Big Test "Test Drive" Album Review

The first thing that stood out to me was the production throughout the album. Each song is a strong display of instruments and equally strong arrangment. Most albums follow a blueprint of previously successful sounds and production, but "Test Drive" is full of unique styles and I love that about this album. The vocal samples in "Nickel City Anthem" are dope as hell - props to CEO Charles on the production. I think "Crime of Passion" might have been my favorite, but the production seemed muffled. I would love to hear this record re-engineered to bring out those instruments and let 'em stand out. If that's a sample riding out at the end - I want to know where it came from because it is fly! The vocal guest on "Victory" really stood out as well. There are gems like that throughout the album though. "Ready To Choose" jumps out right away with the vocals from guest feature Dominoe Ch'Yea. Of all the tracks on the album I think "Platinum Room" is my favorite. The production is real smooth, the chorus is dope, and I liked Big Test's cadence. The layered vocals we're blended perfectly and helped to make the song stand out. "Platinum Room" will be going in my mixes.

"Hold Up" suffered due to the engineering again with the beat seriously muffled under the other instruments and the hooks over-saturated with effects. Bring the beat up and let that snare snap, tweek the hooks and mix this record down again - it's easily a top pick. Don't change anything about the production or the delivery on the hooks and verses...don't change anything except for the engineering and this is one of the best records on the album. "Crazy Deranged" started out real dope, but then twisted into a warp speed hook that threw me off before the track settled back into the groove that kicked it off. Once I figured out the hook though...I was hooked and would easily say this is top pick. I really dug Big Test's delivery in "Crazy Deranged". "Conceited Girls" has a dope minimalist percussion vibe, but again suffers a poor mixdown.

My overall take on "Test Drive" is the production is dope. Stand out dope. Unique Styles dope. You can listen to each song and hear guitars, organs, horns, synths, piano, strings...a full range of instruments. One more note on the production is how each song is completely different but still cohesive with the overall flavor of the album. The song arrangements are impressive and should be noted. I love to hear tracks that are more than a simple loop running non-stop for 16 bar verses and repetitive hooks. Big Test did an excellent job of selecting features that contribute to each song, rather than just burying his hard work under the weight of everyone else trying to get their shine on. Lyrically Big Test is solid, but I think he would definitely benefit from adding adlibs behind his bars. Not to take away from his lyrics or his delivery/cadence, but to add more depth and personality to his songs. I hear a lot of albums from artists that seem rushed or just lazily thrown together, but "Test Drive" is polished and well constructed. It's possible the engineering knocks are simply due to compression with the conversion to MP3 and down to the zip file I downloaded. Even if it's a matter of engineering this is an issue that can be fixed with a new mix down.



You can get the full album for free on Big Test's website bigtestmusic.com and be sure to get your twitter game and follow Big Test @BIGTESTMUSIC. For bookings contact bigtest142@gmail.com.

SWV "I Missed Us" Album Review

I have to admit this new SWV album "I Missed Us" snuck up on me. I had no idea this was even brewing so I was excited to get the album and finally push play. "Co-Sign" is dope with a throwback breakbeat vibe although I have to say...the scratching at the beginning was pedestrian at best. Regardless, the vocals are on point and I love the flavor. "All About You" jumps off like a breakbeat celebration with Bob James "Take Me to the Mardi Gras" and for the life of me I cannot remember the song title of the other breakbeat! It felt like a block party 'bout to jump off. "Show Off" has a throwback vibe too, but not because of the breakbeats - SWV recycled classic lines from throwback R&B records right off the jump with the Jodeci "Come and talk to me". Biggest turn off of the song was A.X.'s line "with the candles lit'ed". If you get a feature on an SWV album PLEASE come correct with your wordplay.

"Everything I Love" sort of stumbles in with the drum fill and sounds like another breakbeat driven song is coming, but then it breaks down to more of a ballad vibe. "Do Ya" is another record with a throwback vibe and by now I'm treating the album more like a mixtape - complete with the typical airhorn and fatman scoop type hosting and laced with a ton of samples. I'll have to sit down and expose all the samples flipped into this album later. You'll easily recognize Pattie Labelle and Chaka Khan influences. Thankfully we didn't get the airhorns and Fatman Scoop-like screaming all over "The Best Years". I can only take so much of that before I feel vomit creeping up the back of my throat. Vocally, SWV delivered and I dig the sample based production, but hated the bad mixtape crap that somehow dominates the album early with airhorns and that ridiculous Fatman Scoop-screaming. Thankfully as a DJ I can simply chop that crap out of my mixes and speaking of mixtapes...the 2:18 mark of "Keep You Home" is ABSOLUTELY going to be chopped and looped by me into an upcoming mixtape.

Clearing out the mixtape flavor of the early tracks, the album settles in for classic 90's R&B and is really a great album. If you remember SWV then you will love this album. If you don't remember SWV I think you will still love this album (assuming you're a fan of R&B). It's refreshing to hear a group of women harmonize and drive songs with their vocal talents. I know I can't give credit to SWV for the genius of "If Only You Knew", but SWV truly blazed this cover vocally. I love this song (both the original and the SWV remake). Overall I would have to say SWV delivered a gem with this album. I know I harped about the airhorns and the damn Fatman Scoop screaming (and that shit IS ANNOYING), but as a collective - I like the album and will be chopping some of it in my mixes. I'm not as high as so many others on this album to the point of declaring it a top album of 2012 though. It's great to hear SWV back again and the album has some dope tracks, but the cover songs and the over-use of recognizable samples AND the mixtape noise/hosting pieces knock it down a notch in my book.



Tracks Listing :
SWV – Co-Sign (3:44)
SWV – All About You (3:42)
SWV – Show Off (Feat. A.X.) (3:45)
SWV – Everything I Love (3:34)
SWV – Do Ya (Feat. Brianna Perry) (3:30)
SWV – The Best Years (4:56)
SWV – I Missed Us (3:34)
SWV – Better Than I (3:36)
SWV – Keep You Home (3:37)
SWV – Time To Go (2:45)
SWV – Use Me (3:08)
SWV – Love Unconditionally (3:59)
SWV – If Only You Knew (5:10)

"COSIGN" Official Video


BTS of the "COSGIN" Video Shoot


SWV Official Website: therealswv.com
SWV on Twitter:
@THEREALSWV
@LeleeLyons
@Only1Coko
@TajGeorge

All Booking & Media inquiries: Management at 21Voices@gmail.com

Epademik "1918" Album Review

"1918" jumps off with the creepy "So It Begins" introduction with a narrative describing people dropping where they stood and simply dieing overnight. I'm not a history buff, but I have to give props to Epademik for pushing me to google everything I could find about tragedy in 1918 to see if I could identify the tragic events described in the theatrical intro. I have to ask Epademik if this is all about the Great Pandemic of 1918 and if so, why?

I immediately started bobbin' my head to the classic west coast bounce of "All of You" and the Dr Dre samples setting the tone within the first four bars. Everyone needs a "fuck all of ya'll" theme song at some time in their normal grind and Epademik delivers with "All of You".

"Jesus Syndrome" is definitely a highlight of the album with it's weeping guitar riffs riding over a classic west coast bounce accompanied by strings and bells ringing in a distant right channel while Epademik speaks on being true to self.

I'm not normally a fan of intros and interludes and skits, but without a doubt the movie that plays out in the "Door to Door" skit is epic and is a perfect introduction to "Pass" which builds with a dark piano bassline into Epademik flipping his lyrical acrobatics high in the air like a middle finger stabbed in the eye of wack rappers.

"85 Percent" is another highlight of the album with dope production behind Epademik speaking truths that most pedestrian rappers are truly just full of shit and lieing about all their "accomplishments" and trappings. What really makes "85 Percent" stand out are the arrangment flips sprinkled throughout the production along with the twists in Epademik's cadence and his comical wordplay.

"Good Shit" is the best bet as as a lead single from the "1918" album with dope production riding behind Epademik with Katt Williams samples driving home the point of the record. "Good Shit" really finds Epademik in his comfort zone lyrically as he slides from bar to bar with ease as he delivers what I find to be his best work on the album.

"Sound Like" is so odd with its production that I was fully expecting George Clinton would splash down with his Funkadelics. The record is screaming for that funk to push it over the top.

"Alzhimer" wraps up the "1918" album with the same basic theme as "85 Percent" as Epademik again proclaims his disdain for wack rappers and the dumb shit they lie, boast, and brag about.



