Under Review: How I Got Over

Hey!  Finally a review of something. . .current, right?  I didn't get a chance to talk about this back in June, but I think it's only fitting that since The Roots, along with John Legend, are ready to drop Wake Up! next week, I should get to reviewing their most recent release, How I Got Over.

I'll save the biography of the Roots beginnings for when I get to Do You Want More?!?!?!!!?.  However, it's still a good idea to get the background of what was going on in the group's world before this album hit store shelves back in June.  In 2004, The Roots released Tipping Point, which many have argued, and I'm one of them, that it was their weakest effort to ever come out from them.  The boys from Philly responded in a big way though, releasing Game Theory in 2006.  Not only did the album garner a Best Rap Album nomination at the 2007 Grammys, but it helped gain back some of the respect The Roots had lost after Tipping Point.  Game Theory was a much darker effort from The Roots, addressing political issues such as media influence ("False Media") and the increasing gap between the rich and poor ("Don't Feel Right").  The Roots had always been creative with their sounds, yet, Game Theory signaled a new direction for the aging artists.  No longer were The Roots just a musical group, but one with a purpose.

The Roots followed the critically acclaimed Game Theory with another strong album in 2008, Rising Down.  The group built upon their sounds from Theory, making an even darker set of tracks than the one before it.  This time, the group addressed issues such as global warming ("Rising Down"), police discrimination ("Criminal"), and claimed that they were the hope in a dying hip hop culture ("Rising Up").  Although the album didn't attract as much attention as Theory, it was still moderately successful.  Rising Down debuted at #6 on the Billboard 200 and ended up selling over 170,000 copies when it was all said and done.  Rising Down showed progress for The Roots in two ways.  The first was that, despite making an album that was largely not mainstream, they could still sell.  The other was their progression as a group in general.  The Roots could have went a different direction after Theory, aiming for something that would appeal more to the masses such as their earlier album, Things Fall Apart.  They didn't though, and instead pushed the bar even higher by making a more complex and driven album than even Game Theory may have been.

In March of 2009, The Roots agreed to be the late night band for Late Night with Jimmy Fallon.  I must admit that I was a major skeptic when I first saw this deal announced.  How could The Roots continue to make serious, well-thought music, when they had an obligation to the Fallon show?  My skepticism grew even more when I heard in spring of 2009 that The Roots were indeed planning on releasing another studio album in the somewhat near future.  They released their first single "How I Got Over" in June that year, but nothing followed after, and their original release date of October 20th was pushed back.  Somehow though, ?uestlove and Black Thought (the two founders of the group) managed to put the album together and it was released on June 22nd, earlier this year.  How though, could The Roots possibly make music on the level of their previous two albums, especially in a "Bedrock" society, where the temptations to make forgettable, but a quick selling single, were greater than ever?  Could The Roots stay true to who they were?

These questions and others are all answered here in my review of How I Got Over. . .

How I Got Over
Release Date: June 22nd, 2010
Label: Def Jam

1. A Peace of Light ft. Amber Coffman, Angel Deradoorian, & Hayley Dekle
Raise your hand if you thought this was an intro.  Okay, that's just about everyone.  Yes, this is an intro and I will comment on it for one reason.  This song, which is pretty boring for the most part, transitions seamlessly into the next track and it sets the mood for the entire album.  It is an intro, but it's an intro with a purpose, and that should mean something.

2. Walk Alone ft. Truck North, P.O.R.N., & Dice Raw
I can already tell I'm going to like this album just from hearing the first real song on here.  Starting with the piano in the background, The Roots set a dark, opening tone for How I Got Over.  I love Truck North's opening verse, especially the line, "Trapped, no shield, no sword/The unbeaten path got my soul so sore/Allured by the lust, something money can't cure/The Devil want me as is, but God he want more."  Dice Raw is a great addition for the chorus as well on this.  I also was a fan of the tambourines that you hear after Black Thought's verse.  The Roots are excellent at creating unique sounds, and this track is a great showcase of it.

