T.I.
URBAN LEGEND
ATLANTIC (4 blunts)
This album was supposed to be the one; the album that would shoot T.I. into the mainstream’s consciousness. The album that would have a song to touch everyone across the board: the dope boyz in the trap, the hoes in the shake, the radio PD’s with no ear to the street, and the suits in corner offices in the major label skyscrapers. The leaked street single “U Don’t Know Me” was already setting the streets on fire before the album dropped, and the official single – the Swizz Beatz powered “Bring Em Out” – had the rest of the country with their “hands in the air now!” Then, the actual album dropped. No classic album talk. No enormous sales numbers. This was just another high-powered record dropping during a crowded winter release schedule. Urban Legend reminds me of The Dynasty from Jay-Z, when Jigga tried to touch each coast with his platinum touch. Songs like “Get Loose,” featuring Nelly, and “Freak Though” featuring Pharrell sound like they don’t belong in the same set as straight hood records like “Motivation” and “ASAP.” However, that’s the reason this album will work. The songs that sound out of place are surefire hits. This album is like aural purgatory. The songs that T.I.’s core fans will probably think are bullshit will most likely be the biggest hits off this album. At press time, this album has sold 300k, but by the time spring hits, I’m willing to bet it might be around 3 million. I guess this is the one, huh? – Wally Sparks, djwallysparks@yahoo.com
MANNIE FRESH
THE MIND OF MANNIE FRESH
CASH MONEY/UNIVERSAL (4 1/2 blunts)
Let’s get this straight right now: Mannie Fresh is not an MC. However, he might be one of the greatest rappers ever for the simple fact that this fool can make you laugh out loud while listening to him. That’s a long-lost and underappreciated art in hip-hop that hasn’t been heard since Bizmarkie. One thing Mannie is great at, though, is making music. Not beats, but music. This record is a sonic joyride. The crazy thing is that the best beat on the whole album is one that Mannie Fresh didn’t produce. David Banner comes through again still ridin’ those “Rubberband Man” chords on the joint “Go With Me,” which also features Mannie’s Big Tymers cohort Baby a.k.a. The Birdman. I could go on and on about how dope the beats are, but this is Mannie Fresh, so it’s expected. You’ve got to buy this album simply because of the interludes. I need to find out what voicemail service Mannie is using so I can fend off the plethora of whack rappers who call my phone trying to get on mixtapes. The interludes are a fuckin’ riot. Like, fuckin’ De La Soul funny. The best are the ones where Lil Wayne sneaks into the studio to spit some gangsta shit to break up Mannie Fresh’s love fest. Start to finish, this album is straight-up entertaining. If you have a high tolerance for silly shit over beautiful music, run out and get a peek inside The Mind of Mannie Fresh. – Wally Sparks, djwallysparks@yahoo.com
BIRMINGHAM J
STILL A STAR
KOTTAGE BOY ENTERTAINMENT (3 1/2 blunts)
Other than Bun B, there are no major guest appearances or even producers featured on this album, but Birmingham J holds it down solo with a little help from fellow Alabama artists like Venus and Mr. Ha. If you haven’t heard the lead single “Me…Umma Pimp” I suggest you run to your local mom and pop and pick it up before radio puts it in rotation and kills it. With the machismo of a Latin man and the drawl of your favorite Southern rapper, Birmingham J turns Lil Flip’s memorable line on “Like a Pimp” into his hook, “Me, I’mma pimp, I ain’t payin’ for no sex / I’d rather buy a car or a new Rolex.” His attitude can be summed up in three words, which are written in his liner notes: “FUCK BEING LOVED!” On “Weed Smoke,” Birmingham J recites the thoughts of the average pot smoker. While the hook on “Hustlas and Cap Pellas” isn’t anything special, the verses are a prime example of Southern lyricism. On the flipside, “Boulevard” is lukewarm at best. The collaboration with Bun B is tight, “Sip & Lean,” but just like peanut butter without the jelly, Pimp C is missed. Most of the production on the album is handled by Mellocapone, so it does start to get repetitive. Other producers add a little flavor at times. Although J means well, the production on “Dreams” sounds more like a game show intro than a tale of struggle. Some of Birmingham J’s Alabama crew, Mr. Ha, Venus, and Lyrisis come through with support throughout the album, but their combined effort “Magic City” is weak. The first half of the album is smooth and captivating, but near the end, the tracks tend to lose focus. Overall, a solid project with a few forgettable cuts. – ADG, adg@tmail.com
HAYSTAK
PORTRAIT OF A WHITE BOY (3 blunts)
