CD REVIEWS

PASTOR TROY
“BY ANY MEANS NECESSARY”
Universal
Without resorting to pop, it takes time for an artist to build a fan base nationwide. With that in mind, all of Pastor Troy’s prior independent albums had that gritty Southern flavor that he is known for, specifically designed to please his regional fans. On his first major release he switched up a little to appeal to fans nationwide, and I must admit Timbaland’s hard-hittin drums had me cuttin’! But it’s a new year and a new album, and we hear a little less of Mr. Revelations and much more Mr. Universal. “Ridin’ Big Yo” has helped him get a little exposure, but there’s no clear-cut radio single on this album, with the possible exception of “Crazy,” a diamond-in-the-rough. 8Ball and Juvenile drop so-so verses on “Nice Change” and “Boys to Men,” which is a big let-down, especially since both come equipped with very decent hooks and equally decent beats. A few filler tracks are expected on any album, but the DJ Mars-narrated, Taj Mahal-produced “Benz” is just plain awful. Using the worn-out Whodini sample from “Friends” to drop a song dedicated to whips would have been better as an excusable interlude or skit. Throughout the album, it seems like Troy is about to drop that heat, but never quite comes through. While trying to make that awkward change to appeal to national playlists, Troy’s lost some of his appeal to loyal fans. – ADG, adg@tmail.com

DRIFT
“RIBS IS TOUCHIN’”
BRICKHOUSE/LIGHTYEAR
Unconventionally, Drift allows P-N-C Chynk Showtime to blaze his intro first, with bars like, “Dawg, I’m all about business and I don’t really care about sendin’ four shots at the witness / You on my hitlist, watch ya lip bitch, I got a clip early you can get before Christmas.” Drift then one-ups him with his own braggadocios verse. The album then moves from a gangster feel to a little club ditty, where Molly helps with the call-and-response infected hook. You might want to listen to this one a few times carefully, because it’s easy to nod your head to the beat and miss the wordplay. Drift spits metaphors like “Taking ya place like Loon did Mase” and “Hit you with a shotgun like Elmer Fudd or Jayson Williams.” We get a bonus with “Don’t Call Me Pt. 2,” where Remy Martin drops a pretty credible verse which clarifies, “Niggas is dumb and bitches is dumber.” The album is only twelve tracks deep, keeping the focus on the music. There’s no skits or needless material, just the meat! Other notable tracks include the solo cuts “We Could Do This,” “All I Know,” and “Where They At.” On the title track, Drift exemplifies his flow to perfection. His wordplay on this song could be compared to that of Jay-Z, Jadakiss, and Eminem. Filler material on the album is kept to a minimal. The weakest track on here is the single, “Don’t Call Me,” but it serves a purpose. It’s a little call-and-response track, easy to remember and sing to. The CD even comes equipped with the BET Uncut video for “Don’t Call Me.” – ADG, adg@tmail.com

LAURA DIAMANTE
“STYLES UPON STYLES”
Intros are important because they set the stage for the album. Laura settles with the overly-used phone call intro. It wouldn’t be that bad, but four and a half minutes of hearing celebrities holla at you is a little ridiculous. Seconds into the second song, “My DJ,” I see that her intention was good, but short is sweeter sometimes. Virtually unknown artist Vortex spits a few lame bars and kills the feel of this banga. The production of Nick Fury on “Move With Me” is just as solid as his other three songs (“My DJ,” “MCs,” and “De-Ja Vu”), but the menacing production of Blackout on “Da Bounce Track” allows Laura to demonstrate her lyrical ability, kicking lyrics at Twista speed. On “MCs,” Laura spits bars that can easily compare to a Remy Martin or Lady Luck flow. Six of the eight songs could easily be promoted as a lead single, but since the album is only ten tracks deep, it’s hard to rate this album on the same scale of a full-length album. Laura comes with a complete product, but if you like that Skittles Pop that has been saturating urban radio for a minute this might not be for you. – ADG, adg@tmail.com

