Living Legends
Bad Boy/Universal (3.5/5)
It’s like the kid at school who always wears the shoes that are too big for him and no matter what he does they just won’t be fit on him. He can stuff them all he wants, tie them as tight as he wants, but there’s always the little gap in the back. Many MCs these days give their albums titles which are simply larger and more significant than what the album deserves. When the album finally drops so does their credibility. In this case, however, 8Ball & MJG have come up with an accurate album title. The two Southern mainstays, now with Bad Boy Records, are ready to show the industry once again what sets them apart. 8Ball & MJG are Southern rappers without a doubt, right? Wrong. Living Legends proves that there’s Southern hip-hop, there’s East coast hip-hop, and there’s a midway between the two. 8Ball & MJG place themselves in the middle with this new release. Living Legends isn’t track after track of hype, bass-laden crunk music with incessant screaming; it’s an indication of the flexibility and talent embodied by these MCs. Production on this album doesn’t possess the standard Southern sound; there are some tracks with East coast flavor. “We Do It” is one track that’ll have listeners question if 8Ball & MJG have switched up styles. The beat uses a brilliantly crafted string melody matched by an uncomplicated drum line, giving this track a laid-back feel. The first single, “You Don’t Want Drama,” is crunk with a few shots of 8ball & MJG to add flavor. This hard-hitting club anthem was quickly added to playlists on urban stations around the country. Living Legends is another strong release from 8Ball & MJG, proving that good artists aren’t limited to one region. 8Ball & MJG stretch Southern hip-hop beyond the limits with tact and ability. For Southern enthusiasts, there is no excuse not to get this album. For everyone else, it’s a good addition to your CD changer. – Rohit Loomba, ctpros@arcaneproductioncompany.com
Paul Wall
Chick Magnet
Swisha House (4/5)
If you aren’t familiar with the name PaulWall, I suggest you get acquainted real fast. I hear he’s one of the hardest working rappers in the South, and what I know is that he has one of the illest CDs I’ve heard this year. With a title like Chick Magnet, you might expect an hour full of sexcapades – but Paul is just flirting. On the title track, he demonstrates his suave demeanor while riding a simple synth line. The mixture of a Dani Maries hook and Paul riding solo gives you a sure hit. We don’t hear the popular duo of Chamillionaire and PaulWall, but we do hear guest appearances from the likes of Mike Jones, Bun B, Killer Mike, and several others. “Did I Change” is a combination of guitars, a simple drum line, and familiar tales of disappointments. Lyrically, Paul sneaks in a few gems like, “Boys change shapes like origami, but I refuse to fold.” Mike Jones teams up with Paul to ask us what we know ‘bout the Lone Star State. All the guest appearances are fire, and Killer Mike’s verse is paralleled only by the track. The only errors are a few uninspired guest verses. The title might be deceiving, but overall this hustler brings no bullshit. Just an album full of many positives and only a few negatives. – ADG, adg@tmail.com
Triple J
My Addictions
Black Market Inc. (3.5/5)
Triple J has been doing his thing for a minute now. Over an 8 year period, he’s released four independent albums, and most recently he was shelved on Def Jam South. Now, he lets us know what drives him: his addictions. With 18 songs on this album, Triple J – a.k.a. Bumpy Johnson – paints these canvases like a true seasoned veteran. The quality is debatable (opinions are like assholes..) but it’s clear that Triple J knows how to put an album together. On the informative “5 to 1,” he combines his club experiences with his creativity. The title has a triple meaning: the radio of females to males, the five minutes he spends spittin’ game to one gal, or the five dollars he spends to buy her one drink. Triple J’s flow on “Jump” is perfect, but the beat itself is mediocre. He also shines on “Watchin’ Time Fly,” showing a sense of hope