3. Dear God 2.0 ft. Monsters of Folk
This is, without a doubt, one of the most moving songs I've heard in a longg time.  I could talk for days about the messages that Black Thought, real name Tariq Trotter, tries to convey here, but I'll try and sum it up the best I can.  First, the Monsters of Folk opening hook is reason enough to start thinking.  I get the impression that Thought is sitting in a church, or maybe at home, and he decides to try and reach God when this song opens.  Hence the title, "Dear God".  Once Folk's hook ends, Thought takes over and spits, quite possibly, the best two verses I've heard this year.  Just look at the lines:  "They said he’s busy hold the line please/Call me crazy, I thought maybe he could mind read," or, "Terrorist, crime sprees, assaults, and robberies/Cops yellin' stop, freeze/Shoot him before he try to leave/Air quality so foul, I gotta try to breath/Endangered species/And we runnin' out of trees/If I could hold the world in the palm of these/Hands, I would probably do away with these anomalies".  The Roots give Thought a superb beat, including a bass line and harp that even add more to the power of this song.  This is a song that gives me hope, not just for hip hop, but music in general.

4. Radio Daze ft. Blu, P.O.R.N., & Dice Raw
It's hard to pinpoint what this song is all about, but regardless, it still rocks.  Dice Raw is once again on the hook, and again, he does a great job.  The hook is also extremely catchy (I actually found myself mumbling it when I would wait in lines shortly after this was released).  Blu's verse is good, as well as P.O.R.N.'s, but it's no surprise that Thought is the star of the show for the third consecutive track.  I thought that Trotter had hit his lyrical peak after The Roots previous two albums.  I'm glad I guessed wrong though, because he is just ridiculous so far on this.

5. Now or Never ft. Phonte & Dice Raw
The first time I heard this, I really wasn't feeling it.  After such strong and somewhat more upbeat track in "Radio Daze", this was a dramatic change.  The hook is average, and the drums and bass behind it are somewhat forgettable.  However, after giving it a few more spins, this definitely grew on me.  Dice Raw actually raps a verse on this, on which he sounds very good.  It's a good song due to the lyrics provided by Trotter, Phonte, and Raw.  It just won't stick with me as much as the previous three.

6. How I Got Over ft. Dice Raw
Man, Raw should just be considered a full-fledged member of The Roots after this.  I don't think anyone would object to this idea either, trust me.  Raw provides the catchiest hook of the entire work, with the lines Out on the streets, where I grew up /First thing they teach us, not to give a fuck/That type of thinking can get you nowhere /Soooome-onnnne haaaas tooooo care."  ?uestlove makes his presence felt more on this than any other track so far, which is also a good thing.  The drums, bass, and guitar are fantastic on this.  As for lyrics, well, should you expect anything less from Black Thought?  Surprisingly, he actually sings part of the song, something I didn't even find out until I searched for the lyrics to it.  I can also tell that there is some serious influence from their house band project on this song.  I can easily see them playing this as a track on Late Night and there is definitely some jazz incorporated in it.  The Roots though, started out as a hip hop band that thrived in the hip hop/jazz fusion in the early 90's.  Seeing a return to, well, their roots is a great thing to hear.

7. DillaTUDE: The Flight of Titus
Interlude (although it's a smart move by the band as it transitions from the upbeat "How I Got Over", to a much, much more laid back "The Day").

8. The Day ft. Blu, Phonte, & Patty Crash
From the first time I heard the hook, I knew this is probably a filler track on the album.  Patty Crash's appearance was maybe not the best selection in my opinion.  This track is not a bad filler by any means (I still catch myself playing this through just because it blends well with the album).  However, it's not a song that can really stand by itself.  While much of the album addresses real world issues, this is a song that doesn't address any and tries to be more uplifting.  Phonte's line of "even a 3-legged dog has still got three good legs to lose," is pretty awesome though.

9. Right On ft. Joanna Newsom & STS
Another great effort from ?uestlove and the gang on this.  Owen Biddle's bass line is really, really good, and ?uest's drums accompany the overall feel very well.  Apart from the strength in the song musically, the deliveries by both Thought and STS are also good.  Thought is maybe weaker on this than previous tracks, but it's hard to follow what he performed earlier in the album.  This time also, Newsom's hook sounds much better than Crash's in "The Day".

10. Doin It Again ft. John Legend
This is the first of two tracks where John Legend is featured, but he plays a pretty small role since he's just on a four-line chorus.  Instead Black Thought is the main attraction as he's on the mic for both verses.  A very up tempo song, it sounds fantastic.  Thought absolutely obliterates the two times he appears here.  He comes out with lines such as "Knowing I'm sowing seeds, let's see whose thumb is the greenest/If I said I mean it, I did it because I need it/Eat, sleep it or bleed it, write it down and then read it/Asphalt to the cement, your trash talk, delete it/I blast off then lay 'em out like a Tempur-Pedic" and "Doin' it again just like Poitier and Cosby/I'm like Martin Luther King, you like Rodney/The difference is I give it everything inside me/Dear diary, the fans still swear by me/Even though I'm Late Night now like "Here's Johnny".  His delivery here is also the hardest of the entire album, proving how diverse Thought can be when given the chance to rap.  It's a short track, but who cares, just put it on repeat again, and again.