TONY TOUCH
“THE PIECE MAKER 2”
Koch Records
When you pop in a CD and the first thing you hear is a toddler saying: “Warning, the Surgeon General of Brooklyn, New York, has determined ONCE AGAIN that the sounds you’re about to hear can be devastating to your ears,” you probably think it’s nothing more than a simple intro. By the end of this effort, however, you understand that this warning was really necessary. Tony Touch has been a groundbreaker on the mixtape circuit for years as a DJ as well as venturing into different aspects of hip-hop. With almost a four-year gap since the original Piece Maker album, we see that Toca has gotten a little more involved in the production and stepped his game up a bit. Other beats are provided by the likes of RZA (“Rock Steady”), Beatnuts (“Capicu” and “A Beautiful Day”), Erick Sermon (“How You Want It”), Sean C., and a few others. Most, however, can’t be compared to the beat Pete Rock drops on “Out Da Box.” You can almost taste the culture, with Large Professor, Pete Rock, Masta Ace, and Toca sprinkling their updated old-school flavor. Doo Wop returns to once again give us that Diaz Brothers’ duo on “Click Bang.” Almost all the artists enlisted for this album exemplify hip-hop in its purest essence for the past decade. Nature, Sean Paul, G. Dep, and the dead prez hold it down for the newest generation of artists. On his last album, we saw Toca come together with some of Total for a radio single. This time Toca has decided to drop “Capicu” / “Out Da Box” first, but you can overlook the R&B formula when it works. Tony is at his finest on both production and DJing on “Just Be Good To Me,” with help from a MC Lyte vocal sample from the classic, “Poor Georgie.” With a few exceptions, each song deserves its own review. I believe I’ve given you enough to go by, and I’ll end this piece by describing this hip-hop album in two words: CLICK BANG! – ADG, adg@tmail.com

SAIGON
“WARNING SHOTS”
SURE SHOT RECORDINGS
A warning shot is a shot straight in the air in order to draw attention, or gain control of a situation. But why does Saigon feel like he has to buck a few shots before his debut? Saigon takes you through freestyles, streetbangs, and songs from his upcoming album. “This copy is intended for promotional use only. (pause) Do not get your ass beat. (pause) It’s not worth it. Promotional use only.” Saigon follows this clip with the Julia Andrews-inspired “Favorite Things,” where Sai specifically informs us what his favorite things are. Well, except for his favorite groupie, because, “Um, there’s a whole bunch of them!” Although this is a simple concept, homie pulls it off nicely! If you’re looking for more intense wordplay, tune into “Sticking Cap” or “We Want In,” where Ali Vegas, Mekka Millz, and Sai ride a guitar riff driven track to perfection. On “Papi (35 a Gram)” we hear Sai’s tales of hustling, cooking, wheeling and dealing drugs. Midway through the album we see the human side of Saigon’s character, with tracks like “Huh Mama” and the political “Kiss the Babies.” He also flirts with the idea of Big Brother’s responsibility for drugs and guns in America. “Yes” and “Pop Quiz” are two more complete songs, but I believe Sai put the most effort into “If,” a dedication to his mother. The last four tracks are freestyles courtesy of Kay Slay, DJ Shok, DJ Absolut, and Whoo Kid, the latter of which raises a few questions including the current trend of NY artists dickriding Southern artists, and the lost art of hip-hop in complete albums. These warning shots definitely got my attention, but there are no gold or platinum singles on this album. He won’t sell 8 million retail and won’t have a world tour with this release. Is that good or bad? A few years ago, KRS-One stated, “I’d rather have a hundred-thousand real heads buy me than one million of your fake fanatics behind me.” I think Saigon feels the same way. – ADG, adg@tmail.com