and challenge throughout his life. “16 Years Old” is a tale of mistrust and deception, an account of a mature teenager who sneaks in the club. She runs game on Bumpy, but later gets caught in his car by the cops. While Triple is explaining to the cop that the only thing he’s trying to get off is the girl, the cop tells him that she’s only 16. “Papi Chulo” and “Clear” are mediocre attempts to make songs about two of my favorite addictions: Latin women and liquor. Entertaining, but filler material. The use of flavor-of-the-moment-Kanye-West-type production pops up a few times on this album, but really comes together with Triple J’s vocals on “The Easy Way Out.” Triple enlists Earn Bo and his brother Saucey to help on “Point ‘Em Out,” a sleeper club track. Kraftwerks’ influence has been evident in hip-hop and rap since day one, and Suave Smooth helps out on “Ridin’ Wit’ Us,” a sure club smash. Ending with “My Addictions,” Triple J answers any questions about him or his addictions over a slow-tempo eerie track. – ADG, adg@tmail.com
Rob Gold
Window To A Soul (3/5)
Like many aspiring rappers, the grind really begins when the artist is faced with adversity and pain. The Mississippi native gives us a peek into the person Rob Gold with his independent release, an album filled with more pain and hurt than joy and laughter. After a formal thank you to begin the album, Rob drops one of his best cuts, the lyrical lesson “C-O-U-N-T-R-Y.” It’s a four-and-a-half minute introspective journey through the life and times of Mississippi, on top of a beat which could easily be mistaken for a lost Organized Confusion track from Outkast or Goodie Mob’s earlier works. After a few filler tracks, Mr. Gold picks up the ball with the self-produced banger, “Different.” Although the production isn’t great, Rob makes the best of the synthesized beat and tells us how he’s different from your average rapper. The hook is a let-down, a disappointment from the momentum built up by the marriage of the beat and Rob’s voice. With no warning, we then must listen to a hundred and eighty seconds of a scratch sample of Rob reppin’ his Full Blown label. Simply not necessary. The biggest drawback to the album has nothing to do with his music or creativity, but the technical issue of mastering. A few times, the volume dips too low. We also have the tired, overused concept of “Ima Pimp.” After a few more filler tracks, we are greeted by some guitar strums on “SO,” a very decent second radio single. I don’t know why this track is blazing; it might be the funky beat, or it might be Rob’s flow. I’m pretty sure Rob is no stranger to the Mississippi strip clubs, since he has a song dedicated to working the pole! To finish the album out, we’re revisited by the chopped and screwed version of “C-O-U-N-T-R-Y.” – ADG, adg@tmail.com
Jadakiss
Kiss of Death
Ruff Ryder/Interscope (4/5)
I’ve thought this for a minute now: hip-hop is lost. Poof! It used to be about the music and strife; now it’s an obsession with diamonds, Bentleys, and nookie. The lyrics lost substance while those who wrote them added money to their stacks. But, every now and then, an album comes along and proves to be the exception. “Welcome to D Block / Mighty mighty D Block / The place in New York City where Diddy won’t even walk.” Hell, hip-hop not only walks here, it flourishes here. Case in point: Jadakiss’ new album. You can tell this is a solid album from the cover picture of Jada sitting in a chair, hands together. He knows what he’s got. His gaze reveals the confidence he has in his work, and the confidence is warranted. The album starts off mediocre with tracks like “What You So Mad At?” and “Shine,” featuring Snoop Dogg and DJ Quik. Track five is the first major heater: “Time’s Up,” featuring Nate Dogg, with an on-point drum line and some string chords. “Why,” featuring Anthony Hamilton, builds on the momentum. The intro to this track sounds a little out of place, but Jada’s vocals pose several questions about the industry, celebrities, and death. He even delves into topics like the economy, 9/11, and politics. Three hot tracks in a row! Next up is “U Make Me