YG - My Krazy Life ALBUM REVIEW

Well, it's quite clear now that the west coast is back and possibly stronger than ever. No more doubting it. But for a long time the coast was generally known for gangsta rap. That was all you heard in the 90's. Today the coast is putting out all sounds of rap. So much so that gangsta west coast rap seems to be vanishing. At least mainstream wise. If that is the case, it's won't last long. Introducing YG. Compton's newest gangsta rapper. With Kendrick Lamar and TDE taking a more lyrically creative approach to gangsta rap, whose gonna be the one to do something more mainstream with it and put it back on the airwaves. This is where YG comes in. My first introduction to him was when he was on cover of XXL as one of the 2011 XXL Freshmen. From then to this moment now  I've heard no projects from him. The only song I've ever heard from him was "Toot It And Boot It". Wasn't feeling that. But I could hear a little potential in him. So, because I never heard anything from him but one song, I was a little curious for this listening session. This is his debut album My Krazy Life. I kinda hoped prior to listening to this that my original thoughts about him would be diminished. I also hoped that this wouldn't be another one of those "swaggy" California rap albums that I find extremely boring. Turns out it was none of that at all. I overall thought this was a pretty cool album. This was certainly a strong debut for YG. Totally not what I was expecting to hear. Listening to this I could tell the influence comes straight from early 90's west coast gangsta rap. As far as samples and certain content. But that's the small part. The major thing YG did here was kinda combine that vintage old school gangsta sound with today's mainstream sound. Basically gangsta rap on party/"dancy" beats. Some may not like that but I think it's a smart move. Actually, this was kinda the same formula Dr. Dre had for The Chronic. Now calm down I'm not trying to compare this to The Chronic. But it does serve the same purpose as that. Dr. Dre dropped a gangsta rap album with a huge mainstream sound at a time where there was no gangsta rap on the radio. Same thing is happening here with My Krazy Life. This to me is basically YG's attempt at making gangsta rap relevant again mainstream wise. Instead of all the "swag rap" that's coming from there now. Well let  me now get into my positives on this album. First of all, I think the most praise needs to go to DJ Mustard, who produced 95% of this album. His production is essentially what makes this album enjoyable. Usually DJ Mustard is known for making those heavy bassed strip club/twerk beats (like Tyga's "Rack City" and 2 Chainz "I'm Different"). Basically making beats for songs and rappers I don't care for. Now those same kinda beats are present on this album but blended with YG's lyric content and just the overall tone of the album, it's much more tolerable. The album got off to a good start. The third track "I Just Wanna Party" was a big stand out. I love this hard hitting beat that kinda took me back to 2Pac's classic album All Eyez On Me. In fact I could see 2Pac rapping on this track. But instead the track features a rather weak verse from Schoolboy Q and a very dope verse from Jay Rock whose been killing guest features lately. Nice track. Some tracks have very catchy but silly hooks. "Bicken Back Being Bool" is the best example. Now I do like the track because of it's catchiness but he really could have done more with that hook. I understand he reppin' his set (which by the way I had no idea he was blood affiliated) but pronouncing all the "c" words with "b" just sounded silly. Especially on the beginning skit. Either way, the red flag wavers will love this one. It's a "bool" song. Speaking of skits, he had a large number of them throughout this album that perfectly transitions through each track as he tells his day-in-the-life story. Much like Kendrick Lamar did on Good Kid, m.A.A.d City. Even thought the concept is not as good as Kendrick's. Anyway, I think the track I really enjoyed the most was "1 AM". I'm telling you there is so much early 90's west coast influence on this album and this is