Side note: I did ask Epademik about the 1918 title and theme and I was on the right track. Here's how Epademik speaks on it

"1918 was the largest epidemic that hit the world. Killing some 50 million people, some people would be dead within days of becoming infected. So thats what I felt this album represents... Epademik spreading globally to all walks of lifes & just like the epidemic of 1918 it seemed to be unstoppable. Im a huge history buff. I like to educate muthafuckahz while spittin."

Get familiar with Epademik at www.epademik.com and on twitter @Epademik

Masspike Miles "Say Hello To Forever"

If you are not familiar with Masspike Miles and his smooth R&B then you're in for a special treat. You thought Maybach Music was all about rap and Rick Ross? Get familiar with Masspike Miles and press play on "Say Hello To Forever". The title track leads in with some sexy saxophone under the production from DJ Pain and Masspike slides right in to launch the project with an immediate top pick. Selecting just a few top picks from this album is difficult since the majority of the album is dope from top to bottom. I was eager to hear "Priceless" (produced by Roc & Mayne) to see how Raekwon would pull off rappin into a R&B "love" record, but Raekwon and Masspike Miles make a great combination and nailed the record. "Let You Go" has a throwback vibe that reminded me of a blend between Smokey Robinson and John Legend. I really liked the way Masspike didn't try to overpower the Xtreme Beatz production, but instead laid back and just floated along with it. Smooth. "Candy Store" continues with the fly vibe under the production of Roc & Mayne once again. I was diggin' "Love Come Down" (another Roc & Mayne production) until the chorus comes in and gets real loud with almost a soft rock sound similiar to old throwback Chicago or Journey albums. I'm not a big fan of that sound. "Imprefections" with Fred the Godson is definitely another top pick and possibly my favorite from the album. It's the first record that leads off with rap and Fred the Godson has such a dope voice that its a perfect boost to the energy of the entire project.

I need some help from all the DJs and producers that dig in the crates; please remind me where the breakbeat from "Shattered Picture" comes from? You've heard the beat a hundred times EASY, but I'm drawing a blank on the original artist and song. Regardless, "Shattered Picture" is definitely another top pick from the album. Props have to go out to Ikey Boy from the Inkk Well Studios for the mix and engineering which really stands out with the crisp drums and especially the snare of "Shattered Picture". The beat riding under "Hard Rain" is immediately recognizable as the classic Barry White "I'm Gonna Love You Just a Little More Baby" and even though the break has been sampled literally hundreds of times it's still dope. "Departed" has crossover appeal, but not my vibe so I had to just let that one ride. I like accoustic guitar usually, but I think that PM Dawn-style beat (especially the snare) just irritates me.

"Moonwalk" is surprisingly the first record with any real thump under it, thanks to the production from Cozmo. If you know classic Rose Royce you will immediately recognize the signature "Wishing on a Star" melody in "Moonwalk" and if you really dig in the crates you'll recognize the Peter Paul and Mary "Leaving on a Jet Plane" which was actually written by John Denver in 1966. Masspike does a nice job of twisting the words, but the originals can still be recognized. "Cover Me (I'm Going In)" is the only song from the album that is not written by Masspike, with the credits going to Real Smart Mouf/Tye Huntley.

If you're looking for the best single-potential record from the project I would have to say "Flatline" featuring Wiz Khalifa is that record. It's up-tempo enough to get some spin and has a edgier street flavor. Of course bringing in Wiz Khalifa will always help to boost any record, but even without Wiz "Flatline" has single (specifically radio) potential.

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An interesting side note on "Say Hello To Forever" revolves around the artwork. I hit Masspike Miles on twitter asking about the significance or symbolism of the artwork and he shot out a link to Saint Cecilia, the patroness of musicians. After reading about Saint Cecilia and her martyrdom I am even more impressed with the efforts Masspike Miles put into this album.



Get connected with Masspike Miles on twitter @MasspikeMiles and be sure to visit masspikemiles.com.

Saigon "Warning Shots 3: One Foot In The Grave"

Saigon's "Warning Shots 3: One Foot In The Grave" finally dropped! I've been waiting for this one every since the first leaks started running out and Saigon drove the wait to a frenzied pitch when he leaked the "Women Are The New Dogs" right before the drop date. If Saigon is going to get radio spins from this project, "Women Are The New Dogs" is probably the most likely to hit the airwaves. I think its the best record in the batch with production from Red Spyda and the Jovan Dias feature.

One of my favorites is the "BBB (Real Niggaz Never Die)" with the classic Buju Banton sample riding throughout the Sire-produced track. Of course as a DJ I always favor any track that includes a DJ scratching; even if it is minimal its a dope touch. I also like the "I Am 4 Real" record with the Outkast sample. The lines "These mutha fuckas might get more listens than me, but they ain't got a quarter of the authenicity" really ring true for Saigon and ring even louder in the face of all the artists that like to rap that phony shit. "Hungry" is another top pick and again another Sire-produced record. I really want to know where Sire ripped that piano loop from - it's dope. I saw on twitter that the video for "Hungry" is supposed to roll out Thursday so I'll be watching for that.

"Bring Me Down Pt 3" with Joe Budden really brings out the cadence capabilities from Saigon and is the only record in the project that is produced by Just Blaze. This made me hit Saigon on twitter and ask why the "Just Blaze Presents" title, but Saigon explained that Just Blaze is the hosting voice that you hear at the end of tracks. Knowing that, I have to give props to Just Blaze for not branding the project by screaming all over the music and burrying it. For DJs like me this is a big deal because I can run the tracks right into my mixes without waiting for "no-DJ" versions.

I know that Rick James is responsible for all the vocal chops in "Kinky", but Sire pitched the samples just right so that I had to listen a few times to figure out if someone came in to sing the Rick James lines. Props once again to Sire for his production skills.

"Say Yes" is dope for the use of breakbeats (which is really apparant throughout the project), but more-so for the storytelling Saigon lays out in the record. I fully expect a whole grip of "remixes" to "Say Yes" since Saigon left so much beat laid out naked at the end of the track. If you've ever been a fan of Public Enemy, tell me you weren't waiting for the 'buzz' to rub and Chuck D to jump in with "Don't you know, don't you know"!

I didn't like "Yeah Yeah" with that west coast swing on the organ and the throwback snare hits. The breakdowns are dope though. Didn't really dig "Come Again 2012" either. I'm on the fence with "When Did U Get Hot". I dig the flow and the message is one I can definitely see myself using as a catch phrase, but I'm not a fan of the electric guitar or the production overall. "War and Chaos", "Where to Find Me", and "Learning as We Go" are ok, but not highlights from the project.

Green Lantern comes through for production on "Cutdabullshit, Cutdabullshit" and Saigon drives the beat with the perfect cadence and flow. The only knock on the record is it goes too long at 4:06 and would have been a lot better trimmed to under 3 minutes. "Another Man Down" really had me amped up like it was some old MOP/Onyx shit. There's a good chance somebody is going to get his face stomped in with "Another Man Down" as the soundtrack blaring in the background. Then I'll walk away singing that "rum-pum-pum-pum" haha - oh wait...nevermind. The final track "Mr. Cool" is dope as hell with some killer-pimp vibes and Saigon driving the nail in the coffin for a load of wack rappers. I think that is probably the whole appeal to "Warning Shots 3: One Foot In The Grave" for me at least. I'm constantly hearing people complain about the lyrical downfall of Hip-Hop, but Saigon proves that is bullshit. You want Hip-Hop? Wrap your ears around Saigon's "Warning Shots 3: One Foot In The Grave".

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Get connected with Saigon on twitter @TheRealSaigon and be sure to visit www.saigonnation.com

Chalie Boy "No Time To Lay Off"

Chalie Boy returns with "No Time To Lay Off" and delivers an instant classic Chalie Boy album to add to his massive catalog of work. If you're not familiar with Chalie Boy - this is an excellent introduction with Chalie Boy offering his singing and rapping skills blended in a perfect storm of dope music for the clubs, the radio, mixtapes, Saturday night house parties, and Sunday afternoon barbeques. Listen to "T.E.X.A.S." and tell me you don't hear that bumpin down the block out the trunk of every third car slidin' by or playing loud at the BBQ while you slappin dominoes or playing spades? As soon as that Con Funk Shun "Loves Train" sample drops you know you know it's a hit record. I can already tell you the "Wake It Up" record with Slim Thug and Beat King goes big in the clubs and is easily one of my favorite singles from "No Time To Lay Off". Another favorite of mine is the "It's Whatever" record where Chalie Boy absolutely stunned me with his delivery and cadence. I knew Chalie Boy was the most versatile artist I know, but I never knew he could flow like that! Another song you don't want to miss is the playfull "OMG". If you're a DJ like me you will appreciate how much Chalie Boy shows love to the DJs throughout his songs. If you're a fan of Hip-Hop and R&B I can confidently guarantee there will be something within the tracklisting of "No Time To Lay Off" that you will dig.

