The aptly titled “Triumph” sees the quick witted emcee flexing his lyrical prowess over Dave Sitek’s probing, horn-infused beatbreak. Southern veteran Bun B joins Wale on “Mirrors” as the twosome wax poetics on those individuals who choose to “fake it ’till they make it”. The emo record that appears to be prerequisite for hip hop albums nowadays comes in the form of “90210″ as Wale touches on females with cocaine addictions and those that suffer from eating disorders such as bulimia. Great idea, but flawed execution bring down the record, however.

“Diary” comes as a refreshing opposing viewpoint of women from “90210″ as Wale pens a heartfelt letter to his lady, a woman having a hard time opening up her heart after many failed relationships while the refreshing Marsha Ambrosius glides over The Sleepwalkers’ dreamy backdrop. “TV in The Radio” sees Wale teaming up with K’naan for a quick lyrical blitzkrieg with the latter effortlessly delivering arguably “the” verse of the entire album as well as providing hook duties. The haunting “Contemplate” sees Wale at his darkest aided by Rihanna’s echoing coos contemplating what exactly is his “place” in hip hop before uniting with Roc Nation signees Melanie Fiona & J.Cole on the soulful “Beautiful Bliss”, the smooth, feel good jam of the album.

Producer Best Kept Secret contributes two gems to the project in the form of “Shades” and “Prescription”. The former sees Wale aided by arguably the premier go-to songstress for hook duties as Chrisette Michele provides her nostalgic croons while Wale sincerely recounts issues with colorism he suffered during his childhood, jealous of those with skin lighter than his. The mellow “Prescription” brings Wale’s hyperactive debut to a firm conclusion as the DMV’s frontman searches for just the right “medicine” that hip hop has desperately been in search of.

Critiquing this album can easily find reviewers between a rock and a hard place. It is commonly looked down upon to feature so many artists on an album (especially a debut) as it takes the attention off of the artist whose project it is in the first place. While many features work (Jazmine Sullivan, Bun B), some are out of place (Gucci Mane) and some even overshadow that of Wale’s, specifically J.Cole’s toe-tagging of “Beautiful Bliss” and the desolate wasteland K’naan leaves “TV in The Radio” in. Another issue that proves problematic is the inaccurate sequencing that Attention: Deficit suffers from. On the bright side, there is a little something sprinkled here for everyone: feel good joints, social commentary, potential singles and self-reflection for the man himself. There are alot of great records presented, but Attention Deficit (as a whole) appears to be a water-down carbon copy of the Wale that fans fell in love with, the MC talent who was once inspired by Seinfield to craft a mixtape about “nothing”.

~ Royce Da 5′9″: 8-11 (Freestyle)

As regarded a city as there is in America, Detroit has buit as big a name as they come, boasting hip hop acts such as Elzhi, Black Milk and of course, the technically enhanced veteran, Eminem. Almost forgotten amongst the cold confines of the “D” is one Ryan Montgomery, better known as Royce Da 5′9″. After a year long stint in prison for a DUI, Royce sought to reclaim his hold on the underground, unleashing the initial two installments of his famed Bar Exam series, patching up misunderstandings with longtime friend Eminem and forming a lyrical juggernaut with the likes of Crooked I, Joe Budden and Joell Ortiz in Slaughterhouse. Working under the radar with the legendary DJ Premier, Royce Da 5′9″ entered the studio diligently to finish up work on his long delayed, much anticipated Street Hop opus. With the Slaughterhouse project available for release and backing coming from some of hip hop’s greatest acts, Royce Da 5′9″ allows listeners to join him on his quest to be mentioned among hip hop’s elites and (in a way) escape the shadow of one Slim Shady.

Royce Da 5′9″ explodes out of the gate on the energetic opener, “Gun Harmonizing”. Backed by Emile’s melodic production, Royce likens his rhyming skills to that of an AK-47, even mimicing the gunfire with dramatic scatting on the hook before fellow Slaughterhouse mate Crooked I bats cleanup with a damn near show-stealing guest feature. Nickle enlists Phonte, one half of famed hip hop group Little Brother, for hook duties on the smooth “Something 2 Ride 2″, a slow burner produced by the legendary DJ Premier. Mimicing the execution of Premier’s use of a Public Enemy’s numerical sample on The Notorious B.I.G.’s “Ten Crack Commandments”, Royce delivers punchline after punchline on the blistering “Count For Nothing”.

“Dinner Time” shows Royce literally as hungry as they come as he spends a little over three minutes devouring wack emcees, with even cameo legend Busta Rhymes becoming a morsel for the Detroit Native as he absolutely “toe-tags” Quincey Tones’ militant backdrop. The self-proclaimed “Sergeant Slaughter” is joined by the rest of his Slaughterhouse conglomerate on “The Warriors”, another Emile-produced gem that features the fearsome foursome unleashing two verses a piece, wrecking a cinematic backdrop with numerous quotables and Royce emerging from the destruction triumphant with two absolutely stellar verses. “Shake This” is easily another classic addition into Royce’s belt as the famed rhyme spitter reflects on past problems with alcoholism and prison time and details his journey of redemption, aided by Premier’s lush production.

Street Hop also offers a musical epiphany for listeners as Royce Da 5′9″ allows listeners to partake in his twisted thoughts for a few of storytelling murals, easily painting himself among the underrated when it comes to cinematic narratives. Listeners enter Nickle’s version of The Twilight Zone (nicknamed the “5′9 Zone”) on “Part of Me” as he details a pecuilar night at the bar for a young man who enters a beautiful dream in the form of a threesome with two gorgeous women before awakening to an ugly nightmare as the vixens numbed his body before a vengeful act of castration takes place for the unlucky chap. “On The Run” sees Royce incased in a hotelroom, gripped by a state of paranoia as he goes over the past 24 hours in an attempt to figure out exactly what happened to him. The subsequent track, “Murder”, acts as a Nas-esque “Rewind” as he recounts the bloodbath he witnessed the day before from start to end (which ties into “On The Run”).

Lyrically, Royce is a force throughout the album, bombarding each beat with relative ease and calm. Executively produced by DJ Premier, Primo possesses an excellent ear for beats, selecting excellent backdrops for Nickle’s rhymes to run rampant over. Royce even manages to dip his feet into commercial waters on “Thing For Your Girlfriend” and the autotune-laden chorus on “Far Away”. The biggest detriments to Street Hop’s case as a classic album are the lengthy tracklisting (clocking it at 19 cuts) and the inclusion of generic subject matter on obvious filler (”Gangsta”,”Bad Boy” and the useless skit, for example). With enough spins, the gangsta talk grows tired and its fire is eventually snuffed out. Noticeably missing (after the addition of the year old and previously leaked “Shake This” and “Part of Me”) is the classic “Taxi Driver”, an absolute gem of a record that was originally planned for Street Hop, but leaked as part of Royce’s The Revival LP and was thus, not included. With that being said, Royce Da 5′9″ presents another solid addition to his growing catalogue, but sees him still in search of that undeniable classic record that would elevate him into the company he thirsts to join: the likes of Jay-Z, Nas and his fellow Detroit friend/native, Eminem.