no exception. The haunting vibe from this beat reminds me of something from Ice Cube's Death Certificate. Hell I could even see Eazy-E story telling on this track. Lyrically it's not anything special (none of tracks are for that matter) but hard edginess of it makes it a nice track. Then there's the Drake assisted track "Who Do You Love" which has single written all over it. Once again, YG doesn't bring anything special tothe table lyrically but thanks to DJ Mustard again, that's easily ignored. Drake gets on and drops a rather good verse. A little fast paced for his style but it wasn't bad. Now yes, the beat saved this track and made it a fun listen but seriously, that "ay! ay! ay!" ad-lib in DJ Mustard's beats really gets irritating after a while. The original single "My Nigga" now has become tiring after countless radio spins. But when you listen to it in context with the album it's much more enjoyable. Not to mention the explicit version is a lot better as well. I get tired of hearing "my hitta my hitta" everyday on the radio. Now this track "Me & My Bitch" is basically his version of Biggie's classic track. Although the song itself is decent at best the topic message in the song is what I liked the most. Speaking on how he was played by a girl he thought he loved and how he wants nothing to do with her now after she tries to ask for forgiveness. We've all been there at some point. Definitely a change of pace from your normal songs for the ladies. Now my not so positives. I see what he was trying to do on "Meet The Flockers" teaching you the proper etiquette of breaking and entering. But why was this track so short like an interlude? In fact this was the case for a few songs. This track was more skit less song. I think that was just a waste of what could have been a great song concept. "Left, Right" will soon become the next big strip club song. This is DJ Mustard's true identity here as I mentioned before. I personally don't really care for it that much but I'm sure the females will enjoy posting their twerk videos dancing to this track. Speaking of the ladies, the worst song on this album to me was the main song for the ladies "Do It To Ya". The energy level just plummeted when it got to this track. The hook by TeeFLii was all kinds of bad. "Don't nobody beat the pussy up like me/who you know beat the pussy up like me". I mean who wrote that hook? Lil Wayne? Like I always say though, songs for the ladies is a weakness for many rappers so I'm not that surprised by this. I'm really on the fence with "Really Be (Smokin' N Drinkin')". I want to like this song more but I don't know. I'm really not feeling YG's flow on this at all. It's sounds like he was doing a bad impersonation of Too $hort. Then man...that opening line..."I woke up this morning, I had a boner". Biggest pause moment of the album. Honestly Kendrick Lamar's verse saved this track. But still it has some growing on me to do. I had the deluxe edition with three bonus tracks and I didn't care for any of them. "When I Was Gone" sounds like a rip off of Too $hort's "Blow The Whistle" speaking of him. "Bompton" had some of the worst lyrics of any of the tracks and "My Nigga (remix)" had all the wrong people on it. Lil Wayne? Meek Mill? Nicki Minaj? You would think he'd keep it local and gather some fellow west coast spitters for this remix. That would have been a hell of a lot better. Well in closing, the album didn't "wow" me but it certainly was so much better than what I was expecting. Lord knows if it wasn't for DJ Mustard's outstanding production this album would have probably been a major failure. I give this a final grade of a B. I believe YG is on to something here. This really could do well being the new sound of mainstream west coast. It's also the perfect way to bring gangsta rap back to the radio just like it was in the 90's. YG may have laid down a blue print here on how it really should be done. Lyrically he needs some work. A lot of work. But as long as this is the lane he chooses with his music then he'll be around for a while. He may even start a trend with this sound who knows. Will mainstream accept it? I don't see why not. It would be "bool" if they did. End.