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Now for the best part: Chalie Boy is giving "No Time To Lay Off" away for free. Visit chalieboy.net and download your copy now, then follow Chalie Boy on twitter @D3CHALIEBOY and hit him direct with your feedback.

01. Ghetto Superstar (Produced by Cuttamuzik)
02. Bust It (Featuring Beat King & Queen) (Produced by Beat King)
03. T.E.X.A.S. (Produced by Izzy The Kid)
04. Goin’ Goin’ (Produced by Izzy The Kid)
05. Bitch Quit Callin’ Me (Produced by Q. Smith)
06. Foul Shit (Produced by Cuttamuzik)
07. Play With It (Produced by Izzy The Kid)
08. My Momma Always Told Me (Featuring J-Dawg) (Produced by Cuttamuzik)
09. Wake It Up (Featuring Beat King & Slim Thug) (Produced by Beat King)
10. Got A Lotta Bitches (Produced by Cuttamuzik)
11. Nightlife Rock Shit (Produced by Mingo of Beat Monkeys)
12. Eff U Haters (Produced by Cuttamuzik)
13. It’s Whatever (Produced by Bravestar Productions)
14. She Like Girls (w/ Pooca Leroy) (Produced by Bonefied)
15. OMG (Produced by Q. Smith)

You can find my twists of "OMG" and "Goin' Goin" on my Slap That Mix 4 mixtape and "It's Whatever" and "T.E.X.A.S." on my Slap That Mix 3 mixtape. "Wake It Up" found placement on two of my mixtapes; "Unique Styles 2K11 Vol 7" hosted by Murphy Lee and "The Official TXSMC Mixtape". I also flipped "Bust It" into my "This Is What a Real DJ Sounds Like" blend.

Demrick "Heads Up" Album Review

It was just luck that I stumbled across Demrick's "Heads Up" album on datpiff.com. I think it was the "Official" badge that made me check it out (just a tip for artists trying to draw attention on datpiff), but I will say the artwork was a total non-factor. I would have normally skipped right past anything with a cover so plain. With all that said - this a must have for DJs and for fans of Hip-Hop.



There's a total of 17 tracks and thankfully there is no DJ screaming all over the music - this allows me to immediately run any track right into my mixes. "Caken Up (De Gottem)" leads "Heads Up" off with immediate heat, or 'lava flow' as Demrick boasts. The production is catchy as hell with that constant "De Got 'Em" looped up, but the real highlight is Young De's delivery and unique style. I was excited about the album as soon as I heard the first track. "Money and Weed" follows with a introduction reminiscent of Public Enemy's "The brutha don't swear he's nice...he KNOWS he's nice". Once again the production is dope and Demrick's flow and entire vibe are smooth. Brevi's a real nice feature on the record too with her layered vocals blessing the hooks. "Money and Weed" is definitely one of my favorite picks from "Heads Up". "Go Big" has that old boom-bap snare which I'm not a fan of unless it is engineered to absolutely slap. Demrick amps up his delivery within the verses with more aggression and attitude, but coupled with his singing in the beginning and Brevi's vocals it creates a a real fly flava.

The snyth in "Liar Liar" turned me off in the beginning, but it tones down once the record gets going - just not enough. The song just seems really noisy. Brevi visits this one with a verse of rhyme, but I definitely think she is worlds better singing on hooks. The "Guilty" interlude is cool, but if you know me you know I'm not a fan of intros, interludes, and outros. Write it out and let it be a complete song. As soon as "You're the One" drops in I had to stop it and pull out my Bootsy Collins "Munchies for Your Love" record to see if that was the guitar sample used - still not absolutely positive, but pretty damn sure. Regardless, "You're the One" is another favorite pick of mine from the album. Brevi once again joins Young De for another feature and she blazes this one. Her and Demrick make a great vocal combination. "In The Clouds" has a hint of The Weeknd vibe, but hits with some really crisp engineering and I think Demrick delivers more soul that The Weeknd. "In The Clouds" is a nice record, but not something you will ever hear in the clubs on out on the streets. The mellow tone of the song might be good for radio and is definitely good for kickin' around the house. "Burnout" fits the same vibe, but I think "In The Clouds" is the better of the two.

"This World" has crossover appeal in large doses. I like the breakbeat sample looped underneath it all, but not enough to make it a top pick for me. "Make It Happen" is HEAVILY breakbeat driven, but I wish Demrick would have brought a real DJ in the lab to lay down actual cuts rather than simulated cuts. The tracklisting says Xzibit is featured, but I didn't hear him anywhere in the record. Either the tracklisting is in error or Xzibit has completely flipped his flow. I think "Can't Always Rain" will get Demrick some attention if it can get some spins. I really think it would be an excellent record for a movie score. "Fight For Mine" may have the same potential, but I didn't like it - probably my least favorite song with the production and the crossover pop sound on the hooks. If I ever get my hands on the acapella though...I would chop Demrick's verses over different production and chop out the hooks. His lyrical assault is dope.

After that you get into five bonus tracks. I didn't like "Man on the Moon", but I liked "Back Again" once the beat drops in. I'm pretty sure Xzibit is actually on the "Back Again" record. If not, then I need to know who is on that last verse. "Runway Walk" again sounds like Xzibit with Demrick and Brevi tag-teaming the record. "What It Is" AGAIN sounds like Xzibit with Demrick. I don't know anything about Demrick, but I'm guessing he is somehow affiliated with Xzibit with all the appearances on the bonus records.

If you're not familiar with Demrick I would definitely recommend you listen to "Heads Up", and get connected with him on twitter @IamDEMRICK. The project definitely caught my attention and had me twisting him in my mixes. I may be hella late on Demrick, but I'm on board now.

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Album Review: Bobby V "Vitamin V"

I don't normally do reviews for mixtapes but Bobby V's new "Vitamin V" project isn't what I would consider a mixtape. DJ Holiday didn't attempt any sort of mix or blends, he's just hollaring all over the music and throwing in tags and sweeps for transitions. This would have definitely been better without that since all that crap just gets in the way for other DJs who would like to spin the tracks. I would be interested to hear from Bobby V on how Holiday's presence is a benefit to the project, but this isn't about that; this is about a dope collection of music from one of R&B's best talents. Bobby V's "Vitamin V" is a must have for every R&B fan and to be honest, anyone planning to have any sex at any time over the next 365 days - this is your soundtrack to a great night of romance and/or straight f*ckin!

Normally I skip right passed intros and over skits and cut out before an outro, but I dig the intro for "Vitamin V". It's just smooth and offers a great prelude to the overall vibe of the project. The "Drop It" (featuring Meek Mill and 2 Chainz) record has been floating around for a minute now and is a solid single for Bobby V. Then you get to one of my favorites from the project with the record "Cum Baby" featuring Terrace Martin. Holiday was pissing me off with the sound effects and fuckin up the beginning of the record, but if you can ignore that, this record is damn sexy. I really like the minimalist approach to the production with the raw beat and triangles and that breakdown with the reverb snare hit at the 2:06 mark is a dope touch. It keeps going with the next record "When I'm Up In It" which is really about Bobby V stroking a woman's mind. It's a nice record, but the heat really rolls in with "Hammer Time".

"Hammer Time" is without a doubt one of the best tracks from the project. Again the produciton is minimalistic and allows Bobby V to carry the track with his vocals. I like the light piano and harp touches. "Hammer Time" is a soundtrack for sex...there is no other way to say it. It still shocks me to hear R&B singers sing the word "fuck" (around the 3 minute mark), but I think it gives the song an edge that I like. "Naked" is next on the tracklisting which is great if you're still sexin...no need to skip ahead, "Naked" is a hot record too. "Stilletos & Toes" is okay, but not one of my top picks. I really didn't like the vocal effects and the pulsing synth hits made the song a little too busy. I'm on the fence with "KIT". I liked it once the singing kicked in, but the half-rappin' Drake approach is not something I want to hear anymore. Drake has worn that out.