11. The Fire ft. John Legend
If any song should get you excited to go out and buy Wake Up!, this one is it.  For starters, the piano loop on "The Fire" immediately gets your blood pumping.  It's simple, but one you'd want to listen to when you're looking for an adrenaline booster before a game.  Thought's verses are inspirational, adding to the "pump-up" factor this song has.  There are so many good lines, and I don't know how you wouldn't want to just go do something after you hear, "One love, one game, one desire/One flame, one rhyme, fire/Let it burn higher/I never/showed signs of fatigue/Or turned tired/cause I’m the definition of tragedy turned triumph".  The real highlight of this song however, is Legend.  He provides easily the best hook of the entire album.  It doesn't surprise me that Legend meshes with The Roots so well.  Although he's strictly an R&B artist, his addition to almost any hip hop song is a good one.  I don't know if this is the best song on the album, but shit, it's close.

12. Tunnel Vision
Interlude.

13. Web 20/20 ft. Peedi Peedi & Truck North
AHHHH! Why was this track selected?  This sounds like something I'd find on Tipping Point, not How I Got Over.  The beat is so bad, I can't even keep this on for more than a few seconds.  What the hell were ?uest and Thought doing when they decided to include this?  Something tells me, I really don't want to know.

There is a bonus track on How I Got Over.

14. Hustla ft. STS
Again, a song that doesn't fit with the overall theme of How I Got Over and one that seems recycled from Tipping Point.  Thought and STS, to their credit, sound very good on their verses, but after I listened to "Dear God 2.0" and "The Fire", I can't get in the mood to give this a spin.  I'll hit the skip button quick so I can get to the next Roots album in my library, Illadelph Halflife.

Closing Statement: How I Got Over is very similar to that huge final you actually decided to work your ass off and study for.  You put in hours, and hours, hoping that this exam will be your pride and joy of the finals season.  You get there, roll through the first 48 questions, but then get dumbfounded by the final two.  Your dreams of a perfect score crash down, and that test that you literally needed to get a 100 on to bump that A- to an A, comes up just short.  In How I Got Over, The Roots are unbelievable from tracks 2-11.  Some of the best Roots songs ever are on here, including: "Dear God 2.0", "The Fire", and "How I Got Over".  There aren't many fillers, except for maybe "The Day", and the album keeps a very cohesive theme throughout.  Unfortunately, there are two aspects that hinder this from being the best Roots album in their collection.  For one, "Web 20/20" and "Hustla" are both tracks that should never have made it on the album.  Not only are they the weakest tracks found here, but they don't even fit with the overall feel that How I Got Over has.  It's almost better to exclude them completely when you listen to How I Got Over, meaning just listen to tracks 1-11.  The other problem with this album is it's length.  Excluding "Hustla" and "Web 20/20", there is only around 34 minutes of actual song that shows up.  While I don't usually criticize artists for shorter albums (I actually am a fan of them because it indicates to me that there is less fillers) this one left me yearning for more.  The material on here was so good, I was almost depressed when it ended so abruptly.  However, that still doesn't prevent me from playing over these tracks again and again, which I have done a lot since I picked this up in June.  How I Got Over is still a tremendous achievement from The Roots, mostly because of the time it was released.  The Roots continue to make real music.  They create music that will make you think and is meant to be listened to, rather than played.

The Verdict: Absolutely buy this album as soon as you can.  I don't care if you're into 50 Cent, or Lady GaGa, or hell, even Keith Urban.  This is not just great hip hop, but great music.  Listen to the messages that ?uestlove and Black Thought try to convey on here and then just sit and think about them.  An album that can make you think and still enjoy?  That is something to cherish.

Sizzlin' Sounds: September 12, 2010

(Apologies for this getting posted a few days late, all of the tracks though are still very current)

Another week in the books, and I must admit, the football fever has already taken a hold of me.  The hip-hop news this week probably attributed to this, considering that there wasn't much going on.  However, there's never a day where time stands still, and hip hop is no exception.  So what was noteworthy last week?