Final Grade: B

CREDITS

Executive Producers

Keenon Jackson

Jay Jenkins

Dijon McFarlane

Sickamore (A&R)

Lead Artist
Keenon Jackson

Production

Dijon McFarlane

Tyrone Griffin

Michael Adam

Brandon Whitifield

Terrace Martin

Collaboration

Quincy Hanley

Johnny McKenzie

Jay Jenkins

Dequantes Lamar

Christian Jones

Aubrey Graham

Kendrick Duckworth

Tyrone Griffin

Dwayne Carter

Onika Maraj

Robert Williams

Natasha Mosley

Label

Pu$haz Ink/CTE World/Def Jam Recordings

Young Money - Rise Of An Empire ALBUM REVIEW

What is a hip hop dynasty? What makes a hip hop dynasty? It takes a group of some of hip hop's most popular names in mainstream to dominate over a period of time. We've seen a lot of them through the years. Lil Wayne should know fully what a hip hop dynasty is. He was apart of one of the most popular ones from the 90's. Cash Money Records. So obviously, he knows what it takes to build that kind of a hip hop army. 2009, the world was introduced to Young Money. A team of young and hungry artists looking for that big spotlight. Some of them got just that. Especially the two most notable names: Drake and Nicki Minaj. The rest of the young roster still holds their own. Consisting of Tyga (who's found some solo fame as well), Mack Maine, Gudda Gudda, Lil Twist, Jae Millz, Cory Gunz, Shanell and so on. After many many individual hit records from them all, it was time again for another compilation. This is the teams sophomore project Rise Of An Empire. Now their 2009 debut album We Are Young Money had some big singles. "Every Girl" and "Bedrock". But I wasn't really feeling it as a whole. Just a lot of "blah blah blah" rap about nonsense over radio friendly production. That's all they're really about. So it shouldn't be a shock that I really wasn't expecting anything great this time around. In fact I actually expected worse. Well...while I do think this was a major improvement from the last album, still the only word I can use to describe this is decent. Again, they coming with the same old generic nonsense about nothing. Money this, jewelry that etc. However, not only was the production stepped up a bit but a number of them stepped up their game lyrically. Yes I'm quite shocked at that. But as I expected, there's nothing too great about it as a whole. Just addicting radio friendly beats with catchy hooks that WILL get stuck in your head. Trust me it's already happened to me. Anyway now I'll break down what I enjoyed from this album. First of all like I said, a number of them stepped their rap game up. But also the new members shined big time. Most notably Euro. His solo track "Induction Speech" was definitely the best song on this album. It was the only song that was the perfect combination of good lyrics and a good beat. Much props to Omega for this beat. He dropped some really cool lines on this track too ("with punchlines you be K.O.'ed backwards if you get my hooks"). With his kind of rhyme style, he sounds to me like a much more serious and less simpified Drake. He also was dope on the intro track "We Alright" which also featured Birdman (who should have been left off totally) and Lil Wayne with his face palming lines: "can't recognize you niggas like Santa cut off his beard", "I know that ho better know, how to deep throat like a serpent". Seriously though, I felt Euro was the star of this album and he was only on three tracks. That's how big his impact was. Now with an album with this level of mainstream content, there's gonna be at least one guilty pleasure track. Mine was "Senile". A track with Tyga, Nicki Minaj and Lil Wayne. It has this addictive deep, distorted bass beat and a very catchy hook. Though Tyga was blabbing about nothing he