"NIght Rider" gets the project back on track as a favorite of mine even though the engine rev effects is a little cheesy. I wanted to hate on the Bill Jabr bars, but I think the verse fits well and gives the song more depth and substance. Without that verse the song would have to be chopped significantly. My favorite part of "3 AM" is the breakdown around the 2:19 mark. I will probably be chopping that piece into my mixes with a dope breakbeat under it. I like "5 Star" and I'm guessing a lot of women would adopt it as a theme song if they heard it. I think if Bobby V were to remix it at a higher BPM with a little more energy "5 Star" could have single potential. "That Girl" sounds like a throwback to old 80's groups like Ready for the World or something like that. Not feeling this record. It comes across as corny and something a major label would try to convince an artist to run with. I swear it sounds like the old Ready for the World song "Love You Down" (google it and tell me I'm wrong). "Blu Kolla Anthem" just has that outro vibe and I guess it works good as the close of the project.

Overall I really like "Vitamin V" and think Bobby V has delivered with some of the best R&B of the fourth quarter if not the year. If you can get passed Holiday trying to jam up the sexy flava of the project you'll have an excellent tool for that romantic shit you want to put down on your woman. Now I have to try to talk Bobby V into providing a "No-DJ" version of all the tracks.

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Send your feedback directly Bobby V on twitter @BobbyV and make sure you visit www.blukolladreams.com for official Bobby V material and content.

Mary J Blige "My Life II" Album Review

I hate intro's, outro's, and skits, especially on an actual album, so I'll just skip right by that and start with the jumpoff "Feel Inside" featuring Nas. "Feel Inside" is a dope record with a throwback big-beat vibe. I especially like the breakdowns; something I wish more producers would do when working out song arrangements. Hearing Mary J Blige return with more of her original Hip-Hop/Soul flava is a blessing - this is the Mary J Blige I fell in love with in the beginning. It doesn't end with "Feel Inside".

"Midnight Drive" is an ill Digable Planets type record with a reverb on the drums that almost reminded me of classic Run-DMC. The song is minimal with the major focus on Mary's voice and that dope beat. I love "Midnight Drive" and will definitely be twisting it in my mixes. Even though I am huge Busta Rhymes fan I wasn't really feeling the "Next Level" record at first, but it grew on me quick. It has a great summertime party vibe that just feels good. Wait until you hear it bumpin at a pool party or a summertime BBQ party and you'll be loving it in the right setting. The remake of Chaka Khan's "Ain't Nobody" is cool as a tribute, but definitely not one of my favorites. Not because it's not good; I'm just not a fan of cover songs. I might have like it if she had a producer come in and twist the music up with a brand new funk and totally new feel, but sticking with the original vibe was just boring to me. "25/8" has been getting enough play that I am already tired of it. If you don't know it by name, you'll recognize it as soon as it starts.

"Don't Mind" is a record I will be chopping A LOT, thanks to the ill production from Jerry Wonda. That clip of open bars at the beginning makes for a dope break to be flipped under all kinds of mixes for the DJs. "No Condition" didn't really grab me, especially with the long intro and the constant drums. I didn't like the snare or the hats (especially the pattern). Just not really big on the "No Condition" record. I've never been a huge Drake fan, but I can't front on the "Mr Wrong" record. Drake and Mary J Blige sound good together and their collab on the song "Mr Wrong" is solid. Of course it never hurts to have a super-producer like Jim Jonsin behind any record which makes "Mr Wrong" as close to a sure thing as you could possibly create. Follow that up with the big "Why" record featuring Rick Ross which is a top pick from the album. I really liked the live drum feel that producer Eric Hudson used to build the song.

Aside from the snare, I love the "Love a Woman" record. Even without the Beyonce feature this record is easily a top pick from the album. Don't get it twisted though, Beyonce rips this record with a blazing voice and definitely does not detract at all from the hit value (obviously). "Irreversible" is okay, but not enough to force you to buy the Deluxe Edition release. "Empty Prayers" actually had me skipping ahead. It will probably hit home for some people with it's message, but I can't think of a practical use for the record from a DJ perspective. That same thing holds true for "Need Someone", but I liked the folk song feel with the acoustic guitar even though I have to admit it was teetering on a country & western vibe. I completely lost interest with the "Living Proof" record. Mybe I have ADD or something, but the record just could not hold my attention.

You can also get that iTunes bonus record "Get It Right", although I didn't think it was a huge missing piece from the album. I fully expect "Miss Me With That" to appear in a man-bashing movie in the very near future. Picture the scene from Waiting to Exhale when old girl burns her husband's clothes and shit in the car in the driveway...this song could definitely be the music backdrop. Even though the "Someone to Love Me (Naked)" remix has been floating around since January, I still dig the record (with or without Lil Wayne and Diddy) not to mention the fact that Mary J Blige in that white fur and over-the-knee boots still strikes me as damn sexy...maybe I should have added the disclaimer that I have always been a fan of Mary J Blige and swear to God she can get it anytime she wants.



I could be wrong, but the "You Want This" bonus track sure reminds me of the Mary Jane Girls...most likely because of the funk vibe I guess. Regardless, I liked the record for (once again) a summertime pool party/BBQ vibe. "This Love is For You" makes sense for a UK Deluxe Edition with it's big European club flava. I've never been a fan of the glow sticks and whistles sound so I can't even finish listening to this record. I'll just call it a gift for her UK fans. Enjoy. "One Life" is on the UK Deluxe Edition too, but this is a record I can at least listen all the way through - although its not a disaster that it isn't included on the US editions.
Overall I love what Mary J Blige has put together for her "My Life II" album. More of a return to the Mary I fell in love with a lean towards Hip-Hop. I think she brought in just the right number of features for them to be special, but not detract from her shine. I wouldn't hesitate to recommend this album for anyone looking to spend some money on music...for those who still do that, although I don't think it will fall in my top 10 albums of 2011 list.

Yelawolf "Radioactive" Album Review

Yelawolf's rapid lyrical assault is always a highlight, but its also his feerless-with-no-apologies attitude that I find refreshing. I was fully expecting a dope and grimey in-ya-face/bang this in your trunk-up the block type album, but was disappointed to instead hear a very polished typical "major" sound. I don't know enough about Yelawolf to call him a sellout, but it sure sounds like this entire album was constructed in the boardrooms of a major label instead of the mind of a lyrical genius bred in the Dirty South with the classic "Trunk Muzik" mixtape under his belt.

"Hard White" might enjoy some club success or maybe "Throw It Up" with the hook built for club chants, but the piano doesn't really fit well for clubs. The piano is real nice, but nice for listening at home - not so much in the club or bumpin up the block. "Good Girl" jumps off with a definite West Coast swing and the hook is dope as hell - this one might fit for radio (edited of course). "Made in the USA" really has a Kanye West vibe to the production; especially with the Priscilla Renea appearance and the strings. It's a cool track, but has that sound that you can get tired of real quick. "Animal" fits the same flavor. "Hardest Love Song in the World" is again the same mold and so is "Write Your Name". "Everything I Love the Most" is one of my top picks from the album but again is a very tame vibe. "Radio" is the damn same and by now I'm irritated with the album. I honestly wondered if this was a joke of some sort. Where the hell is the Yelawolf I heard the first time and instantly became a fan of? What's with all the polished production full of strings and pianos and tame drum kits and patterns? What's with all the damn singing features?

"Slumerican Shitizen" is the only track that really sounds like an authentic Yelawolf record with a real grimey attitude. I wasn't feelin' the Killer Mike feature and thought Yelawolf could have easily chopped him out of the record without losing any affect. That kind of sums up my overall take on the album - disapointment. If I want to hear dramatic emotional rap I can listen to Drake whine about not being hard enough or Em suffering through addiction and a shitty childhood or Kanye cry about not being liked, etc. If I want to listen to Yelawolf I'll go back to Trunk Muzik 0-60. This is not the Yelawolf I was expecting and definitely the Yelawolf I wanted to hear. Bring back that grimey southern rock/dirty south Hip-Hop blend with the "fuck yo' life" attitude and I'll be right back on the Yelawolf bandwagon...but this album shot the wheels off of all that.