Since I am watching the VMA's right now, it's probably fitting I lead this off with the news that Jay-Z earned 11 nominations for the BET Hip Hop Awards, which will be at Atlanta next month.  Drake scored eight noms for himself, while his Young Money partner, Nicki Minaj, somehow garnered seven.  As good as Jay is, and Drake has his moments, if you're not just the average, casual hip hop fan, I'm going to already recommend you avoid watching this.  Big Boi's Sir Lucious Left Foot, which has probably been the best hip hop album of 2010 so far, wasn't even nominated for CD of the year.  If BET wants to be considered a network for great hip hop that isn't top 40, it will need to do some serious research in the future.

Other popular news from the past week was that J. Cole, who has been gaining more and more hype by the day, was announced as the opening act for Jay-Z & Eminem's Homecoming Tour, which will be in New York this week.  Consider this a good thing, and if I was, well, not broke, I'd be working the net to try and find tickets to this concert until I passed out from exhaustion.  Also last week, Pharoahe Monch's upcoming album, W.A.R., and Smif-N-Wessun & Pete Rock's collaboration, Monumental, got its release dates postponed.  Both albums were originally supposed to drop this fall, but now it looks more like February will be when you should see these on store shelves.  It sucks that this happened, but trust me, these are two albums that I believe will be well worth the extra wait.  Just listen to Monch's previous album, Desire, if you need more convincing.

And what week in hip hop would be complete without another arrest.  Yes, unfortunately just a week after T.I. was pulled over for using ecstasy, another rap artist made a dumb mistake.  Remember Petey Pablo?  If the name doesn't ring a bell, then search up "Freek-a-Leek" and "Raise Up".  I mean, how can you not remember "NORTH CAROLINAA, SWING IT LIKE A HELICOPTER!".  Yeah, that guy.  Well, that guy is also an idiot.  Pablo was at the airport on his way to the VMA's Saturday, when, he was stopped for illegal contraband in his carry on bag.  Pablo was then arrested because this wasn't just any illegal item, but a pistol.  Now remember, Saturday was the 9th anniversary of the September 11th attacks. . .and Petey thinks it's a good idea to try and bring a pistol on a plane to L.A.?  Looks like we won't be hearing anything more about Pablo for a very, very long time.

Okay, so now that you may feel somewhat better about yourself since you know you'll never be as stupid as Pablo was on Saturday, here's the top five songs of the week:

Just Missed the Cut: You Be Killin' Them - Fabolous
First off, the beat for this is pretty damn good.  It sounds like it samples a church organ, making it instantly something different to listen to.  Unfortunately, this song struggles when it comes to Fab's lyrics.  "They say she a dime, I say she underrated".  Probably not what we would call "classic" lyricism.  The hook can get a little annoying too, but I still think this track should garner at least one listen.

5. Whip My Hair - Willow Smith
This actually has received more airplay than the next two tracks on this list, but it's more a pop song, so I downgraded it.  Regardless, I really am digging this song.  For those of you who don't know, Willow Smith is the daughter of, guess who, Will Smith.  Get this though, she's NINE YEARS OLD and she signed a deal with Jay-Z's Roc-Nation Records just last week.  This girl has mad potential and if I were Rihanna, I'd be worried.  Seriously, she sounds like she's 19 on this song.  Look for this to be blasting at clubs very, very soon.

4. Damn it Feels Good to be a Taylor - Wiz Khalifa
I've said it before, and I'll say it again, I have no idea what to think about Wiz sometimes.  Here is another prime example.  Lyrically, (as much as my Pittsburgh friends may disagree), this is extremely weak.  He only goes for really one verse on this.  However, for reasons I can't explain, I still like this song.  It uses the beat from Office Space, and I think it actually suits Wiz very well.  Oh, the video for this, is hilarious.  I can't believe I'm saying this, but you need to check this one out.

3. Hustlaz [prod. Kanye West] - Twista
I have no idea why this got so much play in the past week, because this song straight up sucks.  The production doesn't sound anything like something you would expect from Kanye, meaning that the beat is pretty whack.  Twista doesn't even sound like himself on this track.  His flow is much, much slower, which strays from what makes him so memorable in the first place.

2. G.O.O.D. Friday - Kanye West ft. Kid CuDi, Common, Pusha T, Big Sean & Sean Wilson
The write up for this song was almost filled up by just the crazy number of guest appearances Kanye decided to include on this one.  But besides that, this is a pretty good track from Mr. West and friends.  The beat here is fun to listen to and I was pretty fond of the piano loop that it incorporates.  CuDi on the hook sounds great as well.  Lyrically though, it's just average.  I don't understand why Kanye claims this is a song for "hardcore hip hop fans" because it's far from it.  Put this on your iTunes on a nice, sunny day because it fits perfectly for it. 