wasn't that bad. Then Nicki, who was tolerable on every track she was on, gets on and drops a cool verse too. But of course, Wayne gets on and ruins it. Continuing his onslaught of cringe worthy lyrics: "neighborhood nice and quiet, thought I saw Mr. Rogers", "take a newborn from his momma, stick a shoe horn in vaginas". Normally these kind of songs I hate but due to the beat and catchy hook, I kinda like it. Then there's Nicki Minaj's male bashing anthem "Lookin' Ass". When this had hit the internet it caused an outpouring of reactions. I for one think it's the best song Nicki has done in a long time. She sounds like the old mixtape Nicki before the YM deal. But I kinda laugh at this because sadly this song has become kinda irrelevant thanks to Cassidy and his immediate remake of it which bashes the females right back. Drake only appears on one song and he does it solo. The second track "Trophies". I love the beat with all the loud trumpets and other horns. Sounds very marching band like. Even Drake switching up his rhyme style a bit was alright. Switching up to something more louder and Meek Mill-ish. However I didn't like that boring hook. Drake's been real lazy with hooks lately I don't know why. But the song overall is enjoyable. Now...moving on to things I did not enjoy. First of all....Lil Twist...is horrible. Every song he was on was instantly ruined and intolerable. "Bang", "One Time", "Back It Up". All of them were bad because of him. Not even the beats could save them. It's not just because of his horrifyingly awful voice but his rhymes and lyrics are so fresh-out-of-middle-school that it's embarrassing. Anyway, this album starts strong, but right after "Lookin' Ass" is when the album starts to plummet and fall hard. "Fresher Than Ever" features Mack Maine, Gudda Gudda, Jae Millz, Flow and Birdman. Just looking at the songs title I knew I wasn't gonna like this. Look...I don't care about how many stacks you throwing in the club, how many cars are in your driveway, how many bottles you pop, how much your jewelry and outfits cost, how many chicks you smash a night or any of that. I swear that gets so old and boring. Also, Birdman...just needs to stop. He was probably the only person on this album that was worst than Lil Twist. "Moment" was Lil Wayne's solo track and well....you already know where I'm bout to go with this. "Boy you don't need to call a fireman to put a motherfucking match out", "like the world a crystal ball I keep rubbing it", I'm smoking getting head looking down trying to read lips", "I already made my mark please don't think I just pop corks". Yeah...no further comment on that song. The R&B party track "Hittin' Like" (did Shanell really just say "bet you wanna know what it feels like and what it smells like"? Wow.), the closing posse track "You Already Know", and all three of the deluxe edition bonus tracks we're just flat out lame to me. The whole second half of this album was a complete shipwreck. Well in closing, this was a definite improvement from their debut. Minus the same old generic topics, a few stepped their game up and a few didn't. Production was also greatly improved. I give this a final grade of a C+ (which let's be honest, that's damn near an A by their standards). So the question still remains. Is Young Money hip hop's newest dynasty? It may be a little too early to tell. But despite how myself and you all may feel about individual members or the group as a whole, they are a group that's built for long term success. Lil Wayne has done a good job assembling a unit capable of accomplishing that. After all, huge success and fame was a trait for many of hip hop's greatest dynasties. It also could be the case here. End. 