The Wizard commences his latest project with the uptempo number, “Not Your Average Girl”, and while Shareefa does the cut justice as Ghost’s “down ass chick”, it begs to wonder whether or not this track was crafted with either Keyshia Cole or Mary J. Blige in mind. The self-proclaimed “R&B Neo-Soul Hippie Rockstar” Raheem DeVaughn joins Ghostface for two cuts including the reflective 1st single “Baby”, in which he belts out an autotune-riddled chorus as Ghostface rhymes about the beauty and rigors (hunger cravings, yikes!) of pregnancy. The remorse depicted in DeVaughn’s hook duties on the soulful “Do Over” allow the Shaolin soldier an effective foundation as he laments over past indiscretions after his infidelity leads to the loss of his good girl, his “crown jewel”.

The somber soundscape of “Lonely” echo a different aspect of Ghostface’s, down on his luck and making himself heartsick at the thought of another man curled up at night with his girl with even his son unknowingly feeding into his detached state of mind: “Most of the time we watch flicks, on your Surround Sound, he watch boxing/ You better go beg or something, before she go love him/ He’s taking your spot cause you was dissin Mommy, you buggin/ They don’t argue, he send her flowers for no reason/ She’s cheesing… I’m wishing you could come back and see this”. It is also on the nostalgia-inducing cuts “Stay” and “Forever” where the wizard is his most sincere especially on the latter in which he promises forever to his one and only, backed by a mesmerizing instrumental.

While this “R&B” album virtually stands as uncharted territory for the Wu-Gambino, it is his detailed storytelling that continues to shine brightest through his expansive catalogue. The raw and uncut “Stapleton Sex” features Ghost at his best, presenting as vivid a sexcapade on wax as possible between he and wifey (assisted by the lovely Milani Rose) that would make even the late great Pimp C shudder. The piano key-driven Paragraphs Of Love is a theatrical masterpiece as Ghostface enlists singer Vaughn Anthony and UK superstar Estelle to articulate on the age old tale of “love at first sight” as Starks encounters another man’s pregnant fiancee, “the most beautifulest queen I’ve ever seen” who brings forth the inner gentleman in him as he questions whether she is in need of help and offers her sustenance. While many will recognize the backdrop as Rick Ross’ “Yacht Music”, Ghostface flips the Justice League’s triumphant horn-driven composition into “Guest House”, a concise, paranoia-infused epic that features the masterful storyteller on a crusade in search of his significant other, who he subsequently finds cheating on him with cameo king Fabolous.

With Wizard of Poetry…, Ghostface further solidifies his stature among the greatest emcees to ever grace the microphone while also showing his willingness grow as an artist. Backed by incredible production throughout, Ghostface utilizes his stellar pen game and continues to paint as vivid a picture as they come, though instead of his vintage cocaine tales, he focuses on the various twists and turn that can occur in the art of love. The album tapers off near the end especially on the bland, Lloyd-assisted “Goner” and the questionable inclusion of the remix to 2006’s “Back Like That”, a record that appeared on More Fish, but the initial ten to eleven tracks are substantially worthwhile and more than make up for a small addition of filler. Sticking out like a sore thumb amongst other records in his extensive catalogue, Ghostdini, The Wizard of Poetry in Emerald City further validates Ghostface’s extensive range as an artist as well as his confidence to step outside of his lane, a feat that continues to shape among veteran emcees in the latter years of their established careers.

4 spins (out of 5)

“This is black emo rap”
~ Illionaire

A fine-tuned combination of Kanye West’s charisma and personality and OutKast’s eclectic persona perfectly describes Cleveland native KiD CuDi. Apart of XXL’s 2009 Freshman Edition, CuDi was joined by the likes of West Coast emcee Blu (who released the critically acclaimed Below The Heavens with beatmaker extraordinaire, Exile), the prolific machine Charles Hamilton and the DMV’s lyrical mastermind, Wale. CuDi stands out and is arguably the best act of the group as he embodies and exudes one of the most important aspects of music: innovation. After just missing the Grammy Awards deadline, KiD CuDi is geared up to release his debut album as he allows listeners a safe passage into the mind of the man on the moon.

Man On The Moon begins on a high note with “In My Dreams”, a somber (yet concise) look into the mind of Scott Ramon Seguro Mescudi. “Dreams” comes to a dreamlike close with the legendary Common beginning narration duties as the dream and nightmare sequences that riddle this concept record begin. The album itself is divided into five acts (each narrated by Common) and acts as a space age, psuedo-biography of Mescudi’s life. Following Common’s initial duties is the heartfelt “Soundtrack 2 My Life”, a look into the adventures and trials that CuDi has faced including the death of his father, which he has yet to get over (”I’m super paranoid like a sixth sense/ Since my father died, I ain’t been right since / And I try to piece together the puzzle of the universe / Split an eighth of shrooms just so I could see the universe”).

Acting as an introduction and in-depth look into the mind of KiD CuDi (slightly influenced by with his weed-laced mindset), the initial act (The End of Day) concludes with “Simple As…” before Common steers the story into Act II: The Rise of The Night Tremors. The hauntingly piercing “Solo Dolo” sees CuDi’s versatile style taking over as he both raps and sings, relaying his self depreciation and self-pity before finding the inspiration to rise from amongst ruin on his very own theme music, “Heart of a Lion”. The conclusion of the Billy Craven-featured “My World” sees Common returning to lead the album into its third act, Taking a Trip. The “lonely stoner” follows up cult classic and initial single “Day ‘n’ Nite” with the epic sounds of “Sky Might Fall” as he continues to maintain the spacial theme through his debut, seeking to inspire listeners even when things are at their bleakest.

The fourth act, Stuck, consists of four cuts: “Alive”, “CuDi Zone” as well as followup singles “Make Her Say” and “Pursuit of Happiness”. The former two continue the spacial theme that takes place throughout the album, firmly entrenching the album with CuDi’s brilliant concept while the awe-inspiring “Pursuit of Happiness” concludes with a final narration from Common as we enter the final act of CuDi’s tale: A New Beginning. The album comes to an beautiful close with CuDi showcasing his rhyming abilities on “Hyyer” and bringing the album full circle with “Up Up & Away” as Scott Mescudi finally awakes from his dreamlike state of mind.