1. Lookin' 4 Ya (Jedi Remix) - OutKast
We have a new #1!  That's right, Kanye finally loses his spot after three consecutive weeks at the top due to his G.O.O.D. Fridays.  Not only is it nice to be writing in a different artist here, but the fact that it's OutKast, is really reason to celebrate.  The duo, which I consider to be possibly the greatest of all time, hasn't released anything as a group since their last album, Idlewild, in 2006.  Big Boi has been making noise lately, but having Andre 3000 back to help is a great thing to hear.  Oh yeah, the song by the way, is AWESOME.  I love the beat provided here and both Big Boi and Andre kill each of the verses they appear on.  Andre's line about going to "Ikea" is very clever, but then again, this is 3000, so shouldn't we expect the best from him anyways?  OutKast does it once again.

Under Review: Bulletproof Wallets

I've had a Wu fever lately, which is likely why this and last week's review were Wu-Tang Clan related.  To be honest, I had never cared for or listened much to the Clan until this past summer.  I had their Enter the Wu-Tang (36 Chambers) sitting in my iTunes for months, but for some reason, I didn't give it a chance.  When I was on my way back from Boston last month, I was in the mood to listen to something. . .different.  Luckily, I scrolled through and Wu-Tang Clan caught my eye.  I put on "Bring Da Ruckus", and then immediately played it again.  All I could think to myself was, "These guys are fucking crazy, but regardless, they're really, really good."  From that point on, Wu-Tang Clan became a staple of my library and they've become easily one of my favorite groups.

The Clan as a whole is incredible, but, as I mentioned in my post last week about GZA's Liquid Swords, there are clearly better MC's than others within the group.  As good as GZA and Raekwon may be, many regard Ghostface Killah as the best solo MC because of his consistency.  Ghostface, born Dennis Coles, has one of the most recognizable deliveries and voices that exist out in hip-hop today.  From his first appearance on "Bring Da Ruckus", his style is one of an up tempo, right in your face.  His charisma when on the mic is interesting in itself, even when you don't pay attention to his strength in lyrics.  Coles was signed to Razor Sharp records after the Clan's success on Enter the Wu-Tang in 1993, and delivered his first solo album, Ironman, in 1996.  Ironman went platinum, and Coles followed the acclaimed album with a possibly better one in Supreme Clientele in February of 2000.

Which brings me to this album, Ghostface's third solo offering, Bulletproof Wallets.  When I first started finding out more about Coles and his music, I was more focused on Ironman and Supreme Clientele.  I hadn't seen much material discussing Bulletproof, so I disregarded it for some time.  Eventually though, I wanted to check it out, hoping that it would be half as good as Supreme Clientele.  Bulletproof didn't perform well on the charts, despite getting decent critical reception.  Part of the reason for it's struggles could have been due to Epic Records failing to put on three of Killah's tracks: "The Sun", "The Watch", and "Good Times".  Or it may have been due to not being quite as well received as his first two solo albums.  But was Bulletproof a case of an album that was judged fairly?  Or an effort that just simply fell through the cracks because of it's early struggles?

We'll find out in my review of Bulletproof Wallets. . .


Bulletproof Wallets
Release Date: November 13th, 2001
Label: Epic/SME Records

1. Intro
Is there an unwritten law that every hip-hop artist has to have an intro?  Like most intros, listen to this the first time through, then never listen to it again.

2. Maxine ft. Raekwon
This is an interesting track for a couple of reasons.  For one, the beat by RZA has a more funk feel than a traditional Wu one.  I'm not sure how to feel about it, but I don't think it takes anything away from Ghostface and Rae.  Another reason this song is intriguing is the story Ghostface and Rae tell here.  It's basically about a woman who is almost killed by her supposed husband/boyfriend.  Later however, her kids end up saving her.  It's a good track, but nothing too special.

3. Flowers ft. Method Man, Raekwon, & Superb
Now here is the song that should have kicked off the album.  I love RZA's production on it, and this beat sounds just as good today as it did nine years ago.  Rae is average on this, so thankfully Meth makes an appearance.  He sounds fantastic on it, and he actually seems awake when rhyming.  Ghostface still has the best verse though, especially with his line "Especially when the shots ring off in slow motion/when yo' head hit the meter/You lost two leaders, at the same case speeder/Peter Slim Duch shook 'em down for his reefer/James chased the recent with a hatchet on Easter/Two murders in the 'hood, we call 'em double features".  Easily one of the highlights of the album.