GHOSTFACE
“THE PRETTY TONEY ALBUM”
Def Jam
Wu-Tang this, Wu-Tang that. “Is the Wu coming with another album?” “Where Shaolin’s finest at?” So many people are asking these questions. On the intro to Ghostface’s fourth solo release, “The Pretty Toney Album,” he tells us that the Wu will have another album together as soon as all the individual projects are released. This album revisits Ghost’s soul vibe. Instead of using beats with sped up vocal samples, Ghostface uses vocal samples at original tempo on tracks like “Save Me Dear” and “Holla.” Production on the album is provided by Cilvaringz, No ID, K-Def, Minnesota, and RZA, whose style is clearly evident on “Kunta Fly Shit.” The drums and trumpets at the beginning of this track are clearly RZA, if you couldn’t tell by the name alone. No ID comes with the track for “Metal Lungies,” one of the best tracks on the entire album, which is reminiscent of Wu-Tang in its heyday. Production is solid, and features include Trife, Sheek Louch, Missy Elliot, Jadakiss, Jacki-O, Musiq, and K-Fox. This diverse group is a testament to Ghostface’s versatility and experimentation. “Biscuits” is a track which seems to capture Ghost’s very essence. He doesn’t lock himself down to specific delivery patterns, and thus can mold himself around the beat. He comes strong on other tracks like “Be This Way” and “run.” “Love,” a rather unique track, features the vocal finesse of Musiq and K-Fox. It doesn’t sound like something you’d necessarily hear from Ghostface. He delves into his definition and questions about love on this track, proving that he didn’t leave substance at the door with this release. “Tush,” featuring Missy Elliot, is a radio-friendly track which should draw praise from the crossover audience. If you’re a fan of either Missy Elliot or Ghostface, you definitely want to check for this track. Both MCs do a wonderful job of adjusting to the production, and Ghostface drops some hot vocals. All in all, “The Pretty Toney Album” is a good buy. If you liked Ghostface’s earlier works, you certainly won’t be let down with this release. With solo LPs like this on the way, it will be easier for Wu fans to be distracted from thoughts of another group release. Quality albums such as these make the wait a whole lot easier. – Rohit Loomba, ctpros@arcaneproductioncompany.com

CORMEGA
“LEGAL HUSTLE VOL. 1”
SAMPLER
Koch Records
“What up wit’ Cormega, did ya see him, are y’all together?” It was with these words from Nas that we were introduced to Mega Montana in the early nineties. Ten years and a few solo projects later, Mega brings us “Legal Hustle Vol. 1,” with confirmed songs featuring Legal Hustle artist Dona, Brooklyn’s own M.O.P., Wu’s Ghostface, the legendary Large Professor, and West Coast G’s Jay-O Felony and Kurupt. The lead single, “Let it Go,” has been bubbling on mixtapes for a few months, and word is than an animated video has already been created for it. The sampler is only five songs, but hits hard with the first single stealing the show. M.O.P. and Cormega’s chemistry mash great over the lackidaisy beat for “Let it Go.” On “A Beatiful Mind,” we’re taken through Cormega’s train of thought, only to come out at the end more lost than we were before. Newcomer Dona drops some hot bars on “UFO,” but her status is revealed on “The Bond,” where the seasoned veteran’s tongue is just too fierce. – ADG, adg@tmail.com

F.A.T.S.
“Finally A True Story” sampler
Usually when I go to the office to pick up potential reviewable material, human nature forces me to first pick up CDs that look the most “official.” F.A.T.S. presents us with nothing more than a slim jewel case with a scotch-taped list on the front and a handwritten name on the CD, so I’m not expecting much. The name sounded familiar, but if you can’t recall where you’ve heard it before, don’t feel bad. This former Darkchild artist got a chance to share the stage with none other than the currently indicted King of Pop, M.J., on Mike’s “Unbreakable” album a few years ago. But it’s 2004, and Mike is nowhere to be found on this disc. Instead, we have a variety of tracks with the likes of Lil’ Wayne, Brandy, 50 Cent, Truth Hurts, and Darkchild himself, Rodney Jerkins. On the tentative lead single, “Stand Up,” which features Freeway, F.A.T.S. drops a few memorable bars like, “Yo, I got a bag of chips in my hand, and slabs of nicks in the bag of chips in my hand.” The Harlem rapper might not have the South’s attention yet, but he’s enlisted Lil’ Wayne and Truth Hurts for “Maria,” the smoker’s anthem paying tribute to Maria, Marie, Mary, as in Marijuana. Holla! – ADG, adg@tmail.com

This song featuring the Georgia crunk soldier, Pastor Troy and O-Town’s Grandaddy Souf was produced by Get Cool. The hook will have you shouting through the rooftops of your ride and clubs across the land. Very seldom will you come across an artist that has got "it." When you listen to Bloodraw spit, you get that sensation. Not to mention, with his phenomenal stage show he stole the Tastemakers Only Showcase! Don’t be surprised when you see him painted on the landscape of hip-hop in the near future.