With Man On The Moon: The End of Day as his debut opus, CuDi has truly created a work of art and arguably, the best alternative album to be released for quite some time. “Make Her Say” may be the only misstep on the album. While it features Chicago’s own Kanye West and Common dropping some of their most deviant verses, CuDi’s hit single sticks out like a sore thumb. On the other hand, “Make Her Say” could be placed on the album intentionally so as to provide the album with a “break” so its eclectic soundscapes would not merge together and become redundant. Comparable to to the video game “Portal”, Man On The Moon: The End of Day is brilliant, nearly flawless and short enough to not overstay its welcome while also challenging enough to maintain interest. With his debut, KiD CuDi has released a near-classic piece of art while firmly establishing himself as a leader of the new school and building anticipation for the next ambitious installment in his Man On The Moon trilogy.

4.5 spins (out of 5)

For the complete and unabridged version of this review, click here

Picking up where the original left off, the sequel sees a return to the North Star as Papa Wu drops some of his age-old wisdom before being devoured by a soulful beat and the return of the Chef as he plots his return to the Cuban Linx formula. Familiar Kung Fu samples signal the return of the Wu-Gambinos as Rae, Ghost, Deck and Meth arrive perfectly on cue to decapitate “House of Flying Daggers”, a gem crafted by the late beatmaker J Dilla. The architects of the original Purple Tape, Ghostface Killah & Raekwon shine brightest throughout Cuban Linx II, contributing some of their detailed and grimy narratives to Raekwon’s latest release.

Unlike the original album, which was produced entirely by in-house producer RZA, Raekwon enlists a bevy of producers including Erick Sermon, Marley Marl, The Alchemist and even the perfectionist, Dr. Dre, who all offer masterful soundscapes while still remaining true to Raekwon’s vision and the Cuban Linx sound. Raekwon maintains his namesake as “The Chef” throughout the album, never directly leaves the topic of cooking up that white unless it’s to bear his soul on the “Ason Jones”, a touching tribute and memorial to the late Ol’ Dirty Bastard, arguably the crown gem of CL2.

On the few occasions in which Raekwon calls for help outside of the Wu conglomerate, they rarely fail. Jadakiss and Styles P grace “Broken Safety” appropriately, not quite reaching Rae’s level though standing as able compliments. Beanie Sigel stands toe-to-toe with the Chef on the Icewater composition, “Have Mercy” delivering a verse that only strengthens the argument that he’s a possible legend in the making. The album concludes similar to the original: with the fantastic “Mean Streets” and the inspiring Scram Jones-produced “Kiss The Ring”. From bagging up the cocaine to the introspection of a seasoned individual, the overall greatness of the original Purple Tape is apparent throughout the sequel.

While Cuban Linx II is definitely a spectacular follow-up to the original, the expanded tracklisting of the 2nd installment alone makes for unnecessary filler, however good it may be. The vast assortment of guests ultimately weighs down CL2 (the Wu members do not count as guest seeing as how the Wu act as a unit) and none of the appearances are those that would account for a musical orgasm (example: Nas’ appearance on “Verbal Intercourse”). At the end of the day, while not touching Rae’s cinematic masterpiece from 1995, he comes dangerously close. From the graphic interrogation scene on “Sonny’s Missing” to recounting the intimate details of cooking the finest cocaine on “Pyrex Visions” (in under a minute, no less), Raekwon lives up to his moniker as “The Chef” and though the album saw numerous delays, he proves that which a chef already knows: rushing greatness can only spoil the finest product.

4.5 (out of 5 spins)

*NOTE: For the full, unabridged album review, click here.

After releasing a bevy of albums over the years, Jay-Z knows how important it is to begin an album on a high note and the synth-happy “What We Talkin’ About” is no slouch. Over the foreboding backdrop, Jay-Z dazzles like an clever boxer, issuing jab after jab, touching on grievances with foes (both old and new) while echoing sentiments of an elder statesmen feeling underappreciated for his contributions to hip hop. The horn and kazoo-laced “Thank You” features shades of his now legendary debut as his nimble flow finds him contemplating a lyrical assault on enemies before proclaiming that they did it to themselves: “Not only did they brick, they put a building up as well/ then ran a plane into that building and when that building fell/ ran to the crash site, with no masks, then inhale/ toxins deep inside they lungs, until both of them was felled”.

The lovely Alicia Keys laces President Carter with an eventful chorus as he dedicates “Empire State of Mind” to New York City, painting a detailed mural not through the eyes of his usual hustler persona, but through the eyes of a savvy businessman. There has finally been a Swizz Beatz sighting as he laces Jay-Z with heatrocks in the form of “On To The Next One”. Jay’s confidence is at an all-time high as he quiets those wishing for the Jay-Z of old (”Hov on that new shit, Niggas like how come/ Niggas want my old shit, buy my old albums/ Niggas stuck on stupid, I gotta keep it moving/ Niggas make the same shit, me, I make the blueprint”) while also pondering his next landmark move as if bringing the late Michael Jackson on stage during Summer Jam, being text buddies with President Obama and chopping it up with mogul Oprah Winfrey in Marcy Projects was not big enough.

“A Star is Born” sees Mr. Carter officially giving Roc Nation’s signee J. Cole “the look” and he arguably steals the show (a la Lupe Fiasco on Kanye West’s “Touch The Sky”) while Jay takes time to survey and acknowledge those essential to hip hop’s growth, even referencing the “Renegade” incident from the first installment in the Blueprint series (”But what Em did was silly/ The white boy blossomed, after Dre endorsed him/ His flow on ‘Renegade’… fucking awesome”). G.O.O.D. Music freshman KiD CuDi charms over the violin-infused loops of “Already Home” with light-hearted chorus duties as Jay-Z takes on lower level artists who fault Jay for their career not blowing up while also claiming that his time in hip hop is up to which he calmly replies “my legacy is secure, I’m already in the Hall of Fame”. Originally slated to appear on Kanye West’s 808’s & Heartbreak, “Hate” sees the dynamic duo of Jigga and ‘Ye taking on critics over the techno-laced track, switching up their flow almost effortlessly to dazzle and punish naysayers. Jay also enlists Pharrell Williams for his smooth crooning (and rich production) on “So Ambitious”, a sequel to their epic collaboration on Jay-Z’s original “swan song”, The Black Album.