Final Grade: C+

CREDITS

Executive Producers

Dwayne Carter

Bryan Williams

Ronald Williams

Jermaine Preyan

Production

Chauncey Hollis

Noah Shabib

Sonny Uwaezuoke

Andrew Harr

Jermaine Jackson

Aaron O'Brien

Noel Fischer

Lexus Lewis

Anthony Norris

Paul Morton

Collaboration

Keenon Jackson

Widner DeGruy

Paul Morton

Mario Mims

Christine Flores

Robert Williams

Label

Young Money/Cash Money/Republic Records

Ashanti - Braveheart ALBUM REVIEW

Sometimes, you just gotta wonder how some artists are able to maintain any level of relevance for over a long period of time. I say this because despite having such and up and down career, Ashanti has been able to do just that. We first heard her voice on the hook of Ja Rule's 2001 hit "Always On Time". Then she dropped her debut self titled album the very next year. Since then, Ashanti has been more of a "here today, gone tomorrow" type artist. One minute she'll drop a song or an album then after that, you won't hear from her for a year or two. As I said, up and down. Needless to say it's been quite difficult for her to remain consistent or relevant. But she is still around and always has been. That's something she makes light of as she returns now with this. Her fifth album Braveheart. I've never really listened to any of Ashanti's albums to be honest. Her last one was 2008's The Declaration and reading some of the critical reception for it, it wasn't too good to some. So yeah, no favorite album for me. However I do have a favorite song which is "Only U" from her 2004 album Concrete Rose. So with that said, I didn't have any kind of expectations for this album. I though this album was just barely above average. No other way to describe it. For a singer who's not really known for hitting those big high notes (which many have considered an issue of hers for years) it's hard to really categorize her style of R&B. At least it is of me. This album shows you just as much hip hop as it does R&B. As far as sound and production is concerned. She's done plenty of straight up R&B ballads in the past but there's very few here. Also, it seems as though there a huge emotional roller coaster going on through the album. She spends most of the time over coming tough obstacles and remaining strong throughout all the adversities. I myself had no idea she was going through any of this. It could explain why she's not around all the time. Anyway, I'll begin now with things I like. Honestly, all the songs with a strong hip hop sound I really enjoyed. Probably for that reason. On "Runaway" she samples the exact beat from LL Cool J's classic record "I Shot Ya". Just with a few more added drums and symbols. That's one of my favorite instrumentals of all time so that alone made me enjoy this. However, because of the beat the son sounds more like a mixtape freestyle that a full R&B song. Still enjoyable. Then the next track "Count" has a cool trap influenced beat. However, I think when people hear this Rihanna is gonna be the first thing they think of because this sounds like one of her songs. Ashanti even sounds like her a bit on the bridge part of the song. Despite the repetitive "count! count! count!" hook (y'all know I hate those), the song is tolerable. The first single "I Got It" has a catchy bounce to it that just makes you like it. Rick Ross is on the track dropping his usual lines about his riches and power but it wasn't a bad verse. Cool song. Then there's the high erotic track "Love Games". A duet with Jeremih. This grew on me after a few listens. The really good R&B duets are very rare today and I think this has the potential to be up there. Perfect midnight romance song. Of course, sex and romance is something Ashanti has shown before she doesn't mind teasing or even bragging about (see "Good Good"). Moving on, "She Can't" finds her being very cocky comparing herself to the next chick. Expressing how she looks better, loves better, better sex and so on. I normally hate when female singers do this and come with that "she ain't got nothing on this" attitude. That's that b.s. Beyonce' is on now and aggravates me with. But the beat pretty much saves this song which is why I can listen to it regardless of content.  On "Don't Tell Me No" she samples the beat from Keri Hilson's 2009 hit "Knock You Down". Here she expressing to her man not to say no and not to leave. Don't fight the love you have for her. I kinda laughed at that because that type of situation is normally reversed. But whatever the case, it's a okay song. Some that can relate will like it. Now the dislikes. Off top, I just can't get over how bad "Early In The Morning" is. This was nothing but a one big lame auto-tune fest. But what really ruined it? French Montana. He gets on the track and not raps, but sings in auto-tune. Future style. Bad, bad idea. I honestly would have rather heard Future on this than French Montana if he was gonna do that. Ironically though, this song does sound eerily similar to Rihanna's hit with Future "Loveeeee Song". I couldn't get with this at all. I ended up with the deluxe edition of this album which featured two bonus tracks: "Perfect So Far" and "Never Too Far Away". Both were snooze fests. These two tracks along with a couple other featured the biggest issue of the whole album. Something I mentioned at the top of this review. Her vocals. There's just some songs that project certain sounds that her voice just doesn't match. Nor does she have the kind of vocals to hit certain notes that would bring the song more to life. again, this was the main issue with this album. Overall, I thought the album is just a barely above average attempt. While it seems like a upgrade from her last album, it's an album that many will be very critical of because of what I mentioned and well...because who she is. I give this a final grade of a C. Ashanti names this album Braveheart for a reason. She's been at this for twelve years. All of the tough obstacles she had to overcome, all of the drama, all adversities. She still managed to be strong through it all. Yeah she may not have as good of a voice as other, yeah she's not always around like the other. But I can honestly say, there's probably no one more courageous or has a bigger heart. She is indeed brave. A braveheart. End.