Jyst "Let Me In" Album Review

I finally got the opportunity to push play on Jyst's new album "Let Me In" and immediately knew it would be something I would spin heavy with the Intro (produced by PNut) grabbing my attention with the first guitar lick and the dope vibe that builds with the song. "Ain't Got Long" rolls in next with a laid back flavor that climbs as the 808's boom. I really liked the way Jyst flips his cadence with this record and I'm hooked on his "whooo" adlib. "Ain't Got Long" is definitely one of my top picks from the 12 track album. One thing that jumped out early was the quality of the engineering and mastering which is excellent - something way too many artists ignore or just take for granted.

"Victory" is okay, but the organ/synth pulsing through the entire song is too repetitive and got on my nerves before the 2 minute mark. "I'm Sorry" slides in real smooth with a definite Drake flavor and is quickly another top pick. I like the way the production lays back and keeps it simple to allow Jyst to control the melody and pace. I've been spinning Jyst records for a good while now, but I was really sleeping on his singing which is honestly dope. "Bout to Go Down" has real crossover potential and sounds like it was made specifically for immediate radio adds and club spins. If Jyst ever takes his live show overseas he should enjoy a nice response with "Bout to Go Down". With that said, it's not something I would spin because of it's heavy pop vibe. Like I said - excellent crossover potential.

"Get It On" is one of Jyst's records that I've been leaning on, but I was pleasantly surprised with the new vibe of the song. "Get It On" may be my top pick from the album. Everything about the record is hot, from the production to the hooks to the verses; easily a favorite of mine. "Good Morning Neighbors" is a classic clip from the movie "Coming to America" and should draw a smile from any listener. "I'm On It" is once again another top pick. The hook is catchy as hell and the production has a dope bounce with a hint of a Bootsy Collins-type flavor.Then we come to one of my favorite records to play absolutely retarded loud with the boomin' "Booty Clap". This record rattles trunks with its huge 808's knockin', but wait until you hear the pulsing of that loop in a club - BIG! I'm obviously loving the album, but as a DJ the song "Booty Clap" is the one that fits everything I do from radio to mixtapes to clubs and ESPECIALLY the strip clubs. The bad news for Jyst is he left too much of the beat (produced by JR Hitmaker) wide open at the end which opens the door for other emcees to rip, loop, and stretch into their own versions. As a DJ, once again, that is another reason for me to love the record; I can beat juggle with that break for days.

My favorite thing about "2 Da Bank" is Jyst's cadence and the way he bounces the pitch into a sing-song type flow. I really like the breakdown in the beat (Produced by Futuristik 911) at the 3:30 mark. "All Dem Girlz" takes way too long to get started with the first 49 seconds wasting away while the song builds. The song really has an outro-type sound and isn't enough to hold my attention for the full 5 minutes and 12 seconds. The final track is "Out My Face" and it really sounded like the producer (Futuristik 911) was trying to ride the success of Lex Luger's sound with the organ playing an all too familiar melody. I hated the muted snare to kick it off too. Jyst dives into a dope Yelawolf-type flow around the 2:15 mark which had me forgetting that I was just bitching about the production. That really saved the final track.

Overall this is an absolute must-add album for DJs with Jyst providing something for everyone; same goes for any avid Hip-Hop fan. If I could only recommend 10 albums a year for fans to purchase, Jyst's "Let Me In" would be right in the middle of the 10 albums on my list. Jyst takes the economy out of the picture and makes it easy for fans though...you can have this album for free! Listen, download, and enjoy!

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Get connected with Jyst at www.itsjyst.com and on facebook at www.facebook.com/jyst and of course on twitter at www.twitter.com/itsjyst. For business inquiries contact Chris Johnson at Coulson Drive Management (937) 241-9373 and Chris.Edward.Johnson@gmail.com

Apathy "Honkey Kong" Album Review

One of the first things I would say if asked to describe Apathy is that he's a lyrical arsonist and "Honkey Kong" will not disappoint those of us who still listen for wordplay and rhyme acrobatics. Apathy absolutely blazes with his poignant lyrics and should serve as a testamony to the power of a thesaurus and expanding a rapper's vocabulary. In today's age of simple one syllable rappers Apathy stands head and shoulders above the rest of the pack. Armed with an arsenal of rhymes Apathy further distances himself from the played out production that is typically repeated over and over with "Honkey Kong" built around a dope blend of samples and breakbeats. I really appreciate the attention to detail within the production; providing actual breaks and drum fills and the little elements that catch my ear and stand out. As a DJ my appreciation for Apathy is already stacked in his favor since he has always incorporated actual DJ skills within his tracks and "Honkey Kong" is loaded with turntable tactics.

The only knock against Apathy's "Honkey Kong" is that it is clearly targeting the East Coast Hip-Hop heads who appreciate the boom-bap flavor. Personally, I love it, but I don't expect that "Honkey Kong" will get a lot of play in Dallas or Atlanta or Miami or LA. The sound is extremely regional and some would even say dated. Going entirely with the same flavor really restricts the potential audience and doesn't allow anyone on the fence to be won over as a new fan if they are only familiar with big 808's and simple synth hits looped for 3 minutes and more. With that said, I hope that Hip-Hop heads who aren't familiar with Apathy will at least give "Honkey Kong" a full listen to decide for themselves, regardless of where they're from or where they're at. This is easily one of the top 10 albums of 2011.

My top picks are "Make Alotta Money", "No Rapper", "The Villain", "Check to Check", "I Dedicate This to You", and "1:52 AM". Make sure you get the deluxe edition so you don't miss out on all the bonus tracks and the instrumentals.

Apathy "HONKEY KONG" Tracklisting:
1. Honkey Kong (feat. Vinnie Paz & Jedi Mind Tricks)
2. Holy Ghost (feat. Slaine)
3. The Villain (feat. Ill Bill)
4. Check To Check
5. Stop What Ya Doin' (feat. Celph Titled & DJ Premier)
6. The Recipe (feat. Xzibit)
7. Fear Itself
8. Who Got Da Juice? (Interlude starring Blacastan)
9. It's Only Hip Hop (feat. Brevi)
10. I Dedicate This To You (feat. Tosha Makia)
11. All I Think About (feat. Action Bronson)
12. Never Say Never (feat. General Steele & Mad Lion)
13. Albino Gorillas (feat. Esoteric)
14. Peace Connecticut
15. Army Of The Godz (feat. Esoteric, Blacastan, Reef The Lost Cauze, Planetary, Crypt The Warchild, Motive, Celph Titled & Vinnie Paz)
16. 1.52 A.M.
17. East Coast Rapist
18. Squeeze (feat. Blacastan)
19. Dear Lord (feat. Eternia & Diabolic)
20. Make Alotta Money
21. Smoke Weed Everyday (feat. Scoop Deville)
22. No Rapper
23. Death To The Culture Vultures

Kanye West & Jay-Z - Watch The Throne Album Review

The most anticipated album of 2011 has finally arrived and somehow managed to avoid being leaked which is newsworthy in itself. I'm sure Ye and Hov just served up a blueprint to all the majors on how to protect intellectual properties. With that said, the short version of my review of "Watch The Throne" can be condensed into one word: overrated. Yeah, I said it.

Anytime Kanye drops an album I expect it to be artistic and imaginative and "Watch The Throne" definitely meets those criteria. One of the best attributes throughout the album is song arrangement with none of the songs fitting the the typical rap arrangement of intro-hook-16 bars... I appreciate that the production is always changing instead of simply riding a loop all the way through a song which is boring as hell. The downside of the artistic arrangement is that doesn't always lend itself to clubs and mixtapes and who wants to ride around in their whip with a cello or a bunch of choir voices blaring out the trunk? As a DJ I always think of music in terms of where it will be valuable or useful - where can I spin this and get a good reaction? One of the shortfalls of the album is the engineering. I noticed throughout that it really lacks a crispness. Maybe they were shooting for a dated flavor and analog vibe, but I want to hear snares crack and hats ride. I thought that was glaringly absent.

As for lyrical content; Kanye and Jay-Z both deliver some seriously poignant lines throughout "Watch The Throne". Lyrical content and wordplay is worthy of heavy replay, but the delivery is pedestrian with lazy cadence and no effort to create unique rhyme patterns. Imagine if you heard this very same album, but from two completely unknown artists...you don't have to say it out loud, but be honest - you wouldn't be saying 'best album of the year!" even once. Its frustrating to hear some of the best lines and an arsenal of vocabulary spewed with such a trivial cadence. Listen to the 'flow' in the first song "No Church in the Wild" and tell me again that this is the best album of 2011. No way.