For those that claim he rarely takes risks, Jay-Z took a HUGE risk in stamping this album with the Blueprint name in the first place. As a whole, the album is a mixed bag. Gone are the soulful samples of the initial two installments in the trilogy as they have virtually been replaced by more futuristic and experimental production. Production-wise, Timbaland is EASILY the biggest disappointment on the album, providing Jay-Z with three clunkers (“Off That”, “Venus vs. Mars” and “Reminder”) while producers Just Blaze and Bink!, architects of the 2001 installment, are noticeably absent. The closest album that Jay has concocted that would merit comparison would be Kingdom Come as Jay shows his maturity; he is no longer the street hustler from Reasonable Doubt, but a corporate hustler that is living a lavish lifestyle. Missing throughout are the personal thoughts and feelings touched during his original Blueprint, replaced by his own attempts to grasp the mass appeal that right-hand man Kanye West has successfully attained as well his need to reassure critics (and himself?) of his accomplishments and bring merit to his many references to Frank Sinatra. An artist of Jay-Z’s caliber is held to almost unrealistic standards (proclaiming yourself the greatest of all-time will do that) and while BP3 is far from matching the almost-fabled 2001 release, Jay succeeds in his underling plan: providing a new blueprint as he allows the new wave of hip hop talent a canvas to showcase their talents that will influence the art form in the years to come.

3.5 spins (out of 5)

Tremaine begins his quest for R. Kelly-status with the aptly titled “Panty Droppa” followed by “Neighbors Know My Name”, a slow burner that oozes sexuality as the singer reflects on his sexual prowess and the effects it has on his lover (and her neighbors’s sleeping habits) during late night sexcapades. Young Money Entertainment’s latest signee Drake joins Trey on the mid-tempo banger “I Invented Sex” as one of music’s dynamic duos showcase their chemistry in their attempt to seduce the female gender. Famed writer Brian Michael Cox produces the beautiful ballad “One Love”, which features a touch of rock-influence and finds the singer contemplating commitment & monogamy while “Does He Do It” sees Songz questioning a young lady on the differences between himself and her current significant other when it comes to lovemaking.

After dabbling in the art of steamy sex sessions and party tunes in the first half of his latest release, he returns to his roots and the key to a successful R&B record: love. Trey’s soft coos echo across Troy Taylor’s mellow backdrop on “Ready to Make Luv”, leading into the amazing babymaking gem “Jupiter Love” while the multi-faceted sounds of “Be Where You Are” showcase Songz’ freedom to experiment with different types of production. While fresh red/white roses signal courtship and the possibility of a blooming relationship, Trey explains that relationships end with the delivery of “Black Roses”, roses that signal the end of love or “a dying love”.

Miscues include the unnecessary inclusion of Drake’s hit single, “Successful”, swapping out Lil’ Wayne’s verse for an extra Trey Songz verse and the horrific collaboration with Soulja Boy Tell’Em & Gucci Mane on the overly cheesy “LOL (Smiley Face)”. The club banger “Say Aah” would likely serve as an excellent upcoming single, but is an obvious spinoff (or rip-off) of Jamie Foxx’s monster hit record, “Blame It (On The Alcohol)”. From the ad-libs to the subject matter, the record in question even sees guest cameo Fabolous shouting out the famed Oscar winner in his verse.

Working extensively with Troy Taylor throughout the project, Ready is very cohesive and displays how focused Trey was in crafting his third opus. At the same time, the album strays far too much between sweat-her-hair-out sex and the soft kissing and caresses that take place during intimate lovemaking sessions. Trimmed of a few records, it would easily stand as a contender next to the best R&B albums of the year (as his mixtape, Anticipation does), but it appears that Trey is not yet ready to be mentioned next to R. Kelly as a household name… not just yet.

4 spins (out of 5)

Still feeling the after-effects of battles with personal demons on Padded Room, Escape Route finds Joe (defiant as ever in his search for an escape from his depression) lyrically bombarding the orchestral “Intro” with quotables, backed by a flip of the triumphant “Requiem For a Dream”. True to form, “Anti” presents one of his concentrated “vent” sessions, even tossing a few subliminals near Staten Island before Budden eases down the somber backdrop of “Never Again”, the tortured emcee reflecting on various points in his life and career, points that he vowed he would do again, a record that everyone can relate to.

Budden continues to spill his soul on wax with “Forgive Me” as he reflects over his image while also penning a noble apology letter to Method Man resolving their “situation”, all while backed by an elegant soundscape courtesy of Jared F. “State of You” and “Good Enough”, two additional gems provided by Jared F., showcase Joe’s introspective side, the latter seeing him acknowledge and relay his faults to his fans and how it seemed nothing was ever satisfactory so he strives for better than “good enough”.

The subliminal diss “No Comment” is a clever gem that stems from a movement in which Joe started in response to “bloggers, Twitter and BuddenTv” who lecture him over his honest opinion, opinions that some would consider to be outlandish. Who is he talking to/about on the record? No Comment. StreetRunner makes another strong case to be Slaughterhouse’s go-to producer with the energetic “We Outta Here” as each member of the conglomerate shreds his composition accompanied by an autotune-laden chorus. Subtlety reigns supreme on “Clothes On a Mannequin” as 1 quarter of the Slaughter presents his testimony about the difference between public perception and reality when it comes to his life, likening his very own “Truman Show” to that of a mannequin.

Escape Route stands as yet another stellar release in Joe Budden’s ever-growing catalogue of quality (his 4th release since 2007’s Mood Muzik 3). As fluid as this project is, had the album ended with the intense thrill ride that is “Freight Train”, it would easily be a five-star release. The addition of the Young Chris-assisted “Connect 4″ as well as the Wale-featured bonus “Tito Santana” slows the album’s momentum though Royce and Budden’s chemistry on “For You” is undeniable. E.R. features the misunderstood mind of Joe Budden at his best: personable and honest, defiant yet focused and hungry as he’s ever been. Billed as a mere appetizer before The Great Escape, Route has a Mood Muzik-feel, Budden’s own “release therapy” session and an apt escape route as Joe Budden maps out his way to daylight and his own salvation.

4 spins (out of 5)

The triumphant horns backing “Sound Off” signal a new age, the arrival of the Voltron Crew. Nickle Nine leads off, as each member introduces themselves while explaining the construction of the Slaughterhouse machine before momentum picks up and each emcee proceeds to bury the record with rapid-fire, double-time flows (Joell exhibiting a blistering flow, rivaling those of even the legendary group Bone Thugs-N-Harmorny and absolutely bodying StreetRunner’s epic backdrop). The machine continues its ascent on the heavily West Coast-influenced “Lyrical Murderers”, but it is Crooked I and Joell that emphatically butcher the track as Crooked states his claim as a lyrical all-time great (”Lyrical murderer, blame Rakim / I’m a sniper, shooting my way into ya lame Top 10 / Pistol at your head if I ain’t next to Eminem“) while Joell arguably steals the show with a dazzling musical motif of bars, courtesy of the self-proclaimed “instrumental hitman“.