Suave Smooth turns in another club stirring jam with "Back Tha Fuck Up." No matter where you’re from this track is fire, but if you hail from Florida, it’ll have a special appreciation for you. He gives special attention to the counties in the Sunshine State such as Duval, Polk, Dade, Leon, and especially his hometown of Palm Beach, bitch! But, what sets this song off is how he explains life in the F-L-A. "Florida is similar to Iraq/These killers will attack." Suave is doing a great job putting South Florida on the map.

Tocka has reached all the way from the Nasty Natti, known to most maps as Cincinatti, OH. The thing about this song is that it describes a dance that has the Natti burning like a race riot. To do the "Down The Way," "First you feel the beat / Then you start to move your feet / Your head rocks a little / Yeah, you got the rhythm." The good thing about this dance is that it’s unique to each individual, but when it is done correctly, it looks a little like the "chicken head" on a wet floor.

Zay recruited the official king of crunk to lace a track that features Bay County’s finest in Bloodraw and the Mississippi monster, Kamikaze. For those that don’t know, when somebody is stressing you or invading your space, tell them to "pump ya brakes" and slow down. Otherwise, you may have to decrease the peace. After all, Zay is "from the crib (Miami), where they live by the streets and not the fucking industry."

This song is dedicated to the winners of the Hater’s Ball. For all the jealous people that smile in faces and talk in the back of others. Big Wynn tags with Lil’ Jon and the crunk queen Rasheeda who rhymes the sentiment best when she admonishes, "Stop pointing fingers/others ain’t the reason you ain’t shine." By the way, Big Wynn is a 6’ 4" 250 pound professional boxer, so if you still hate, don’t be surprised if paramedics get involved.

Known mostly for their underground freestyle mix CDs, Lil Wayne’s former prodigies, Sqad Up are now taking grown man steps on their own. Reppin’ the Crecent City of New Orleans, Sqad Up wants to know if rims, showing love in different cities, and getting your grind on is on your mind, then you know what they are talking about. If you speak the same language, then you should dig this track too.

Much like 50 Cent, Chilly C is about getting this money or die trying. This is his story to let folks know that it’s not easy getting dough selling snow or rapping. But, through perseverance and a heavy piano driven track, Chilly C is breaking the bonds of the hood and stepping out to carve a niche for himself.

Following the lead from the world’s favorite Aqueminis, the FlaGa Bois get their name by merging their home states, Florida and Georgia. "Burn One" is a mid-tempo ode to canibus that explains the best situations to burn one with your boy. They like to burn when on a late night creep, trying to relax, or hanging out with women. If smoking is one of your favorite pastimes, then you can understand what they’re talkin’ bout!

This is a party tune reserved for people trying to hang out for the evening. "Everybody Ballin’" uses the same clap pattern as 50 Cent’s "In Da Club" to get booties moving. Don’t worry if you’re a baller on a budget.

The Lil Rock Dogs coming straight from Belle Glade locally known as Muck City for the richness of its soil. This high tempo track is a welcome from the Dogs to life in Florida. This is where they have golds, smoke black & milds, and bust gats first. Look for the Lil Rock Dogs to continue the proud Muck tradition of good music.

Palm Beach, bitch! native, Uncle Head jumps on a phatt track that borrows from 2 Live Crew’s "Shake It" for this party tune. Although he is an ex-member of the legendary Splack Pack, don’t be fooled into believing that his career is over. With this cut, Head proves that he can hold it down on his own.

Finally…a hook I can live by! Kimillion may not mean it the same way I perceive it, but I’ll still "jump on it!" From the beginning of the tune, it feels like Newcleus’ hit song, "Jam On It," sprinkled with "uptown soldiers and down south chicks." There is nothing like hearing a female artist rep for the women AND the men. "Jump On It" is a definite pre-club get right track. Also can be used for parking lot pimpin’.