Final Grade: C

CREDITS

Executive Producer

Ashanti Douglas

Lead Artist

Ashanti Douglas

Production

Mansur Zafr

Lenton Hutton

Sharif Slater

Noel Fischer

Eric Shaw

Timothy Bullock

Collaboration

Karim Kharbouch

Jeremih Felton

William Roberts

Anthony Davis

Label

Written Ent./eOne Music

Pharrell - Girl ALBUM REVIEW

Being a master producer is one thing. It takes tremendous talent to put together an array of sounds and instruments to make these tunes (especially nowadays). But when you're a talented artist along with that, "being talented" doesn't begin to describe it. Though there are plenty of hybrid producer/artists in music today, not many of them can or will match the talent and longevity that Pharrell Williams has. For a long time he and his partner Chad Hugo made up The Neptunes. One of hip hop's most prolific production teams. Responsible for and long, endless number of classic hit records spanning well over a decade. Today, Pharrell is kinda doing his solo thing. I'm sure him and Chad are still cool but it's kinda went from "produced by The Neptunes" to "produced by Pharrell". Just saying. Anyway, it's been almost eight years since Pharrell dropped his debut album In My Mind. Quite a drought. But of course he didn't go no where. He kept on producing hits and doing some good collabos. However it's obvious that he's long over due for a sophomore album and he has finally delivered Girl. The much long awaited follow up. I had no real expectations for this project. Only thing I could say I kinda expected was a mixture of genres and what not. Well overall, I thought the album was pretty cool. There wasn't much genre blending as I thought it would be. The album is pretty much all R&B (I expected him to do a little rapping too but he didn't). However, to no surprise, there is some experimenting with the production. A lot of pop, techno, funk, disco and flash dance type of beats. But it's the 70's soul sound that dominates majority of this project. Think vintage Motown. Actually, sound wise it kinda reminds me a bit of Robin Thicke's Blurred Lines album from last year. Which kinda isn't a surprise seeing as how last years hits "Blurred Lines" and "Get Lucky" by Daft Punk both had sounds like that. Two tracks Pharrell was apart of. Also, as you can tell from the album title and cover, 95% of this album is geared towards the women. Lots of very flirtatious and sexual (non explicit) and just overall celebratory songs praising women. I'm sure a lot of women will enjoy that. This will probably one of my more shorter reviews because it's a short album so let's get right into my positives. No song on here lived up to the disco/funk sound more than "Hunter". I mean this song is a straight up blast from the past. Get your bell bottoms and disco ball for this one. It's a cool track. Of course, everybody loves the first single "Happy". The song, which is also the lead song from last years animated film Despicable Me 2, has a fun, clap heavy, energetic get-up-and-dance vibe that makes you feel just like the songs title. It's a major stand out because it's one of very few tracks on here that's not about women. I like the song now but after the radio wares it out I'll probably be sick of it. I like the sound on "Lost Queen". It had these African drums with tribal vocals in the background. A song honoring a woman as a queen and treating her as such. The first two tracks had cool uptempo dance beats that sets the mood of the album perfectly. The intro track "Marilyn Monroe" with it's many violins, and the Justin Timberlake assisted "Brand New" which had somewhat of a salsa feel to it. "It Girl" was the only song that sounded the closest to hip hop as far as production. He must have loved this beat himself because he let the beat drag out for over two and a half minutes at the end. I didn't mind it though because it was a cool beat. "Know Who You Are" in my opinion was good only because Alicia Keys voice blended so well with this tune. Even more so than Pharrell. She may have out did him on his own song. Good song nonetheless. My only two issues with this is first, the track "Gush". I'll try to be clean describing this but it's basically him talking about the joy of a woman's orgasm. Now if this was a rap song it would be off the wall explicit but somehow Pharrell was able to talk about it and made it seem not-so nasty. It just felt kinda awkward hearing it considering the vibe of the rest of this album. The second issue is the lack of a hip hop presence. I understand this is basically a pop/R&B album and it has a concept but majority of Pharrell's biggest hits that he produced were hip hop and I did expect a little bit of that. I think it would have fit. But oh well, it's not that big of a deal. Overall, this was fun, feel good album that everyone for the most part should enjoy. Everyone from kids to the seniors will groove to this. It's audacious, it's energetic and so full of spirit. I give it a final grade of a B+. Pharrell Williams continues to re-invent himself with each passing year. As an producer and as an artist. He will go down as one of my personal top ten producers all time and that won't change. The older he gets (even though he doesn't look like he's getting older), the better he gets at what he does. Which is making music that makes everyone feel...happy. End.