The sparse piano keys on “Microphone” allow for one of the best showings of the four wordsmiths (as a group) as they pay their respects to what defines an emcee before dismantling the microphone, Budden taking the W with several quotables including a gem that perfectly sums up today’s hip hop scene (”Too many blueprints, not enough architects”). Fresh off his excellent Padded Room release, Joe Budden’s influence on the group (and the album) is evident midway through the album as listeners take a trip into his mind during a drug infested episode before proceeding into the synth-heavy “Cuckoo”. The machine combines to drops some of their sickest thoughts, but this is where Joe shines and easily steals the spotlight with one monster quotable after another: “I’m on fire, trying to make the devil proud of me / sleeping in gasoline, ‘case the nigga got it out for me / Hang my baby mother off a 30 foot balcony, then look over the body like “bitch shouldn’t have doubted me”.

The four wordsmiths return for the sequel to an originally leaked record titled “OnSlaught” and along with Fatman Scoop’s hypeman duties, the quartet manage to batter Emile’s energetic instrumental, leaving destruction in their wake once again in yet another heavyweight bout. Joe Budden takes a backseat and provides prayer (hook) duties for “Pray (It’s a Shame)”, giving his fellow groupmates the chance to assume one of Budden’s greatest assets: the opportunity to get personal. A message to hip hop, Mr. Porter provides the sample-ridden “Cut You Loose” as each lyricist vents about the current state of hip hop and the changes that have occurred within such a commercialized environment. The self-titled opus comes to an almost cliffhanger ending with the morose “Raindrops” as Crooked I channels and nearly sounds like the late Tupac Shakur before the collective concludes their project with one final lyrical assault on “Killaz“.

The album itself is a pretty versatile and well-rounded offering from hip hop’s newest regime (especially to have been recorded in just under a week), one that includes semi, but not mainstream-aimed records like “The One” and “Not Tonight”, all-out battle royales in “OnSlaught II” and “Microphone” while also presenting introspective cuts like “Pray (It’s A Shame)” and “Rain Drops”. Minor drawbacks include the skits that were included (excluding “In The Mind of Madness”) as they were virtually useless and the lack of a Joe Budden verse on “Pray (It’s a Shame”) was certainly disappointing. While each emcee certainly shined, Royce noticeably appear to be on cruise-control, noticeably lacking the fire that he has had on projects as of late (The Bar Exam 2, The Revival EP, freestyles and the like). The album itself, however, features few weak bars and is chockful of quotables as each emcee shines, leaving blood on both walls and speakers alike. Listen closely… and you’ll hear the screaming lambs, right before the slaughter commences….

4.5 (out of 5 spins)

Loso begins his most daring project yet over triumphant production by StreetRunner as he addresses the press with flames, dropping clever gems like “Fuck em all, motherfuck em all / Y’all done turned a Good Guy into a Chucky doll / I woulda been ya friend to the end, bitch”. DJ Khalil continues to show why he’s one of the freshest producers around, supplying Fab on “Imma Do It” as he drops heatrocks, as hungry as he’s ever been before hopping on some boardwork done by premier production team The J.U.S.T.I.C.E. League on “Feel Like I’m Back”.

Fabolous recruits charming newcomer Keri Hilson for assistance over the grandiose “Everything, Everyday, Everywhere”, arguably the summer’s next surefire hit. The multi-talented Ryan Leslie contributes to Loso’s Wayvia the piano-driven “The Fabolous Life” before Fabolous slows the album down for the ladies. Jermaine Durpi provides soothing production for the (now) standard ladies tracks “Makin’ Love” and “Last Time”, the former featuring frequent Fab collaborator Ne-Yo (begging to wonder whether their rumored collaboration album will ever come into fruition) and the latter featuring arguably R&B’s premier hook man Trey Songz.

Sid V (of Duo Live) teams up with Fabolous for easily the album’s standout cut, the eeiry “Pachanga” as Fabolous goes in over the fine parallel line between a friend and an enemy and how easily the lines can be blurred and change. The menacing “Lullaby” showcases a grittier Fabolous, one arguably not seen since 2004’s “Breathe”, with excellent scratches of “Rock-a-bye, Baby” (of New Jack Cityfame) infused by Just Blaze into Alchemist’s concentrated soundscape. Neo-soul songbird Marsha Ambrosius makes a key guest appearance on “Stay” as Fabolous gets introspective, touching on personal memories of his father walking out on him and how he recently became a father himself and missed out on significant moments in his son’s early life before concluding his latest disc with the haunting narrative “I Miss My Love”.

While originally slated to be a concept record influenced by famed flick Carlito’s Way, Loso’s Way fails in the same vein as Jay-Z’s American Gangster: it’s more of a Fabolous album then it is a concept record (as the concept only remotely appears during the final couple of records). Fabolous incorporates a variety of producers and production is excellent throughout, but the massive amount of guests combined with Fabolous’ reliance on ladies-oriented tracks weighs this “R&B” album down in the long run. While his attempt to craft a successful concept album fails, his ability to appeal to all audiences makes Loso’s Way a success and quite possibly his best opus since his debut on the scene.

4 spins (out of 5)

The renowned crooner’s trademark falsetto signals his return on “Bad Habits” before the funky instrumentation takes over and continues onto “Cold”. The beautifully somber “Pretty Wings” continues to rise on the Billboard charts while also continuing its secretion from speakers during intimate late night sessions. Maxwell’s rich vocals echo over the supple “Stop The World” as he proves that no one can serenade females in an intimate session quite like he can.

Maxwell continues to dazzle over the uptempo melodies of “Love You” before proceeding into another of the album’s standout gems, “Fistful of Tears” as continues to sing his way back into both the mind and hearts of the female gender. Maxwell poignantly concludes Black with no vocals, only a jazzy instrumental in “Phoenix Rise”, metaphorically acting as a symbol of Maxwell’s resurgence and marking the close of the first installment in the Blacksummers’night trilogy. Backed by a 10 piece band throughout the album, at eight songs, an instrumental and a rumored bonus cut featuring Nas, the exceptional Blacksummers’night acts as a concise and able teaser until Maxwell’s supple vocals reappear next year with blackSummers’night.

4 spins (out of 5)

I’ve always felt that when artist makes an album it should be personal and bring you insight into the artists’ life, explicitly detailing both the up and downs of their tribulations. However most rappers clearly don’t agree with me because for the most part their retail effort contains the exact same lyrical content as their mixtape material, just with maybe higher production values and more R&B hooks. Thankfully Maino manages to buck this trend with his debut album If Tomorrow Comes, a biographical album which chronologically depicts his life starting from the day he was released from jail after serving a 10 year stretch up until the very present, where he feels good enough to give away a Million Bucks as he declares on the the Swizz Beatz assisted introductory track. If Tomorrow Comes actually plays out similar to a real-life movie, complete with director commentary from Maino himself. Back To Life is the first song on the album chronologically, it sees Maino leaving jail and revealing his plan to leave the street life behind him and take a shot at becoming a rapper. Unfortunately things don’t go immediately as planned as Main is forced to fall back in to a life of crime, the result is songs like Soldier, Remember My Name and Gangsta featuring B.G., all of which boasts menacing beats alongside equally hard-hitting lyrics.