4.  Never Be the Same Again ft. Raekwon & Carl Thomas
Intended to be a love song, and it works well.  I don't think Ghostface is really well suited for songs like this though, with his such up beat delivery.  RZA isn't on the board for this one, instead, those duties are given to Lilz and PLX.  They give a pretty good product, as I think it fits the song very well.  However, the chorus beat is a little corny, even though I think Thomas is a good addition to the track.  Pretty much just a forgettable track in general.

5. Teddy ft. Superb
Skit.

6. Theodore ft. Trife & Twiz
Mathematics produces a spectacular beat in my opinion on this.  It's one that I'd just want as an instrumental if I could find it.  Ghostface, and surprisingly Trife as well, kill their verses.  But then, there's the hook, which is awful.  It completely ruins what the song had going for it.  Listen to Ghostface's first verse, then on to the next one.

7. Ghost Showers ft. Madame Majestic
Starts off slowly, but it does pick up steam.  Madame Majestic's appearance works pretty well, and she does a nice job on the hook.  The beat, provided by Chris Liggio and Tally Galbreth, is also not a bad one.  It changes from the verses to the hook, where Ghostface raps over a more old school background, while Majestic sings over a piano loop.  This is a very catchy song, so chalk that up as a good thing.

8. Strawberry ft. Killa Sin, GZA, & RZA
I don't know why, but as soon as I heard the beat play in on this, I knew it was Ghostface song from the start.  Mathematic's production is once again, very good.  Ghostface slows down his delivery here and it's actually a nice change of pace.  Surprisingly, GZA and RZA are only there to provide the interlude, leaving the first verse for Killa Sin.  While I'd love to have heard GZA spit that verse, Killa Sin does a great job of his own.  This song is also pretty humorous, with Ghostface talking to a girl mostly about how she wanted his. . .well you know.  I mean, just look at the lines: "Dick is sensitive, you move, baby here it is /Oh lord, that's what you look to move, you dumb broad /Comin' for days, wettin' ya cage /My dick is like the sprinklers and maybe ya dush, I'm here to save the day".

9. Forest ft. Raekwon
And then he follows that with this shit.  There's bagpipes on the beat, and unlike when the Root's used them, they don't work here in my opinion.  Next please.

10. The Juks ft. Superb & Trife
The hook is weak, but otherwise, this is a very solid track.  I don't really know why Superb has so many appearances on this album though.  His second verse isn't that good, so fortunately we have Ghostface and Trife to pick up the slack.  Oh, and Alchemist's beat is also one of the better ones on the album.

11. Walking Through the Darkness ft. Tekitha
Another good one from the Killah.  RZA's beat is more guitar oriented, but it's faster paced, which suits Ghostface well of course.  Tekitha's appearance is also not bad when she sings the hook.  I had to laugh at the line "So what, I had a rough day?/That's right, and if y'all don't like it/then motherfuck, ya'll is Ghost in da house!" Something we should probably all think when life is shitty, right?

12. Jealousy
Skit.

13. The Hilton ft. Raekwon
This song is the sole reason I feel my money was well spent on this album.  Let me start with producer, Carlos "6 July" Broady's, beat.  It is, quite simply, one hell of a banger.  It fits perfectly with Ghostface and Rae, as well as just being a tight beat in general.  The fact that I could blast this shit in my speakers and be proud says something.  What's amazing is that it's not even the best part of the song!  Ghostface's verse is one of the best I've probably ever heard from the MC.  I mean, just look at his line: "Rae ran hysterically/Slipped on soap/Landed on his back, with his gat, now that's dope".  That is some funny shit.  Rae also sounds great on his verse; I'd say it's the best one he drops on the entire album.  One of my favorite Ghostface songs ever.

14. Ice
Interlude.

15. Love Session ft. Ruff Endz
A much slower song than "The Hilton", but I still like it.  Ghostface has more love songs on this album than I remember on his previous two, which is a little surprising.  However, I also believe Ghostface is a very diverse MC for his ability to go from talking about a shootout at a hotel, then talking to a love in the very next real track.

16. Street Chemisty ft. Prodigal Sunn & Trife
Damnit Ghost, why didn't you just end the album with "Love Session"?  A weak beat, and really overall track from Ghostface.  It doesn't ruin the album by any means, but it kind of left me with a bad taste in my mouth when I was finished listening through.