Wanna,” featuring Mariah Carey, who tells us all that she simply wants to “K-I-S-S” and make love. The beat is well-done, and possesses an ethnic flavor. Jada glides over the beat, rapping about a relationship and taking care of his woman. Mariah showcases her vocal range by hitting some notes in the higher register near the end of the track. She might have lost her mind, but it’s good to know she hasn’t lost her voice. The album takes a downturn until track 11, recovering with “Shoot Outs,” featuring Styles P. Jada and Styles take turns exchanging bars over a hype beat which sounds like its from the “Bad Boys” movie soundtrack. The third verse holds lyrics like, “I ain’t sell my soul to the Devil, I bought his from him / Waitin’ for the day they say Jesus gon’ come / So God bless all y’all niggas, ‘cause I’m sneezing with my gun.” This is, arguably, the best track on the entire album. Next is “Welcome to D Block,” featuring Eminem, Sheek, and Styles P. All these MCs spit over a nicely-done guitar melody, set to a decent drum line. Right after this comes “Kiss of Death,” a simple beat with a nice melody. Production throughout the album is provided by Swizz Beatz, Scott Storch, the Neptunes, Alchemist, and others. – Rohit Loomba, ctpros@arcaneproductioncompany.com
Psycster
Freestyle Fanatic Of The South: 13 Days Of Hell
Longterm Records South (3.5/5)
Although the album title says this is a freestyle effort, it’s hard to believe that these are all really freestyles. Psycster might not have written any of the lyrics down on paper, but this album is put together too well to believe that it’s all freestyles. Aside from the pointless skits and a few minor flops, Psycster makes a pretty good impression a first-time listener. On the laid-back “Trashy Hoe,” Psyc explores the vision of beer goggles that leads to many unanswered questions, like, “What makes a jazzy hoe different from a classy hoe, and what separates them both from being a trashy hoe?” Although the song has good intentions, it takes a turn for the worse when Psyc begins to spit a lot without saying anything. He redeems himself on the gangstafied “Keep it Gangsta,” where the energetic flow truly sounds like a freestyle. Production throughout the album is pretty consistent with the exception of the horrible “Rep Yo City,” and the hook is just plain awful. The influence of artists like Tupac and Scarface is apparent on heartfelt tracks like “Drop Top Chevy,” “Yesterday,” and “Giving You the Best.” The latter is a personal favorite of mine, simply because Psyc comes across so sincere that anyone who’s faced adversity and death can feel it. ‘Face and ‘Pac also had this ability. Another track that grew on me is “Like De Ja Vu For the Ladies,” where Psyc explores the role of a wifey in this business, all the way from the celebrations to the pitfalls. On the radio-friendly “Who Am I,” Psyc questions who he is and what paths to take. The organ-filled track fits perfectly with the simple hook. Who cares if this is all freestyles or written – it’s a good listen either way. – ADG, adg@tmail.com
Lil’ Rock Dogs
Muck City Volume 1
The production on this album is good, but I can’t base the review on the tracks alone. With lyrics like, “Clique tighter than pants on Steve Urkel’s dick,” these fellas lyrically have little to offer the industry. Luckily for them, the music isn’t just lyrics, and most people judge an album off the hook or a catchy melody. With the help of producer Papa Duck, these dogs pull off a few above-average songs like the sexually-fueled “I Heard About Ya.” The subject of a well-known hoe has been beaten to death, but the energy in their delivery leaves you intrigued enough to listen all the way to the end of the track, where a hoe reaches her climax. On “Shots at My Enemies,” we get a glimpse of the non-filler material on the album. The hook rings in your head like vintage Outlawz material: straight fire! However, the few tracks that rise above filler material are shot down with whack Sean Paul impersonators (“Yard From God”), bad female singers (“Just Me and You”), and bad hooks (“Act A Ass”). Simply put, Lil’ Rock Dogs need to fall back and replan their attack. Production is solid, but a well-produced album can’t help trite concepts and mucky subject matter. – ADG, adg@tmail.com
