

On stage, Mickey raps about the glamorous Hollywood scene, celebutantes who flash their cash, and the dark drug-absorbed world that hides in the shadows of celebrity spotlights. On "So Rich, So Pretty" he boasts, "I like a girl who eats and brings it up/A sassy little frassy with bulimia/Her best friend's a plastic surgeon/And when her Beemer's in the shop she rolls the Benz."

John Legend might have sailed into the hip-hop scene via Kanye West, but on his sophomore album, Once Again, John proves he's an artist in his own right. Produced by Kanye, Raphael Saadiq, and will.i.am, Once Again brings back soul and R&B from the '60s and '70s and combines those sounds with contemporary hip-hop beats.

This time around, John takes us on a lustful journey as he falls in and out of love, goes after the wrong women, and loses the right woman. Of course, he's still creeping around behind his girl's back in "Again" (I feel so alive, it won't last, but it's alright/fleeting joy and fading ecstasy/here's it going again, oh/sneaking fruit from the forbidden tree/sweet taste of sin). Compulsive cheating aside, John strives to find true love with one girl in "Each Day Gets Better" (I thought about it for far too long/But I never had someone to sing about/Until I met her, now each day gets better).