Closing Statement: OK, let me start by saying this is far from a perfect album.  Ghostface should never, in my opinion, have even considered releasing some of these tracks that appear here.  "Forest" and "Theodore" are really weak, and there are a number of just average songs too.  Ghost was upset at the way the album was handled by Epic, blaming them for not including the tracks "Good Times", "The Sun", and "The Watch" when this was released.  It's a shame that happened, because I feel like, although I haven't heard any of the three unreleased cuts, they had to be better than some of the stuff found on Bulletproof.  With that being said however, this is still a very, very good hip-hop album.  Maybe I just love listening to Ghost, but he is still largely consistent on this.  I really dug "Walking Through the Darkness" and "Strawberry".  "Flowers" was also another highlight, but the real reason to give this album a spin is just to hear "The Hilton".  I don't know if it's Ghost's best track he ever did, there are many of them trust me, but it's right up there for sure.  I also gained a new appreciation for Ghostface's creativity on this album, since he raps about a variety of things like love, sexual harassment, shootouts, and even "rough days".  Bulletproof, to me, is like when you go to get ice cream, and your favorite flavor, like strawberry cheesecake, is out.  Your second favorite, say cookie dough, is still there though, so you still come out in a good mood.  If I could listen to more albums today even on that level, I won't be complaining.

The Verdict: This is not an absolute, must-have for a casual hip-hop fan.  Really, I feel like most casual fans won't appreciate the work Ghost does on this, as it may not be poppy enough or achieve "classic" status like Supreme Clientele.  However, this is an essential for any Wu fan and anyone who loves hip-hop more than just the mainstream.  You will pleasantly surprised, just as I was, at how good a "cookie dough" album can be.  Buy this once you find that extra cash you left in your back jeans pocket that you accidentally forgot about this past weekend.

Sizzlin' Sounds: September 6, 2010

Usually I get this posted on Sundays, but this past weekend has been, well, a little crazy.  Here's what's been going on in hip-hop since last week. . .

Eminem and Jay-Z performed in their "Homecoming Tour" at Comerica Park in Detroit last Thursday.  Em even got some more star studded appearances, as Drake, 50 Cent, and Dr. Dre decided to stop by.  It's surprising to see that Drake was part of a concert with such rap legends, but Slim has cooled down a lot over the years, so I guess he was cool with it.  Another surprise was 50 repairing bad relations with Hova backstage at the performance.  Jay-Z and 50 have had beef for over a decade now, ever since 50 decided to dis Jay on his single "How to Rob" in which he described how he would rob other big MC's.  Jay responded in "It's Hot (Some Like It Hot)" where he said the line:
"Going against Jigga yo' ass is dense/ I'm about a dollar, what the fuck is 50 Cents?"
Although the two had fired jabs at each other, nothing more ever materialized.  Besides, Jay had his own beef with Nas, so why would he have spent time ripping a much, much weaker artist than himself?

Also in hip-hop last week, Chip Tha Ripper was confirmed as a guest on Kid CuDi's sophomore album, Man On the Man II: The Legend of Mr. Rager.  This could be potential good news for hip-hop listeners out there, since CuDi and Chip have ties from both being from Cleveland.  Whatever track they do together though, I'm expecting CuDi to have the bridge or chorus section and a verse, while Chip will provide a verse of his own. 

Lastly, the news for T.I. continues to get worse.  Recently, it surfaced that not only was T.I. carrying a controlled substance when he was pulled over, but that he was under the influence while driving.  He, along with Tameka "Tiny" Cottle, both tested positive for ecstasy after their arrest.  Word is that T.I. may be back in the slam for up to a year, if found guilty of all charges.  The plea deal will get him less time, but it's still probable that Harris will face jail time regardless.


Now, for the hottest five singles of the week. . .


Just Missed the Cut: "Villematic" - J. Cole
It's the third straight week I've mentioned J. Cole in a post, and, in more times than not, that's a good thing.  Cole just released this one earlier today and he sounds pretty damn good.  The beat is kinda average, but Cole let's his delivery steal the show.  Cole will only continue to raise the hype of his debut album when he keeps making tracks like this.


5. "Paid the Cost" - Slim Thug ft. Rick Ross
I guess the only reason this song is getting any real attention is because of the two artists.  Other than that, I don't see what's good about it.  I like the production, but come on Ross, how many times do you want to tell us you're "a paid nigga"?  WE KNOW YOU'RE RICH, so stop it with reminding us, along with people like Young Jeezy, that you have some serious cash.  Oh, and the "Maybach Music" girl is also annoying as hell on this song.