Jacki-O
Official Bootleg Mixtape
Poe Boy
It’s a fact that female rappers aren’t given the respect they deserve, going all the way back to MC Lyte or Queen Latifah. Even when you’re working with Grammy Award winners like Wyclef and Timbaland, people are going to hate: point blank. All you can do is keep your head high and do you. Jacki-O demonstrates that attitude on her intro, giving us a sneak peak at her upcoming debut album along with a few remixes and freestyles for the non-believers. Jacki-O is versatile, but at the same time, she knows that sex, drugs, and violence sell records. Aside from the well-known “Nookie” and the remix, featuring Wyclef, the sex talk is through the roof. On the “Champion” remix, Miami’s own Trick Daddy spits, “Suck me, fuck me, throw me some dough / All that shit you talk don’t phase a hoe.” The Roc’s own Freeway lends a few verses on “Gangsta Bitch” and “Take My Breathe Away,” where Jacki builds her flow up gradually from spoken word to a flow that matches Freeway’s. Timbaland lends his signature sound as well, where Jacki successfully kills the kick. On “People Change,” which sounds derivative of Mario Winans’ latest hit, Jacki spits some real talk. The thought-provoking lyrics on “Zoom” will have you putting the Alpine on repeat. “Ain’t nobody working ‘cause there ain’t no jobs / Everybody hurting ‘cause there ain’t no one to rob.” Although “Grind” has good intentions, the song quality is inconsistent. Still, Jacki-O comes out on top with a hot freestyle informing us that the Madam is home! – ADG@tmail.com
Stat Quo
Underground Atlanta Volume 3: Hot Sauce
GMM
A rapper that’s new to the industry is usually judged by who’s backing him. In this case, you might want to treat Stat Quo like royalty. He’s signed to Shady/Aftermath and has currently recorded songs with G-Unit, Kanye West, and a cast of other highly-respected entities. In between drops from everyone from Mobb Deep to Chaka Zulu, we hear Stat’s spin on this thing we call hip-hop with a few GMM exclusives, songs, and freestyles. One of the best verses on this mixtape is Stat’s obliteration of Redman’s “The Saga Continues” beat. The Midi-Mafia produced “Ooh Drama” is about to kill most rap radio hours. We don’t get out of the ATL Underground without paying a visit to the street anthem, “Problems.” – ADG, adg@tmail.com
Smilez And Southstar
The Mixtape
Groundwork Ent.
In popular mixtape fashion, S&S jack other artists’ beats and customize them to their liking. Halfway through the CD I’m not really impressed, and I can tell you why: beat selection. It’s not that the tracks are bad (“Dipset Anthem,” “Warning,” “Can’t Stop, Won’t Stop”), but in this game, the average fan won’t tolerate old mediocre tracks. With this unwritten rule, the exception is if you can put your twist on the beat and successfully rock the track better than the original artist. “Fame” and “Don’t Speak” are the only tracks where S&S come close to doing this. Lyrically they’re on point, especially on “Who Betta?” where S&S voice their feelings towards DJ Clue, citing the backstage punking by Dash and the Reebok ousting. The beef continues as newcomer Vill spits some harsh words towards some pussies. On a real throwback track, S&S get some help from Ezmay expressing the highs and lows of fame over The Roots’ classic joint, “You Got Me.” One of the highlights of the CD is the Dakari-produced remix of “Ridiculous.” The original production was a bit intense, so on the remix, we get a little more laid-back feel. Lyrics are revamped, and experience is taking its toll on the duo as we see a more relaxed delivery. The other standout track on the album is a Thrill da Playa joint featuring the two. The country sample fits perfectly with the vocals from all three rappers. – ADG, adg@tmail.com
The 3rd Quarter 2004 Tastemakers Only will be held on July 21st, 2004, at The Moon in Tallahassee, FL. For more information, join the 10 million others who have visited www.TJsDJs.com or call 850-877-6090.