Things take a humbler tone with the beautifully composed All Of The Above, produced and co-written by legendary producer Just Blaze. T-Pain lends his vocals for hook and Maino does a particularly exceptional job living up to the quality of the beat. The final product is a phenomenal track, one that perfectly portrays Maino’s strength and determination to make something out of his life, the hunger in his voice alone is enough to draw listeners into his shoes and get behind him as an underdog. Tracks like Floating and Runaway Slave (which shares the same instrumental as Joe Budden’s ‘Pray For Me’) shows Maino’s sublime lyrical prowess and proves that he deserves to known as much more than just a hard-talking-gangster-rapper which I’m sure you’ll agree we have enough of. Hood Love featuring Trey Songs is a smooth track which has major radio potential as does the J.U.S.T.I.C.E League produced Here Comes Trouble which is guaranteed to get the clubs jumping. Kill You is by far the most disturbing track on the album as Maino graphically describes his fantasy about killing his baby mother in a manner that makes me feel like he might one day actually do it. The final cut on the album is the victorious Celebrate, a happy ending to a tragic story. Celebrate perfect caps of a fantastic album as Maino sounds genuinely grateful to be in the position he’s in now, even going as far to spend 6 minutes at the end of the track expressing gratitude to all the people who made his current life possible.

If Tomorrow Never Comes is one the best albums I’ve heard in a while and is one of the few albums I can listen to back to back without skipping a track, sure it could have done without the 2 year old Hi Hater and the slightly corny sex-tape inspired Let’s Make A Movie but the quality of the the rest of the album more than compensates for these minor mis-steps. Maino was completely off my radar before but he was successfully won me (and hopefully many others) over with his fantastic autobiographical debut, Maino is definitely a star in the making, I just hope enough people realize it in order for him to truly shine.

5 mics (out of 5)

His self-titled debut begins on cue with “That Body”, an interesting concoction so obviously spawned from lyrics of his monstrous hit single “Birthday Sex”. The aforementioned raunchy tune is up next, serving as a steamy lullaby that should be a staple for future intimate birthday celebrations. The awful stop and go vocals on “Runway” are followed by “Raindrops”, one of the better cuts on the album.

Backed by a soft backdrop mixed with a heavy drum pattern, Jeremih drops infectious vocals on this smooth number, but the track itself would have been better served without Jeremih’s rapping aspirations. “Starting All Over” sees one of Def Jam’s latest signees doing his best Stevie Wonder impression while second single “Imma Star (Everywhere We Are)” stands as a solid tune, but sees the young kid feeling himself just a little too hard. “My Sunshine” stands as arguably Jeremih’s best vocal performance on the entire album, a true gem in its own right.

The majority of the album as a whole though, appears to be spinoffs of records done by other artists. “That Body” is spawned from his own “Birthday Sex”, “Birthday Sex” is this year’s “Bed” while “Hatin’ On Me” feels like the R&B sequel of rapper Maino’s “Hi Hater”. The album ends on somewhat of a high note though with another possible single choice in the catchy “My Ride”, the uptempo number “Buh Bye” and as a bonus, an uptempo rendition of hit single “Birthday Sex”.

Jeremih is underwhelming at best. While the guy certainly has the talent, his debut project was doomed to fail (which probably explains the lack of promotion he has received from his label thus far). Most labels will not back a project they know will be a bust. The album has a whole seems to have no singular focus; just a short collective of tracks. It does not help in the fact that the album breaks no new ground and covers generic and essentially, retread subject matter. While he does have the ability to make a name for himself, for now it appears that Jeremih is on track to forever be known as “Mr. Birthday Sex”.

2 spins (out of 5)

Aubrey “Drake” Graham has come a long ways since his role as the physically disabled hoops star from Degrassi. Following the release of his initial mixtape, Room For Improvement, as well as the critically acclaimed Comeback Season, Drake caught the eye of Young Money CEO Lil’ Wayne who became a mentor of sorts to Graham. February 13, 2009 marked the

release of the highly-anticipated So Far Gone (originally scheduled for release a day before, but pushed back because of mixing down problems), which spawned 8,000 downloads within its initial two hours of release. The only question is: was it worth it?

So Far Gone commences with the soothing “Lust For Life” as Drake, in an almost dream-like state, touches on his ambitions and plans in life. “Houstatlantavegas” extends the lush vibe established on “Lust” as Drake alternates between both rhymes and vocals as he echoes his sentiments on the story of a black girl lost before Trey Songz and Lil’ Wayne join Drake on “Successful” as the three wax poetics on their strive for success in the form of “the money, money and the cars, cars and the clothes, the hoes”.

“November 18th” serves as an apt tribute to the late DJ Screw as Drake pays homage to the innovator of “chopped & screwed” while showcasing his talents by alternating between singing, rhyming and finally, a few chopped & screwed bars. Underrated crooner Lloyd accompanies Drake on the steamy “A Night Off” as the two serenade their respective ladies by taking a night off from the studio to spend some time during the course of a romantic evening. The passionate “Say What’s Real” serves as the centerpiece of Gone as Drake hops on Kanye West’s instrumental and successfully dismantles the record, painting a vivid sketch of his his surrounding environment as he examines and ponders what’s really real.

Drake continues to show his versatility as an artist as he jumps on overnight sensations Lykke Li’s “Little Bit” as well Santigold’s “Unstoppable” respectfully, melding his presence so well with the records that no one would know that he did not appear on the original. The latter part of So Far Gone appears to be designed to appeal strictly to the female gender with cuts like the heartfelt “Sooner Than Later”, “Bria’s Interlude” (most likely referring to model Bria Myles and the now-monstrous hit single “Best I Ever Had” before So Far Gone comes to a precise close with a simple champagne cork pop on “The Tourist Outro“.

The music and overall flow of So Far Gone allows it to stand as arguably one of the greatest mixtapes ever created, the one bump in the road being the questionable inclusion of “Let’s Call It Off” featuring Peter Bjorn and John. Chalk it up to Drake’s confidence getting the better of him for once. In reality, it stands as more of an album than many of the major label releases that are sold every year. Mixtapes have forever been used by artists for “promotional use only” so it is even more amazing that without a major label deal or the release of a debut opus, So Far Gone has garnered two charting singles in “Successful” and the (in)famous “Best I Ever Had” as well as a buzz not seen since Lil’ Wayne’s release of Tha Carter III or even 50 Cent’s Get Rich or Die Tryin‘, a buzz so big “he could probably sell a blank disc”.