4. "Big Money" - Jadakiss & Rick Ross
Really?  I JUST finished my rant about Ross talking about his stacks of cash, and this is the next song that is on the list?  A good club beat, but nothing more to say about this track because it's probably even more forgettable than "Paid the Cost".


3. "Did You Get It" - Kid CuDi
I was pretty hard on CuDi when I heard "Mr. Rager", but he did a good job on this particular cut.  CuDi sounds fantastic on his rhymes here, especially in his second verse where he drops a line about "going to school and studying on how to make rhymes".  The content is similar to what you would hear on "My World" off of CuDi's first album.  CuDi's lyrics and delivery make up for a somewhat sub-par beat, but this is a much, much better offering than "Mr. Rager".


2. "The Usual" - Trey Songz ft. Drake
Hey, I think Trey has a great voice, but this is a quickly forgettable song.  Will Drake please make an appearance on something that actually has some meaning behind it?  Could be a song though you'll play in the background of a party scene, however.


1. "Devil In a New Dress" - Kanye West
The third straight week Kanye has a #1 on this list, and he'll continue to hold that spot until his G.O.O.D. Fridays end.  The beat here is really whack, but otherwise, the song isn't too bad.  Kanye has some good lines here and I like this much more than last week's "Monster" (mostly because Nicki Minaj doesn't make an appearance).  Still, "Power Remix" remains to be the best of Kanye's recent tracks, so we'll wait and see if his track next week will challenge it.

September Preview

August had it's moments, with Bun B's Trill O.G. and Wale's More About Nothing, but for the most part, it was a pretty quiet month. We did get the "Power Remix ft. Jay-Z [prod. Swizz Beatz]" and I was very happy to see AZ make a return with his single "Nothing Move ft. June Summers". However, there really wasn't much else to talk about on the rap scene (unless you love Young Money, but don't even get me started on them). I'm also still waiting for an album that will challenge Big Boi's Sir Lucious Left Foot: Son of Chio Dusty for the best hip-hop album this year. So, will September be more generous to hip-hop listeners? Here's what to look for in the last month of summer. . .

- WAKE UP!

Artist: The Roots w/John Legend

Release Date: September 21st

Hey, didn't the Roots already release an album this year? Well it seems that ?uestlove and Black Thought aren't quite satisfied with How I Got Over being their only offering this year, so why not make another album with one of the best callaborations for The Roots today? Yep, WAKE UP! (I perked up by just reading the title) will be hitting shelves later this month, and it's an album you should probably pick up. The Roots seem to be moving back to, well, their roots since they had a more laid back, jazz feel to How I Got Over. That's a good thing, and with John Legend helping out, dare I say it could be. . .legendary?

- Classic
Artist: Rah Digga
Release Date: September 14th

Surprised that this is on the list? You shouldn't be. Rah Digga, one of the better female MC's in hip-hop, was part of the successful group Flipmode Squad. Her first album was released 10 years ago, Dirty Harriet, which was met with decent critical reception. Digga is probably best known however, for her appearance on "Touch It Remix", which earned her a Best Callabo Award at the 2006 BET Hip-Hop Awards. I'm pretty confident that her newest album won't be a "classic" but it's good to see Digga back in the studio and getting something on the market finally. I wouldn't rush to buy this, but it should garner a listen if you can find it streaming somewhere.

- TM103
Artist: Young Jeezy
Release Date: September 28th

I'd be willing to bet every penny in my wallet, (which isn't much), that this album will suck. But, I'm also willing to bet that it will still sell incredibly well and that Jeezy will have his second consecutive #1 album on the Billboard 200. I liked "Lose My Mind", (Jeezy's first single), but if every song is anything close to that on TM103, Jeezy will have another forgettable set of tracks. Wait to see how this one looks before buying it, but most people will probably just buy it anyways.

As far as singles, Kanye will continue to release singles each Friday, so those would be a G.O.O.D. (get it?) thing to do. Also, if you haven't paid any attention to the news lately, T.I. and his newlywed, Tameka "Tiny" Cottle, were arrested on Wednesday night for "a controlled substance". T.I. is still on a three-year probation, so this could be a major blow to when he goes to court. Keep tabs on Mr. Harris this month, because it's very possible that Clifford will be heading back to jail. For the full news story on T.I., click here.