This album is the first of a CD trilogy. It starts off with amovie clip about solidarity and making moves for the cause, an adequate intro for Haystak considering the reception he’s had by some entities in the game. Some have labeled him a culture thief simply because of his skin color. Tracks like “Dadgummit” make the album title make sense; Haystak spits, “I made a little money, people think I’m made of money / Sometimes I wish God would just take it from me / So I could see who’s around here because of the money.” The first half of the album is hit or miss, but with the second half, the money is well spent. “My First Day” chronicles a drug addicts’ sobering journey through withdrawal. On “Make Money,” Stak brings up a valid point about people that clutch their belongings and lock their car when they feel uncomfortable: “Bitch at the red light locked her Mercedes up / Like I’m gonna jump out my truck and try to stick that lady up, lady fuck / If I was plotting a robbery please believe ya old blind ass wouldn’t have spotted me.” “Stak’s World” is an uptempo filler track at best, which lacks his heartfelt rhymes. Most of the production is handled by Sonny P, and the monotony hampers the album. Towards the end Stak reaffirms his thought process with “First White Boy,” stating that he was a white boy before a white boy was a white boy. I’m not sure if that song was intended for the public or for Stak. Since he’s given us a complete album virtually solo you’ve got the respect the effort, but at the same time, Stak could benefit from better production and less experimentation with song ideas and content. This album won’t change the face of hip-hop, but it’s solid. – ADG, adg@tmail.com
BIG TUCK
PURPLE HULK (3 blunts)
Texas’ Dirty South Rydaz present us with a CD and DVD combo: Big Tuck’s Purple Hulk. The DVD is some material from DRS Live and a promo for Street Heat. The CD is eighteen tracks deep, with appearances by B.G., Chamillionaire, Play-N-Skillz, Z-RO, 50/50, and others. The album starts off really slow with an eight-minute extended version of “Southside Da Realist.” I know things tend to be a little more laidback in Texas, but a song that long is a bit too laid back to kick off the album. The track itself is very elementary, derived from the melody of Pac’s “Ambitionz Az a Ridah.” That sample has been used by numerous artists, and each time the result is the same: we take the CD out and go listen to All Eyez on Me! But, the album gets better with “Swing High, Swing Low,” and “U Need It,” where B-Gizzle and 50/50 Twin appear. 50/50 and Tuck both come hard, while B.G. spits his gangsta gunplay talk. At first listen, “Tussle” is just a “Tear Da Club Up” rip-off, but after a couple listens it grows on you. “These Niggas Ain’t Real,” featuring Z-RO & Trae, is a classic case of Lame Hook Disease. Overall, the best tracks on the album are the ones produced by Play-N-Skillz. If you’re into tasteless lyrics, check out “She’s Peeping Me” and “It’s Our Time,” both featuring C-Mo on the hook. The standout tracks on the album are “U Niggaz Can’t Do” and the dark “Wuz Up, Wuz Up,” featuring Chamillionaire. Considering the stagnant start, the album is a good effort. – ADG, adg@tmail.com
NERO
SOUTH STATE OF MIND
Some of you might associate the word “Nero” with the popular CD burning program, while others might think of the Roman emperor who burnt down his empire while playing the fiddle. Those of you familiar with the South Florida hip-hop scene will think of Nero the rapper. This mixtape consists of 26 songs, some original tracks and some popular instrumentals. Most of the original tracks are produced by Miami’s Diaz Brothers. Nero has no problem keeping up with the boy wonder by jacking the track for Lloyd Banks’ “So Fly.” Listening to Nero is like listening to a group of artists because he can switch his flow and cadence. On some tracks, he sounds like he’s straight from Texas or Louisiana, but other tracks he sounds like an East coast rapper. Mix his varying style with the flavor of the 305 and the sky’s the limit. Much like Pitbull, his Latin descent is evident. Nero spits in Spanglish like it’s second nature; he’s very comfortable rhyming in both languages. I never thought I would hear hip-hop sample Nirvana, but the highly underrated Diaz Brothers pull this off with a sample from Cobain’s classic “Teen Spirit.” Piccalo, Kaliedoscope, Reek, and Vedo also make appearances on the mixtape. Hopefully we’ll here more from this dude. – ADG, adg@tmail.com
TOM G
DEFINITION OF HUNGRY VOL. 1
We’ve been hearing “City boy wit’ it, city boy wit’ it, city boy wit’ it” in the clubs and trucks of Florida for a while now, so now it’s time for Tom G to show and prove. Hosted by B.E.T.’s Infamous Mad Linx, Tom G serves us up a 70-minute mixtape full of freestyles, snippets, and album exclusives. Captivated by his street single, the public has been anticipating an album from this Tampa native. But first, he faces two gigantic tasks: one, to avoid joining the growing list of Florida artists who turn out to be one-hit wonders; and two, to be respected as an accomplished artist and not a pop fluke. Tom G sets out to prove his point with a ton of freestyles over a variety of beats. He gets crunk on the “Lean Back” remix, and delivers a hilarious rendition of Jaheim’s “Put Your Woman First” with a cautionary tale, “Put That Rubber on First.” Tom doesn’t hesitate to rep Tampa throughout the album. On “Home of the Bucs,” Tom rides the horn-filled beat like a box Chevy, spitting, “All I need is some Henn and some Marley to fuck ya city up like Hurricane Charley.” There are, however, a few tracks which fall short: “72 Bars” and the Rick James tribute simply fail to compare with some of his better material. There are only a few snippets and full tracks from his upcoming album. While his second single, “One Night Stand,” is catchy, the song seems to have a similar feel to “City Boy.” In contrast, the next club banger “Get Loose” has a unique sound with well-utilized flutes. In the end, Tom G proves that he’s not limited to club bangers; he’s a full-fledged MC and credible songwriter. – ADG, adg@tmail.com