With that said, I expect you will see nothing short of absolutely rave reviews from every major media outlet across every possible medium. Sales will climb like crazy. Tons of DJs will scream its the best album ever and fans will have Ye and Hov's nuts on their chins without a doubt. Kanye and Jay-Z deserve a lot of credit for collaborating on such a big project and their unprecedented ability to fight the premature album leaks should be studied by all artists and labels. The production deserves to celebrated as visionary and song arrangement should be studied by all producers. "Watch The Throne" is a good album...just not the greatest album of 2011 like all the hype would have you believe. That is, if you have the nuts to say it out loud.

My personal favorites: "Niggas in Paris", "Otis" "Gotta Have It", "That's My Bitch", "Who Gon Stop Me", and "H.A.M."

No Church in the Wild ft Frank Ocean and The Dream (prod. Kanye West, Mike Dean & Ken Lewis - contains samples from: Spooky Tooth "Sunshine Help Me", Phil Manzanera "K Scope", James Brown "Don't Tell a Lie About Me and I Won't Tell The Truth About You")

Lift Off ft Beyonce (prod. Kanye West, Mike Dean, Jeff Bhasker, Q-Tip & Don Jazzy)

Niggas In Paris (prod. Hit-Boy - contains samples from: "Blades of Glory" motion picture, Reverend W.A. Donaldson "Baptizing Scene")

Otis ft Otis Redding (prod. Kanye West - contains samples from: Otis Redding "Try a Little Tenderness", James Brown "Don't Tell a Lie About Me and I Won't Tell The Truth About You")

Gotta Have It (prod. The Neptunes - contains samples from: James Brown "Don't Tell a Lie About Me and I Won't Tell The Truth About You", James Brown "My Thang", James Brown "People Get Up and Drive Your Funky Soul")

New Day (prod. The RZA - contains samples from: Nina Simone "Feeling Good") I'm impressed with the mix on the samples from Nina Simone. Even though it's really heavy on reverb, it sounds a lot more modern than the original recording which can be difficult when chopping records from that era when the the sound quality of the original recordings wasn't good to begin with.

That's My Bitch (prod. Q-Tip & Kanye West - contains samples from: James Brown "Get Up, Get Into It, Get Involved", Incredible Bongo Band "Apache")

Welcome to the Jungle (prod. Swizz Beatz) I hate the drum pattern and the kit used for the snare hit; mostly because that snare hit is so dated. It might not have been so bad if they had put some effort into the engineering and tweeked the snare, but as it is it bothered me throughout the entire song.

Who Gon Stop Me (prod. Sham "Sak Pase" Joseph & Kanye West - contains samples from Flux Pavillion "I Can't Stop")

Murder To Excellence (prod. Swizz Beatz & Symbolyc One - contains samples from Quincy Jones "Celie Shaves Mr/Scarification") I love the arrangement of this track with all the twists and flips in the production. I wish more producers would put more effort into arrangement instead of the common intro-hook-16-hook-16-hook-16-outro that is really just the same simple 4 sequences moved in block orders. Big shoutout to Dallas' own S1 for yet another HUGE placement.

Made in America ft Frank Ocean (prod. Sham "Sak Pase" Joseph)

Why I Love You ft Mr Hudson (prod. Mike Dean & Kanye West - contains samples from Cassius "I Love You So")

Illest Muthafucker Alive (prod. Southside & Kanye West) This song has one of my favorite lines from the entire album when Ye says "Damn baby, pussy can't be your only hustle". If you got the digital version of this then you probably have the 3 minutes of silence to start the song...I have no idea what that's all about.

H.A.M. (prod. Lex Luger & Kanye West) I never thought I would say this, but it's refreshing to hear Lex Luger production even though Ye had to add his artistic shit all over the track with the haunting choir shit. Nothing I can't fix as a DJ with the simple slide of my crossfader.

Primetime (prod. No I.D. - contains samples from Orange Crush "Action") My favorite part of the track is the transition from the hook into the verses. Just something about that sequence is dope to me.

The Joy ft Curtis Mayfield (prod. Pete Rock & Kanye West - contains samples from Curtis Mayfield "The Makings of You (Live)", Sly Johnson "Different Strokes")

I bet two of the most google'd entries are "Watch the Throne Download" and "Watch the Throne rar" right now. If Kanye and Jay-Z can figure out how to stop the bootlegs of free downloads...they will own every label in the game.

Phil Ade "A Different World"

I finally get my ears wrapped around Phil Ade's "A Different World" mixtape (which is really a street album - there's no mix, no DJ) and I got this one saved as a keeper for the times I want to just chill. Honestly the production and the features are the highlights for me. If you like Drake you will probably love Phil Ade's "A Different World" album.
Laura Song's voice swooning the "Different World" sitcom theme song is a great introduction to the project and the piano is fly. I'm pretty sure the looped guitar lick in "You're The One" is a sample of Maceo & All The King's Men "Better Half" screwed down. It's a nice flip to the way I'm used to hearing it in Gang Starr's "Form of Intellect". "You're The One" is definitely a highlight from the project. Sunny Norway did a great job with the arrangement and production and Killa Kyleon is a real nice fit with the whole vibe.
"The Weekend" keeps the same flavor rolling with a laid back vibe. I really love the hook and the little "hey listen to the man" clip from James Brown's "Funky President" sliding in and out throughout the song is a real dope touch. "Second Chance" is not my kind of groove, but it's still kind of fly. I couldn't stop picturing Will Farrell with that damn cowbell from the famous Saturday Night Live skit. All the song is missing is the sample of Christopher Walken saying "more cowbell!".
"See You Again" really sounded like it was a track that slid off Kanye West's last album. The best thing about the song is the stick work/live drum feel. "Incense" has a real nice flow to it with the organ and bass. I wish Phil could have gotten Erykah Badu to slide in and blaze the hooks out. That would have been perfect as opposed to Mac Miller. Still a nice record as it is though.
Mark Henry's production on "Your Hands" is fantastic! I swear it's the best chop of a Floetry record that I've heard yet. Definitely another highlight from the album. "Coming Home" is nice, but forgettable. I had to stop myself from skipping it after the first minute (and the song is almost 6 minutes long). When I saw Bink! had produced "King" I was eager to hear the record. Bink! is a beast with the production and his resume is platinum status. Google him if you don't know. I have to admit though, as I was listening I kept wanting to tell Phil to just breathe already! It sounds like he was straining to spit this one when normally he's pretty smooth with his flow and delivery. That might explain why he only wrote half a song and just adlib'ed the last 2 minutes of the song; which was a total waste.
"Monty Carlo Dreams" has me now looking up Sunny Norway to check his production credits. Sunny blazed a dope and very unique beat for Phil and US Royalty to ride over. Sunny Norway produced 7 of the 16 tracks on "A Different World". Tracie Josephine really owns the "Cloud 9" track with her voice floating over the record. She's the biggest highlight of the song. "High on Life" is produced by 9th Wonder who deserves all the respect in the world for the body of work he has produced over the years BUT I'm burned out on the snare hit he uses so often. The dated sound of that snare hit distracted the hell out of me throughout the song, which is a shame because Raheem DeVaughn blazed the track out real nice. "Otherside" is dope, but I have to admit I couldn't stop humming the original song "Brotha" from Angie Stone. I'm surprised a lot more rappers/producers haven't ripped the same sample. While "Otherside" is a personal favorite, I think Mark Henry was really lazy with the production, which is really nothing more than a loop pitched up a little.
The title track "Different World" is probably Phil Ade's best lyrical assault on the album, but the production wasn't as strong. The drums sound really muffled in the mixdown. Bring the drums up and take the filter off and this might have been something I would dig, but as it is...I just want the acapella so I can flip it. I could always chop the original drum sample myself and just lay it in, but that's too much work for a song that is so-so. The final track is "Scoreboard" is nice and Phil Ade's comment "this shit's smooth" hits it right on the head.
Overall the album is a nice addition to those that I clean the house to or just chill, but not anything I would hear in a club or spin up on my radio shows or ride around bangin' out my trunk. If you want to just chill or blaze, this album is perfect for that.

Judge for yourself...