TASTEMAKERS ONLY XCLUSIVES (2nd Quarter 2004 – April 14) Disc 2
Total Kaos / Slow Ya Roll – So Phatt
Contact: Shampoo – 850.942.1713
Returning after dropping the homie anthem, “That’s My Dawg,” Total Kaos puts the streets of Deerfield Beach on his back once again. This time around, Kaos is here to let the detractors know if you have any issues with him, understand, Kaos “hear[s] you talkin’ bout beef, but you don’t want that.” After hearing this track, you’ll know the difference between Kaos and other rappers: “They’re industry while he’s in these streets.”
Jody Breeze, Sean Paul, Trick Daddy / AKs & Chevrolets – Sho Nuff
Contact: Eric Johnston – 404.488.9702
Enlisting the help of two of the South’s finest, Sean Paul (from Youngbloodz, not the white dude from Jamaica) and Mr. M.I.A. himself, Trick Daddy, Jazze Pha’s new artist Jody Breeze flows over the heavy bass and gunshot sampled track with ease. Breeze declares, “I ride, you ride / All day, all night / You spray, I drive” so easily, I almost gassed up the Pacer and went to kill somebody myself. ***DISCLAIMER*** - No one was harmed in the making of this song or this review.
Suthernfolk / Strictly 4 Da Grindaz – Jangalang
Contact: G – 404.512.2422
Once again, Jangalang Entertainment shows that you don’t need to live in a major market to make good music. These Albany, GA natives are on the scene as a group that provides a unique sound with quality production. This song focuses on celebrating those that are in an everyday struggle that are trying to “line ya pockets so you don’t feel the wrath of a fucked-up economy.” Rest assured, the Suthernfolk will continue to grind until their champagne wishes and caviar dreams are fulfilled.
Thrill Da Playa f. Smoke / Yo Chevy – Homebass
Contact: D. Green – 904.233.4384
Listening to the slow, melodic production of this song naturally evokes visions of a lazy afternoon rolling down the street with an elbow outside. If you’ve got a sweet candy ride and some hump, or even an ‘86 Corolla with three clashing colors, this song is for you. The great thing about this tune is that Thrill makes you proud of your ride no matter the condition.
Money Mark f. Roc Fa Real / Strippa Chick – Realionnaire
Contact: Bag – 954.558.4768
This track is the epitome of strip club music! No, seriously, close your eyes and imagine a stripper chick giving you a lapdance. If there was music in the background, “Strippa Chick” would be the song playing. Using the Art of Noise sample perfectly, Money Mark and Roc Fa Real tell all the professionals that it’s okay. Mark’s flow is different than the usual M.I.A. drawl, opting for more of a Three 6 Mafia tone. “Got myself a strippa chick / Just as fine as she can be / Get a nigga money up / Put a nigga dick to sleep.” If that does not make you want a “Strippa Chick,” I have no idea what will.
Triple J / 16 Years Old – Bad Business
Contact: Triple J – 561.452.6802
This is a cautionary rap tale wrapped in a smooth R&B style case of a popular rapper misled by a girl who’s “just 16 years old, thinking she’s grown.” Who woulda thunk it if he met a 5’ 5” 135 lbs. girl in a club with thick thighs, big eyes, big lips, big ass, big hips who is experienced, and real mature. Plus, he met her in a club, with a cup, and she picked him up in her car while buying the hotel room. As Triple J learned, everything that glitters ain’t gold, so make sure you check ID. She just might be 16 years old. *On a side note, we wish Triple J of Palm Beach a speedy recovery from multiple gunshot wounds he suffered this past April.*
G. Womack / Groove Wit You – Another Level
Contact: Tony Neal – 414.406.9836
This silky tune is purely for the grown. This tune is reminiscent of the jazz cotton clubs, where you would witness folks in their best button-ups simply grooving to the melodies. Couples move in time to the sultry sounds with dresses flowing as the sexy ladies twirl in and out of their partner’s arms. This song would be a great soundtrack for a candlelit dinner, but please be careful with this tune or you may be paying for it over the next 18 years.