Final Grade: B+

CREDITS

Executive Producer

Pharrell Williams

Lead Artist
Pharrell Williams

Production

Pharrell Williams

Collaboration

Justin Timberlake

Alicia Cook

Guy-Manuel de Homem-Christo

Thomas Bangalter

Label

I Am Other/Columbia Records

Rick Ross - Mastermind ALBUM REVIEW

One can make an argument that since 2006, there hasn't been a more consistent and more hard working artist in hip hop than Rick Ross. Six albums, four compilation albums, four mixtapes and a endless number of hit singles and guest features. In such a short time Ross has already put together an impressive resume. It one of the reasons that despite not liking him as a legit MC, I am a fan because of the music and I respect his constant hard work and hustle. Again, it's hard to argue that he isn't one of raps top names right now on a success level. Anyway, it's come to a point now where everyone including myself pretty much expects a Rick Ross project to drop every year. Whether it's an album, mixtape or another Maybach Music Group compilation album. Well it's a new year which means a new project. This is Rick Ross's sixth album Mastermind. Now in my opinion, his best work was 2009's Deeper Than Rap. His third album. From a production stand point that album was damn near perfect. Catchy hooks and great guest features. An album I still listen too to this day. He's now coming off his fifth album, 2012's God Forgives, I Don't. Now that album to me was average at best. It was kinda up and down throughout the whole album and wasn't as consistent to me. I wondered where would he go this time around with Mastermind. Would that continue or would we get something along the lines of Deeper Than Rap. Turns out I got that and more. I was very surprised with this album. It was much better than I could have ever anticipated. When it comes to the production, experimenting with different genres, consistency and overall song quality, Ross went the extra mile here. He dabbles in everything on this album from R&B, to reggae, even some gospel. I always felt like Ross had a good ear for not only good production but for good music in general. It shows big time here. Best thing of all, nothing really over does it, Normally his albums sometimes gives you far reaching commercial singles and repetitive trap songs that get annoying after a while. Somehow this time he found a way to better all of that and put together a dope project. I'll now start with all that I liked. One thing Ross has always been quite consistent with is intro songs and it continues here with "Rich Is Gangsta". This is just Ross being typical Ross. Boasting about his rise to power and his riches. He loves going the extra mile with that whole rich mob boss persona that he embraces. The track was cool though. He even takes a jab at an old enemy: "for me to move on from here forward I need fifty/I ain't talking fifty cent neither nigga". Sounds like shots have been fired to me. Speaking of, there's a skit titled "Shots Fired" that leads right into the track "Nobody". This to me was the most unique song on the album. Here, Ross samples Biggie's Life After Death classic "You're Nobody (Til Somebody Kills You)". Using the same exact hook which is done by French Montana, who did it quite well and made it sound more 2014 instead of 1997. But the unique part about this track was how Ross spits just like Biggie. Mimicking his flow and words he would actually use. Now for some, that would rub the wrong way considering most Biggie fans hate it when people even compare Rick Ross to Biggie (which they do a lot). I myself found it cool. He didn't over do it, it was relaxed and it was fresh. In fact, I think if Biggie was alive and still rapping, he would probably sound just like how Ross sounds on this track. Ross sounded like a older and more mature Biggie so that's why I say that. I could go on about this song but I'll move on. Great song. I told you he goes genre jumping on this album and he gathers Mavado and Sizzla for the reggae track "Mafia Music III". This was another one I enjoyed a lot. I just loved the smooth island/Caribbean sound of it. Makes you feel like you're maxing and relaxing on the beaches in Jamaica somewhere. I mean this song just sounds like summer time. Hopefully this becomes a single. The lead single "The Devil Is A Lie" I actually wasn't feeling at first when I heard it on the radio. But when I listen to it in context with the album it's not so bad. The beat is pretty good with the horns and all. Despite a lackluster verse from Jay-Z about absolutely nothing, the song is cool. "Blk & Wht" had one of the most addicting hooks I've heard in a while. After listening to this album I couldn't get that hook out of my head to save my life. The song as a whole is just okay but the hook is what makes me listen to it because it's quite entertaining. As usual, Ross always gives us a round of trap songs every album and to be honest, I kinda enjoyed all the ones he did for this album. "War Ready" with Young Jeezy, "Drug Dealers Dream" and "Walkin' On Air" with Meek Mill. They all were cool trunk bangers and he didn't over do it hook wise on any of them (like he did on the track "911" from his last album). I only had a few issues with this album and here they are. The track "Sanctified" was a complete disappointment. First of all, this is the gospel song I spoke of as it samples the soulful gospel sounds of Betty Wright. I loved it. What ruined it? A horrible hook from Big Sean and a even more horrible verse from Kanye West. Big Sean's hook started the song and just spoiled it quickly with such corny teenage sounding lines. Then there's Kanye West and....wow. His verse was just too awful for words. I mean he was rapping like Meek Mill. Meek Mill? Really?! It's sad because the old Kanye, say circa 2005, would have lyrically killed a religious themed track like this but nope. He sprayed his arrogant asshole lyrics all over it. A song that had potential but fell short. Ross should have did it solo. "In Vein" was the song for the ladies and it wasn't that bad. I just wasn't really feeling The Weeknd on it. He kinda tried to steal the show much like he did on Drake's "Crew Love". Should have got another singer for this one. Now he had a few interludes on here but one that was so hilariously stupid was the "Dope Bitch" skit. Two random girls, with very flirty and seductive voices, being interviewed about all the luxuries they love to buy. I just laugh because it's nothing really but two high maintenance, stuck up broads that see nothing but dollar signs. I don't like those kind of chicks so yeah, wasn't feeling that. In closing, this album totally took me by surprise. Rick Ross took his time with this album and got very creative with samples, beats and genre blending. I give this a surprising final grade of an A-. This may just be his best album since Deeper Than Rap. Hell maybe his best period. Like I said, no one in hip hop is more consistent with quality music that Rick Ross. It's why apart of me is a fan of his. It's hard not to admire someone who works hard and clearly ha passion for what he does. Would I put Rick Ross on a top ten lyricists list? Obviously no. But would I put him on a top ten overall hip hop artist list musically? Maybe. An argument can be made there as well. End.