5 spins (out of 5)

The Ecstatic begins Mos’ return to prominence with “Supermagic” as the Boogeyman bursts out of the gate with his unhinged brand of lyrical genius, declaring his return before switching up his flow to perfectly compliment the tuba-laced bassline of “Twilite Speedball”. Mos enlists the legendary Slick Rick to join him on “Auditorium” as the two drop conscious gems over Madlib’s almost mesmerizing backdrop (the latter dropping a show-stealing narrative).

“Priority” and “Quiet Dog (Bite Hard)” act as lyrical exhibitions for Mighty Mos before he blesses the Middle-Eastern influenced “The Embassy” with his lyrical mindstate. “Pistola” is the ever-popular “love” song that every emcee HAS to do, but leave it to Dante to leave his listeners pondering: Is he talking about the gun or the woman?

“Workers Comp” sees Mos flipping his socio-political wordplay to address the current state of the American economy while the sincere “Roses” features Mos going into a short, but sweet tour de force. Mos Def and Talib Kweli reunite as BlackStar on the exquisite “History” as the two potent lyricists trade verses over the late J. Dilla’s excellent production and memories of nostalgia arise of their time as BlackStar. The Ecstaticcomes to a fair conclusion with one final lyrical exercise in “Casa Bey”, Mos’ most recent single.

The Ecstaticstands as a great opus to add to Mos’ (spotty?) catalog and it stands, virtually, without faults. When the official tracklisting dropped, comparisons to Madvillian’s Madvillany were sure to occur. Most of the cuts are rather short and the conscious wordplay compliments the odd, yet sexy production. The format of The Ecstatic is a bit off; it flows flawlessly between tracks as if it were one huge track, but the eclectic nature of the production makes the flow purely physical in its flawlessness.

The biggest problem with The Ecstatic lies in the same nature as the one Nas has to deal with: the eternal sophomore jinx. For the remainder of his career, all of his works will be compared to Black On Both Sides (or if you want to get technical, Mos Def & Talib Kweli are BlackStar). While The New Danger & True Magic failed to reach such a platform, The Ecstatic is the closest that Mos has gotten to meeting the bar that he set with Both Sides. If this is a taste of things to come from one of New York’s “Thieves in The Night”, then Mighty Mos may be nearing that apex, but until then The Ecstatic stands as his strongest effort since his immaculate debut.

4 mics (out of 5)

For the full, and unabridged review of The Ecstatic, click here.

It’s been a decade since the first Blackout album. Ten years is a dumb gap to take in the music industry. Remember you’re only as hot as your last hit, so you do the math. As I listened, I knew it would take a promotional miracle to get these guys back in the spotlight. Overall the album is a decent effort. “I’m Dope N*gga” was structured around a hard knocking base line. Once you hear it you become a student of the serious flow about to enter the track. “A-Yo” as we know was one of the singles actually released and is definitely one of the funny party tunes on deck.

“Hey Zulu” is moderately catchy and something that you would typically expect from a Meth and Red collaboration. “City Light” has a great potential. My only complaint is that its influence is to sternly southern. It fails to boost the east coast superstars leaving them in the shadows of Bun B. My two favorite joints are “Father’s Day” this jazzy track is a smooth creation. It’s what you would get if hip hop shook hands with Curtis Mayfield. This should be considered head music and a deep attempt successfully placed in tact. My other would be “Mrs. International” this is the total opposite of the hyper tongue lashes that we were once exposed too by this partnership. It clearly demonstrates that Method Man and Red Man have matured. The song is well polished for the ladies and is truly grown.

Also it’s worth mentioning that there are some iconic hip hop features through out the album such as Keith Murray, Erick Sermon, Raekwon, and Ghostface Killah. In the end The Blackout 2 wasn’t half bad at all, but it probably will not make it onto the radar of mainstream hip hop followers. The group does however still compliment each well with their fitted delivery. The album doesn’t tote the energy that we’re use to experiencing with the two, its hard to say whether that’s good or bad. I think all though this was a nice try to win back an audience in the music industry, this alone simply won’t be enough.

Official Track List for the Blackout 2:

1.      B.O.2 (INTRO)
2.      I’M DOPE NI**A
3.      A-YO – feat. Saukrates
4.      DANGERUS MCEES
5.      ERRBODY SCREAM – feat. Keith Murray
6.      HEY ZULU
7.      CITY LIGHTS – feat. Bun B
8.      FATHER’S DAY
9.      MRS. INTERNATIONAL (SKIT)
10.    MRS. INTERNATIONAL – feat. Erick Sermon
11.    HOW BOUT DAT – feat. Ready Roc & Streetlife
12.    DIS IZ 4 ALL MY SMOKERS
13.    LOCK DOWN (SKIT) – feat. DJ Kayslay
14.   FOUR MINUTES TO LOCK DOWN – feat. Raekwon & Ghostface killah
15.   NEVA HERD DIS B 4
16.   I KNOW SUMPTN – feat. Poo Bear
17.   A LIL BIT – feat. Melanie Rutherford

The DJ Scratch-produced “Wheel of Fortune” opens with a symphony’s conduction of “back on my bullshit” before proceeding into an old school backdrop that acts as a masterful “soundcheck” to open Rhymes’ latest opus. Recent Def Jam signee Jadakiss and Cash Money’s own Lil’ Wayne stop by to assist Busta Rhymes on the LP, trading bars with the crafty legend and forcing emcees to “respect their conglomerate”.

The highly controversial ode to foreign riches, “Arab Money” features etherboy Ron Browz and serves as a solid, catchy single, but the numerous remixes (and the idiotic dance that accompanied the track) have since made the track essentially redundant. DJ Scratch comes through and provides production again, this time on the hilarious “I’mma Go & Get My…”, which acts as a conceptual record based off the lucky lottery numbers comedian Mike Epps (who also appears on the cut) used to hit the lottery in the 2002 comedy “All About The Benjamins“.

Memories of his 1999 Janet Jackson-assisted hit “What’s It Gonna Be?” arise on the syrupy “Sugar” as Jelly Roll contributes an excellent guest spot as well as a slow clapping backdrop from behind the boards as Busta seduces the opposite sex with lyrics like “I wanna taste your body / I wanna taste your face / I wanna taste your breasts, taste below your waist (*slurps*)” that is sure to lead to some moist passenger seats. Pianos keys grace the heartfelt “Decision” as Trevor Smith reflects on past memories, accompanied by an all-star cast consisting of multi-talented superstar Jamie Foxx and R&B legend Mary J. Blige as well as relative newcomer John Legend and Chi-Town’s own Common, who provides one of his trademark guest spots as all perfectly compliment Busta.