C. Rena’ / I Don’t Want To Say Goodbye – Brown Street
Contact: C. Rena’ – 813.789.2362
Tampa native C. Rena’ merges perfectly with this moody track to provide a voice for a stormy night with rain pressing upon the window. Best known for her work on the hook for Krazy’s “Leave The Club,” C. Rena’ is now reaching out with a tune that feels more personal than business. She is torn, knowing it’s time to move on from her love of three years. With a voice this moving, I wouldn’t want her to say goodbye either.
Ee-De / Let’s Get It Low (The Krunk Love Song) – NME
Contact: Renee Wilson – 404.885.5754
It is tough to imagine how a love song could be crunk, but Ee-De’s honeyed singing voice over a mid-tempo bounce track pulls it off. Before long, you realize Ee-De has set it off on your speakerbox and your head is bopping and your feet are tapping. Ee-De’s stage show is also impressive, with crisp movements and seasoned dancers. If you get the opportunity to check him out, don’t miss it.
B.A.M.A. / Sweet Home AL – Vision
Contact: Brian Miller – 334.230.9455
The hardest thing about sampling old white (excuse the term, but hey) music is getting the samples cleared. Well, in the case of Boyz After Money Always (B.A.M.A.), sample clearance was not a problem. If you have not guessed by now, B.A.M.A. sampled Lynard Skynard’s monumental hit song of the same name. Listen to me now, folks, love it or hate it, this song has every element to be HUGE. B.A.M.A. keeps it simple but tight, leaving the hook similar to the original. Listen out for this song at every Alabama-based sporting event for years to come.
Sanchez / Alcohol or Music – Chronic
Contact: Byron Malcolm – 305.512.4774
Sanchez is known primarily for his lover’s rock tunes that have female fans craving his next note. Today, he has released “Alcohol or Music” on Chronic Records. He rhetorically croons, “Is it the juice you’re sipping on or the music that makes you feel so right?” The rhythm is so stirring that it is difficult to tell which you’re under the influence of.
Reallionaire / 24 Inch – Reallionaire
Contact: Bag – 954.558.4768
This is for those that are fortunate to have a 24-inch chrome wheels on their ride. If you can’t swing it, live vicariously through Reallionaire as they tell what it’s like to ride large spinners. Let Reallionaire’s Bag tell it, girls will instantly begin to notice your ride cuz your wheels are so big and wide. “If I’m lyin’, I’m flyin’.”
Snook f. Sean Paul / When You See Me – Southern Dynasty
Contact: Chris Etheridge – 803.730.1974
Question: where is da best place to meet a star? No not the
courthouse! According to Snook, it’s at the bar. ATL native and Jim
Crow member Snook gets some help from fellow ATLien Sean Paul (again, from Youngbloodz not the other one) to let all the ladies know where you can holla at him. This is ATL boastful ballin’ to the finest on a mellow but upbeat track with similarities to early west coast funk.
And all my ATL shawties, make sure you listen for your side because these niggas love ALL the ATL women!
G.V. f. Walt Love / Who U Is (Roll Call) – Philaso
Contact: Walt Love – 352.219.6280
Straight from the streets of Gatorville, FL, G.V. and Walt Love combine to show love to many of their homeboys. The mesmerizing production allows the listener to zone out and truly get a feel for where they’re coming from. Especially if you get lit and represent like they do. Be on notice, Gainesville now has an official voice.
Shimmy & Black Dice / M.I.A. – T.O.K,
Contact: Sean Washington – 850.528.6374
Shimmy & Black Dice are checking in to submit their respect to Miami. The beat has a funky salsa-esque cadence, allowing visions of Spanish mamis shaking their bom-boms. With Shimmy & Dice on the mic, you notice that they give hints of future brilliance that should mature as they continue to record. Hopefully, they’ll continue to be hungry and stay in the booth.
- Keith “1st Prophet” Kennedy, keith@tjsdjs.com
- Malik Darby, malik@tjsdjs.com