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The Weeknd - House of Balloons

I’ve been busy and have neglected album reviews, but I had to take the time to post a review for The Weeknd’s “House of Balloons” because it is easily one of the hottest R&B releases of 2011. I think Drake was the first to really spark a buzz for the Canadian know as The Weeknd. Regardless of Drake’s co-sign, I highly recommend you download “House of Balloons” (free at www.the-weeknd.com). Although there are only a total of 9 tracks, the run time clocks in just over 49 minutes with 6 of the 9 songs exceeding 5 minutes. Those long song lengths allow the songs to really build and create the sparse soundscape for The Weeknd to work his magic, starting with one of my favorites “High For This”.
The production behind “High For This” really lays back and allows The Weeknd to stir the song up into a smooth and sexy concoction. If you ever see a woman strip to this record you will become an instant fan. Definitely sexy. “What You Need” is a nice follow up and if your stripper is still workin’ it…she won’t miss a beat. At first listen I wasn’t feeling the vocal effects, but it quickly grows on you and slides a ghostly vibe to the track. If you just hate the vocal effects then you draw satisfaction in knowing this is the shortest record on the album. The title track “House of Balloons” has radio spin appeal. If you’re patient and listen through it you’ll hear the flip to “Glass Table Girls” with an Art Of Noise sounding transition at about the 3:24 mark. “Glass Table Girls” would require a whole lot of editing to be ready for radio with all the F bombs sprinkled in. This combo of “House of Balloons” and “Glass Table Girls” is not one of top picks from the album, but I can see it having some crossover appeal.
“4 In The Morning” won me over right away with the line “Got the walls kickin’ like they’re 6 months pregnant.” Let it build for a minute and a half and the drum kit rolls in. Pay attention to the hi-hats and how they lay back to allow The Weeknd to control the tempo with his cadence. The fade out at the end might have you thinking you got a bad copy of the album since it fades to silence over almost 20 seconds. Then “Wicked Games” finally rolls in. This is another one of my top picks from the album. A funny note; it reminded me of the wedding reception scene in the movie “Old School” because the cursing slides right by under the veil of The Weeknd’s smooth voice. “The Party” starts with a wack casio-style drum kit and pattern, but the song quickly drops into a dope groove and is again another favorite.
Then my absolute favorite of the album eases in. “The After Party” is stripped down to really bare drums which again allows The Weeknd to drive the lyrics home with lines like “They want what I’m sittin on, they don’t want my love…they just want my potential”. “Coming Down” eases in next and has me second guessing my pick for the best song from the album…This record is so fly its hard to not say it’s the best of the album.
“Loft Music” is nice and a great fit with the flavor built up to this point, but the whole second half of the song is really useless – unless you are blazing trees or sexin’ a woman down. “The Knowing” closes out the album and is another highlight. My favorite part of the song is The Weeknd singing “So I’m gonna let you taste her..I ain’t washing her scent”…classic! Some hardcore knuckleheads might turn their noses up at the album because of its overall tone and pace, but I bet if they listened to the lyrics they would change their minds. The Weeknd’s “House of Balloons” is one of my top 5 picks for best R&B album of 2011 and on heavy replay when I ain’t bangin’ out mixtape work. Speaking of which, I gotta get back to busy…

The Weeknd on twitter @theweekndxo

GhostWridah - American Alien (album review)

I got the new GhostWridah LP "American Alien" and right from the jump I hit replay. The first track "The American Dream" is a dope intro to the project with GhostWridah sliding his smooth delivery alongside the 'nightmare' chorus that is super fly. Who is the woman singing that hook? I understand the push behind the "Bandwagon" track since Ghostwridah brought in a strong feature with the appearance of Paul Wall, but I honestly think that track is sandwiched between two far superior tracks and actually might be the weakest track amongst a stellar track listing. "For My Ex" is easily a favorite from the LP. Ghostwridah's flow is dope and the Carlyle Anderson vocals are equally dope and the production is a perfect fit. The "Victory (Interlude)" is hot enough to be an actual song on its own, but once the full song "Victory" drops in it's hard to imagine the track any other way. The production is huge and the harmonies rolling behind The Strangerz on the hook is flat out dope. There is no letdown moving from "Victory" to the next track "So Alive". Billy Blue laid back and delivered rhymes right on point with GhostWridah and once again the chorus from Jase fit perfect. Something about "Window Cracked" reminded me of the funk you hear from classic Rick James records, but I can't put my finger on exactly what it was. I will say that the production from Rem is bananas and the drum fill at 1:44 mark had me yanking the needle back to hear that fill over and over. Of course as a DJ I am immediately partial to any track with a DJ rubbin' scratches in the song. "Westside Love Affair" gives me a mixed reaction because the hook is really nice but anytime a rapper spits about love it sounds corny in an LL Cool J "I Need Love" kind of way. "Gettin' High" is definitely another favorite from the LP. I can see GhostWridah being compared to Drake because of his vocal tone and cadence, but GhostWridah delivers content that stomps on Drake's Sesame Street flow. "Hate Me Now" is another dope record, but it felt like something was missing although the production was solid and GhostWridah's flow was on point. I think the hook is the culprit. "When I'm Long Gone" is another favorite from the LP and is a great enticement to pull the needle all the way back to the top and run the entire LP again.

Overall "The American Dream" is a tremendous LP that has definitely opened my ears and eyes to the talents of GhostWridah. I didn't know GhostWridah was this talented a lyricist so the LP serves to be a huge eye opener to me. The production on the entire LP is stellar. Not the typical patterned production of simple intro followed by 16 bars and hook, 16 bars and hook, 16 bars and hook...outro. This is musical with a treasure of instruments and actual arrangment. This is probably not the music to bang out your trunk while you're on the block and you probably won't hear it in the clubs much, but there are some potential radio singles. This is one of those records that I keep in replay at the house and on my phone so I can listen to it wherever I go and whatever I'm doing. Now here's the beautiful thing about the "American Alien" LP...it's free to download.



Download "American Alien" for free here

For the DJs, reach out to GhostWridah if you need radio edits for any of the songs. He has clean versions available.

Get connected with GhostWridah:
www.GhostWridah.com
www.YouTube.com/GhostWridah
www.Facebook.com/GhostWridah
www.Twitter.com/_GhostWridah_

Snoop Dogg - Doggumentary

The first thing I noticed about the “Doggumentary” track listing was that out of 22 songs, only 4 were done without features. This is becoming an epidemic in Hip-Hop with artists rarely carrying an album on their own weight. The opening track is listed as “featuring Bootsy Collins”, but “Toyz n da Hood” is really a long intro from Bootsy Collins that barely includes Snoop at all. I thought it was odd that Jake One produced the track, but he nailed the Bootsy funk vibe. Is it just me or does Uncle Chucc really sound like John Legend on “Wonder What I Do”? Anyone who has ever dug in the crates will probably recognize the sample ripped from Boz Scaggs “Lowdown” immediately. The producer Battlecat slowed the BPM’s and added some elements, but the rip is lazy and obvious. As far as overall production for the album; I’m interested to dig out all the samples used, as “Doggumentary” is heavy with a lot of different samples used. “Boom” is an obvious rip of Yazoo’s “Situation” which really reminds me of Man Parrish’s “Boogie Down Bronx” (not sure which came first). I’m a fan of sample-based production, but not when it’s just screaming obvious. I would much rather the producers snatch samples from obscure albums and put some effort into flipping the samples into something new – not just recreate an instrumental that is easily recognized. One last tidbit about the production, I found it funny Lex Luger’s “Platinum” almost didn’t make the final cut for the album considering his name has been buzzing so heavy over the last year. Even though “Platinum” is often abused by other music critics, it is one of my top picks from the album.

Out of 22 tracks, I only take 3 away for spins in my mixes: “Wet”, “Platinum” and “GangBang Rookie” which is really highlighted by Jake One’s production and could have been done without the cameo feature from Pilot. “Wet” has a funny background story:

The song was recorded specifically for Prince William's bachelor's party. Snoop's spokespeople bill the song as a sequel to 2007's "Sexual Eruption." Produced by the Cataracs of Far East Movement fame, Snoop spoke of the gift “When I heard the royal family wanted to have me perform in celebration of Prince William’s marriage, I knew I had to give them a little something." He continued, “’Wet’ is the perfect anthem for Prince William or any playa to get the club smokin’."

Overall I am not impressed at all with the album and couldn’t recommend anyone buying this with a straight face. Maybe his west coast audience will take to it since it is definitely geared towards the west coast bounce, but I can’t imagine this album honestly doing well in other regions outside of a couple singles. If everyone would strip away the politics of the game and Snoop’s name wasn’t on this album I think it would flop hard. This will get sales and good reviews on Snoop’s name only. Yeah, I said it.