After being so highly anticipated and suffering numerous pushbacks, it is not a wonder that Back On My B.S. sinks with a thud. There are a few gems littered throughout, but the album fails to establish any type of consistency. The album itself features a vast amount of guest appearances (never a great sign) as well as some horrible cuts including the (now) mandatory cliche T-Pain cut with “Hustler’s Anthem ‘09″ and the massive posse cut “We Want In”. Also noticeably missing are Busta’s vintage club hits (”Don’t Touch Me (Throw Da Water On ‘Em)”) as well as other previously leaked bangers (the Ludacris and Lil’ Wayne-assisted “Throw It Up”, the DJ Khaled and T-Pain-featured “Blown”, “I Got Bass”). It turns out that after the release of his highly underrated seventh LP, The Big Bang, there was only one thing that “the godfather of the club banger” could provide with an album titled Back On My B.S.: complete and utter bullshit.

2 mics (out of 5)

“Bagpipes From Baghdad” showcases one of Shady’s best wordplay performances on the album as he takes aim at celebrities Mariah Carey (and Nick Cannon, who gets caught in the crossfire) over Dr. Dre’s noticeably evolving production, this time enlisting the use of Irish bagpipes. The poppy “We Made You” finds Shady taking his comedic shots at female celebrities with his frantic flow bouncing all over Doc Ish’s production. The thumping “Medicine Ball” sees Shady inviting the world to continue to hate him (again), his lyrics engulfed in multiple syllables and graphic as ever: “Drop kicked the bitch before her second trimester / Performed a home abortion with Dexter then I guess I’ll / Dig her fetus out with a wire hanger then digest her”.

A brief attempt by Paul at being the voice of reason advances into the menacing gem “Stay Wide Awake” as Slim Shady lyrically dazzles and paints his own twisted mural (”Soon as the flow starts, I compose art like the ghost of Mozart”), inviting listeners into his own maniacal thoughts. The short “Mr. Mathers” reveals why Slim Shady has returned so suddenly: it is due to Marshall Mathers‘ overdose on sleeping pills as a result of his insomnia.

Eminem makes his way to the forefront, allowing listeners into the depths of his mind on the melancholy “Deja Vu“. “Deja Vu” sees him reliving his pill addiction as well as touching on his absence from hip hop and potential death as the result of an overdose on methadone (previously reported to be simply a bout with pneumonia). Aided by a beautifully morose sample, the aptly titled “Beautiful” signals the return of Marshall Mathers, hip hop’s own “tortured artist”, assessing his career as well as contemplating life outside of hip hop and questioning whether anyone would want to walk a thousand miles in his shoes as he would truly “be one tough act to follow”.

First single “Crack a Bottle” acts a harbinger, signaling the return of the “platinum trio” (Eminem, 50 Cent & Dr. Dre) with 50 offering only a whimper from the self-proclaimed 3-Headed Monster before Relapse concludes and reaches its pinnacle with “Underground”, signaling Eminem’s theatrical resurrection (”Dre, I’m down here / Under the ground, dig me up / Broken tibias, fibias, yeah fix me up”) as well effectively acting as the calm before the storm, the release of Relapse 2 later this year.

Relapse acts as a concept album as Eminem relapses into his alter-ego and his true self, detailing the void his absence left in hip hop, what he’s been up to as well as his bouts with pill addiction. The cinematic feel of the album allows it to flow well as a whole (the only mishap being the questionable inclusion of obvious Detox reject “Must Be The Ganja”). Lyrically, Eminem is as sharp as ever, proving that the lackluster Encore was a fluke (or an intentional brick) and showing no signs of complacency while his experimentation with different flows on cuts like “Stay Wide Awake” and “3am” aid the argument that his is arguably the best in the business.

In an interview leading up to the release of Relapse, Eminem defined the concept of the album as a relapse back to his first two albums and Relapse largely stays true to form as it features Slim Shady’s playful antics as well as Marshall Mathers confronting his inner demons and planning his return to hip hop. In the end, Relapse serves as only half the piece of the puzzle as well as a tasty appetizer before Eminem relapses again later this year.

5 mics (out of 5)

There was no place to go but up for Chrisette Michele Payne. After breathtaking cameos on albums by two of hip hop’s greatest (Jay-Z’s Kingdom Come and Nas‘ Hip Hop is Dead), Chrisette Michele released her hopeful debut, I Am, to much critical acclaim. 2008 saw only two cameos by Michele, on The Game’s “Let Us Live” and The Roots’ “Rising Up”, as she was in the studio working on her followup album. Enter Epiphany, as Chrisette Michele touches on various aspects of relationships while at the same time showing the numerous emotional layers that women possess.

The album begins with slow knocks and the summer sounds of Chrisette’s first single, “Epiphany”. Chrisette Michele breezes through the pastoral-influenced production, crooning “I’m leaving” to a cheating lover that she feels has deprived her living her life. The magnificent ballad, “Notebook”, should undoubtedly be the songstress’ next single as she spills her heart about a crush as she can’t find the strength to tell him how she feels so she simply “writes in her notebook, X’s and O’s, beside his name”.

“Blame It on Me” showcases Ms. Michele and arguably her best vocal performance on the album as she takes the blame and responsibility for a failed relationship even though the two tried their hardest to make it work. Chrisette’s sultry vocals personalize the push and pull tug-of-war that relationships can become on “All I Ever Think About”, one of the album’s standout cuts.

“Another One” finds Chrisette detailing the insecurity of a significant other and how he switches his demeanor when his friends are around (something that women can relate to) before handing him an ultimatum: get it together or she’s on to “another one”. The uptempo “Fragile” serves as another potential single and yet another standout record as Ms. Michele begs her man not to leave or tell her no because “her heart is fragile”.

The comparisons to Ella Fitzgerald come full circle as Chrisette croons to her ideal man, her own “Mr. Right” while “Porcelain Doll” stressed female empowerment as Michele firmly states that while she appreciates all the love and attention, she is not “simple, nor naive” and that she is a real woman, never a porcelain doll. Chrisette’s sophomore disc, Epiphany, comes to an excellent close with the piano-laced ballad “I’m Okay” as Ms. Michele says goodbye to a relationship, allowing only their memories to comfort her .

Epiphany features a little of everything from smooth ballads like “Notebook” and “On My Own” to uptempo numbers like “Playin‘ Our Song” and “Fragile” while at the same time being short, concise and sweet. Like her debut, the album finds Chrisette Michele solo throughout the album except for a sole duet with R&B crooner Ne-Yo, whose influence is evident throughout the entire album. Epiphany comes as a HIGHLY recommended purchase from me and it arrives just in time for the summer. After such an immaculate debut, it would seem almost impossible for Chrisette Michele to avoid the sophomore slump, but she finds a way by simply catering to an age old rule: just create great pieces of music.

5 (out of 5 mics)