Final Grade: A-

CREDITS

Executive Producers

William Roberts

Khaled Khaled

Sean Combs

Lead Artist
William Roberts

Production

Sean Combs

Kevin Erondu

Michael Williams

Roosevelt Harrell III

Sharif Slater

Scott Storch

Abel Tesfaye

Kanye West

Dijon McFarlane

Erik Ortiz

Kevin Crowe

Kenny Bartalomei

Dwayne Richardson

Matthew Samuels

Collaboration

Karim Kharbouch

Shawn Carter

Miguel Collins

David Brooks

Jay Jenkins

Abel Tesfaye

Kanye West

Sean Anderson

Robert Williams

Dwayne Carter

Brad Jordan

Joseph McVey

Label

Maybach Music Group/Slip-N-Slide/Def Jam Recordings

Schoolboy Q - Oxymoron ALBUM REVIEW

In these last few years, it's been made quite clear. Kendrick Lamar and TDE are here to take over the game. Not only are they a group of super dope MC's but have managed to heavily impact the mainstream airwaves. It's a balance that doesn't show too often when it comes to these rap cliques. Jay Rock and Kendrick Lamar have already put their foot through the door already and now it's Schoolboy Q's turn. Probably the more aggressive, wild and flat out gangsta of the group. My first introduction to him was when I heard his 2012 digital album Habits & Contradictions. Hands down one of my favorite projects from that year. His rough, gritty and gangsta attitude combined with his dark, menacing and haunting tales of the hoods in LA immediately drew me to liking him and that album. Of course that would let to me, as well as many others, eagerly anticipating this. His debut studio album Oxymoron. Like I said I loved Habits & Contradictions and I was expecting something just as good. Concept, production everything. Turns out, I didn't get that. However, I still enjoyed this project. Like Habits & Contradictions, he brings that dark and gritty gangsta tone and still tell a few stories along the way. The reason why I feel like this was a slight step back from his last project was mostly because of the missed concept. He touches the "oxymoron" concept a little bit by basically showing that he does these random criminal acts all for his daughter (who's on the other album cover and on a few interludes). I'm assuming that must be the oxymoron he speaks of. I felt like he should have went deeper with that theme like he did with the habits and contradictions theme on the last album. Also I felt the production this time around was a bit, just a bit, toned down to more hype and high energy beats to "turn up" to. Obviously done to appeal to the mainstream listeners so it's not really that big of a deal. So now let me get into all that I liked about this album. It took a minute but the intro track "Gangsta" became likeable. The repeated "gangsta gangsta" hook becomes quite catchy after a while. It also is the perfect type of out-of-the-ordinary thug track to start the album off with. Though it's months old now, I'm still a fan of the single "Collard Greens". The beat is infectious as is the hook. Kudos to the producer THC there. I also enjoy the newest single "Man Of The Year" which also has a very infectious beat. Though I think the hook could have been a bit better the overall song is enjoyable. Next is the two-in-one track "Prescription/Oxymoron". It starts off with "Prescription" which is the more calmer track where he continues to touch on addiction to drugs, prescription pills in this case, and how he basically needs it to keep him going. Then it turns into "Oxymoron" which is this high energy track with a trap influenced production. It's really nothing but him rapping loudly and more aggressively over what is again a trunk blasting trap beat. Cool two part track. "Studio" was a cool groove track for the ladies. Swiff D put together a really dope beat filled with more settled trap styled drums. BJ The Chicago Kid does a very catchy sing-a-long hook that I believe is the real highlight of the song. Speaking of "cool groove", the track "Grooveline Pt. 2" was that as well. What drew me to this song the most what how it took me back a bit. It kinda reminds me of some old school Devin The Dude mixed with the funkadelic sounds that Snoop Dogg does so well. Suga Free's verse I think fit the song's ora more than Schoolboy's did but still it wasn't bad. I loved the hard, head nodding production on "Break The Bank". It actually felt more like a east coast New York track because of the beat but Q made it work good. The piano's on the beat mixed his eerie and haunting hood lyrics makes you feel like you're walking through South Central LA at night filled with fear. I loved it. Now on to my dislikes. Right off the back, the song that I had a problem with was "The Purge". It wasn't that it was a bad track. Just disappointing. I was looking forward to hearing this track the most because it features Tyler, The Creator and Kurupt. The song was produced by Tyler but it's one of his more plain weaker beats that really didn't have any life at all. Not to mention he was only on the hook and didn't have a verse which was also disappointing. Still I feel like this track might grow on me. The second track "Los Awesome" was the most weird and erratic song on the album. The beat was completely all over the place and was just plain weird. The rapping on it was as well. Not even Jay Rock as dope as he is could save this one with his guest verse. Speaking of weird, Q does some experimenting on the track "His & Her Fiend". He dapples in the psychedelic sounds or what I call that "acid trippy rap". I don't think he did it quite as good as others have done it. It just sounds like a normal southern chopped-n-screwed song with just a sprinkle of "trippiness". A song that had potential but it wasn't quite met. Tracks like "Fuck LA" and "Californication" are good songs to blast in your car but become headaches after a while. Something I probably wouldn't put on repeat. Now "Pusha Man" I actually did like. It has this retro 1970's influenced beat. The problem? It's a minute and a half interlude. This really should have been a full song. I feel like that was a dope beat wasted. Anyway, overall I did enjoy this album a lot. Just not to the extent that I enjoyed his last project. I give it a final grade of a B. Schoolboy Q I think has all the tools to be successful. The charisma, character, sound and who he rolls with. He has potential to be just as big as Kendrick Lamar is now. This could hopefully be the push to put gangsta rap back on the mainstream airwaves just like the hay day of The N.W.A. Maybe the radio will allow more "fuck the police" to be played in the future. Now that's an oxymoron for you. End.

Final Grade: B

CREDITS

Executive Producers

Quincy Hanley

Anthony Tiffith

Lead Artist
Quincy Hanley

Production

Pharrell Williams

Nesbitt Wesonga

Mario Loving

Axel Morgan

Mark Spears

William Brown

Michael Williams

Tyler Okonma

Dacoury Natche

Alan Maman

Donte Perkins

Michael Volpe

Matthew Samuels

Collaboration

Johnny McKenzie

Kendrick Duckworth

Tauheed Epps

Bryan Sledge

Tyler Okonma

Ricardo Brown

Corey Woods

Solana Rowe

Dejuan Rice

Rakim Mayers

Label

Top Dawg Ent./Interscope Records