Chris Brown - F.A.M.E. (Album Review)

Chris Brown’s “F.A.M.E.” (Fans Are My Everything) album is due for release on March 18 and by now you should have heard enough singles and leaks to know what to expect. Chris Brown has returned with a fury and leads the album off with the perfect song “Deuces” to shrug off any left over haters from his drama last year. “Up To You” is a nice ballad to follow, then “No BS” drops in and Chris Brown gets his Rated Sex vibe rolling – yes it will be on my Rated Sex mixtape series. “Look At Me Now” ha been banging for 3 months now so you already know that record is fire (check it out on my Unique Styles 2K11 Vol 1 hosted by Def Jam/We The Best’s Ace Hood). “She Ain’t You” is dope, but I have to admit the use of the SWV “Right Here” sample, which is really built on Michael Jackson’s “Human Nature”, had me digging the original song out. That’s the downside of using a classic song to flip.

“Say It With Me” is built for that Euro-club audience and you already know I’m not feelin’ that. It was produced by Harmony, but you can’t tell me you don’t hear Timbaland’s style in that production. If you’re into that Euro-club flavor then get your glow sticks and whistles out for “Yeah 3X”. Breezy went over the top with that one…straight buggin’. I guess he wants to reach deeper into the crossover audience and get that pop crowd, but I can live without that mess pulsing through my speakers. I can DEFINITELY live without any more Justin Bieber so “Next To You” was just too difficult for me to even listen all the way through. “Oh My Love” treads dangerously close to the same vibe, but it’s more of a ballad so it’s a little easier to listen to…still not anything I will play twice.

“Wet The Bed” with Ludacris finally gets back to the Chris Brown I want to hear. I’ve already said it, but this record is dope. I don’t know this producer named Harmony, but I swear the production from Harmony sounds EXACTLY like some Timbaland production. “Oh My Love” starts out kid of funky, but then it slides off to the pop crowd shit again. It’s funky except every time it reverts to the glow sticks and whistles mess I want to run a fork through my ears. “Should’ve Kissed You” is definitely built for radio play, but nothing I would spin on my radio shows. That mess sounds like some Michael Bolton crap to me. “Beautiful People” once again takes us back to the glow sticks and whistles with that corny euro-club shit. “Bomb” straddles the line between the clubs and just a heavy 808-banger for your trunk to rattle. Even with the thump of the 808s and Wiz Khalifa jumping on board with a dope verse, the production has a real corny loop running through it that I can’t stand. Rip that out and this one might be a keeper, but as it is…nope. I did like the Chris Brown line “So much ice up on my neck it look like I play hockey”.

“Love The Girls” featuring The Game is finally another record I can drag to my Serato and run in the mix. This one is dope and bringing The Game on board brings the perfect contrast of voices to make this one of my favorites of the album. “Paper, Scissors, Rock” had to grow on me. The first time I heard it I passed it up, but I’m digging the record the more I hear it. This one actually IS produced by Timbaland, by the way. When “Beg For It” first started I was thinking I had dug out an old Force MDs album, but once Chris Brown gets into the record it takes off and becomes another one for my “Rated Sex” mixtape series.

Overall “F.A.M.E.” might work for Chris as his big comeback album, but with so much crossover music he runs the risk of alienating his R&B fans. I’ll take 6 or 7 tracks at most and the rest go in the recycle bin. Not very good for an album with 17 tracks.

Track List:
01. Deuces feat. Tyga & Kevin McCall
02. Up To You
03. No BS feat. Kevin McCall
04. Look At Me Now feat. Lil Wayne & Busta Rhymes
05. She Ain’t You
06. Say It With Me
07. Yeah 3X
08. Next To You feat. Justin Bieber
09. All Back
10. Wet The Bed feat. Ludacris
11. Oh My Love
12. Should’ve Kissed You
13. Beautiful People feat. Benny Benassi
14. Bomb feat. Wiz Khalifa
15. Love The Girls feat. Game
16. Paper, Scissors, Rock feat. Timbaland & Big Sean
17. Beg For It

And no, I will not post a link to bootleg the album. If you're going to buy it though, make sure you get the Deluxe Edition so you don't miss out on the last 4 tracks.

Rittz - White Jesus

The short version of my review of Rittz’s “White Jesus” album is you should immediately download it and remember this album at the end of the year when you’re putting together your top albums of 2011. The production is dope and incredibly creative and Rittz can rhyme circles around most pedestrian rappers. If you're impatient or bored with full album reviews, just go download the album over at DJBooth.



The first time I heard Rittz was his cameo on Yelawolf’s “Box Chevy” last November and then January rolled around and I got my hands on Rittz’s single “High Five” and I was hooked on his wild style - warp speed rhyming and comical wordplay. The production from DJ Burn One stood out too so to see both of them collaborating on a full street album had me ready for a whole damn bag of dope and they do not disappoint. “White Jesus” kicks off with a dramatic blend of the death march and thunder crackling in the background while some girl rambles something in a foreign language. I even spun that shit backwards to see if it was like those old Black Sabbath albums that had some warped message, but nope…sounded even more like gibberish. If you can be patient for literally one minute you’ll hear the rattle of Rittz slide in as his rhyme rides the beat at hi hats tempo. I am interested to hear who said he “disrespected the art form” because Rittz is elevating the rhyme game with every song he drops. When I heard the speed of the hi hats running on “Crazy” I was picturing QuestLove sweatin’ like a mu’fucka behind a drum kit while Rittz wears his stamina down with his warp speed lyrical assault. When you listen to the song pay attention to the hi hats and you’ll get the visual of a drummer’s arms just wearing out.

If you haven’t heard “High Five” yet you are late or lazy or literally ignorant. “High Five” went into rotation at Swurv Radio immediately the day I heard it. “High Five” has every element of a successful hit. The production is bangin’ and fits great for the clubs, the trunk of your whip, and radio at any level and hopefully any market. The only fallback to Rittz’s incredible rhyme patterns is you will probably miss more than half of his comical punch lines the first few times you listen. If Wii came out with game for rapping and a way to clock the speed of your lips moving with song lyrics, the majority of people would fail miserably. The only break you get is when he pauses with his Diddy rip of “Hello……Good morning”.

“Fulla Sh*t” is comical as hell and features another name buzzing heavy with Big K.R.I.T. appearing alongside Shady Records’ Yelawolf who has a big buzz of his own after recently appearing on the cover of XXL. “Blowin My Mind” is one of my favorites from the album. It has a real laid back vibe with DJ Burn One once again producing a dope track. For some reason the lyrics “Lookin like a white Dolemite” had me laughing like crazy and spinning it back trying to imagine Dolemite as a white dude getting’ his pimp game on. Don’t let the hazy flavor of the song make you miss the hilarious word play.

“Nowhere to Run” has the odd blend of an Al Green vibe with the Rhodes bleeding over the guitar loop running throughout the song. DJ Burn One deserves a lot of credit for being such a creative producer and constructing such a funky soundscape for Rittz to lace. Lyrically, “Nowhere to Run” is the most serious piece of writing on the album. Even though the credits say the entire album was recorded and mixed/mastered at the same studio with the same engineer, “Rattle Back” sticks out with an airy sound on the beat and the verses. If I had a complaint about the album it would be the mixdown of “Rattle Back” only because it doesn’t seem to fit with the rest of the album; enough so that my entire focus shifted to the mix of the song more than any other element.

“Sleep at Night” is cool, but not a highlight. It could just be that my brain is running into fatigue from trying to keep up with the lyrical acrobatics Rittz keeps running. “Sextacy” slows down enough to allow you to catch your breath and really grasp the depth of Rittz’s storytelling skills. I was diggin’ the story until they start peeing on each other. I don’t get that R Kelly shit and damn sure ain’t trying to have no woman pee on me. The voicemail recording at the end of the song is hilarious as hell though! “Dixxxie Cup” has a sort of Outkast vibe so it stands out as a unique track and of course, again, is funny as hell with Rittz’s storytelling that is essentially centered around a “suck your dick song” as Rittz tells it. “No Friends” is a song a lot of people can identify with, especially anyone in the music industry that starts getting some buzz and a little loot coming in. The problem is the song is more than 5 minutes long which could have been trimmed with chopping out Shawty Fatt’s verse. Maybe they’re friends though. “Pie” is even longer, but as the final track of the album it’s a great closure song.

Get connected with Rittz on twitter @therealrittz