Ace Hood - Trials & Tribulations ALBUM REVIEW

For many artists that have a mainstream sound, it's sometimes not that hard for them to gain radio success and popularity when they make their debut. When Ace Hood came on to the scene in 2008, things kind of got off to a slow start for him. He had decent singles ("Cash Flow" and "Ride") but it wasn't enough for people to stop and take notice to him. But being under the wing of DJ Khaled since day one, that was bound to change and it did. While his first two albums (his 2008 debut Gutta and 2009's Ruthless) were to most people, forgettable, it all came around for Ace in 2011 with the single "Hustle Hard". One of the biggest records that year. Because of that, his third album Blood, Sweat & Tears which he dropped that year became his highest selling album in the first week. To me, I thought that album was merely an average project despite having strong singles from it. Well now it's time for album number five. Trials & Tribulations. Based off of the last album and the kind of music Ace Hood is known for making, my expectations for this were not high at all. But honestly, this album was average but yet better than I expected. While Ace Hood has a strong southern mainstream sound, the one thing I've always liked about him is the topics he occasionally talks about. He's done it a few times in the past but on here he does it more than ever. On the album he speaks highly on many deep and emotional topics concerning himself, his life, family, struggle and survival in the streets (for him and others), betrayal, issues and/or tragedies that plague today's society and many more meaningful messages. Considering this, and looking at the title of this album, this may have been a concept album attempt by Ace. The overall feel is just really emotional, sympathetic and meaningful. It's good to see somebody like Ace Hood, who I label as another mainstream trap rapper, tackle these kind of topics. Topics other rappers similar to him are not even thinking about touching. While majority of the content on here was positive, the production kinda takes away from it. The beats weren't that bad they just don't mesh well with the song topics. If  Ace is gonna rap about these things then he needs to have a better beat selection. Use more soulful, jazzy production to match the emotion and overall content of the songs (perhaps he should give Big K.R.I.T. a call). Anyway, let me start now with some notable tracks. "Another Statistic" was definitely my favorite track and is quite self explanatory. This was one of those tracks where he talks about surviving in the streets and staying away from trouble. Trying to avoid being "another statistic". He references things like Trayvon Martin, Emmitt Till and the Boston Marathon bombing as examples. Definitely the most moving song to me on the album. A song just as moving was the track "Mama". This was a very emotional and powerful dedication to his mother. Someone he mentions a lot in his music. What really set this song off was the hook by Betty Wright. She gave strong, soulful, gospel-like vocals that almost turned this into a gospel song. We've seen songs like this done before (2Pac's "Dear Mama", Kanye West's "Hey Mama" etc.). Honestly, this could be up there with those. The religious-like theme continues on "My Bible" which has my favorite beat on the whole album. This is the type of production that I said he needs to rap on for topics like the ones he chooses. On here he spits a lot biblical related lyrics (quoting scriptures and such). Now obviously Ace is not a lyricist but he was alright lyrically here. "The Come Up" features Anthony Hamilton and here Ace talks the most about coming from nothing to something. Basically talking about overcoming the struggle to get to the top and/or achieve your goals. Cool song. He gets more political on "Fuck Da World". He lashes out at the law, the government and other leaders. Also speaking on the evils that happen in this world by corrupt people. Referencing things like the Colorado movie theater shooting and the Sandy Hook Elementary massacre. Another song with a positive message. Well now the songs I had issues with. "We Outchea" would have been a much more enjoyable song. But Ace Hood's look-alike Lil Wayne gets on the track and ruins everything with his God awful lyrics ("I fucked a bitch with a broom stick/the same broom that I didn't clean my room with", "when opportunity knocks I ran out of the back door/shit I thought it was the cops"). Didn't like it because of that. On "How I'm Raised" he did exactly what I feared. Auto-tune. The whole song. The beat is okay but him on auto-tune is like hearing scratches on a chalk board. Terrible. "Rider" is the lone song for the ladies that features Chris Brown and well...it was weak. Surprising considering on his last album he did a song with Chris Brown for the ladies which ended up being a big hit. This just sounded off. He trying to describe the perfect "ride or die chick" but just didn't deliver it well. He even takes 2Pac's "Ambitionz Az A Ridah" and flips it a bit. Bad attempt at a line sample. You all probably guessed that I'm not a fan of the single "Bugatti", but I'd rather hear it than the remix version because my God was it awful. Average to wack verses from every featured artist involved. Especially the absolutely dreadful verse from Wiz Khalifa where he sounds like he's imitating Juicy J. This was quite possibly the worst remix of 2013. Overall, the album was a bit better than expected but still average. Ace Hood delivered strongly on song topics and content. I give it a final grade of a C. Like I stated before, I enjoying seeing Ace Hood touch on subjects like this and I'd like to see him continue to do it. Nobody else in his lane is doing this. With better and more matching production, and stepping his lyrical game up a bit, he can become much bigger and more recognized by everyone. This is song content that legends like Public Enemy made famous. Let's hope Ace Hood can continue doing this and turn hip hop more into what Chuck D said. The black CNN. End.

Final Grade: C

Jay-Z - Magna Carta...Holy Grail ALBUM REVIEW

Shawn Corey Carter certainly needs no introduction. For 17 years, Jay-Z has done it all. From record breaking albums sales, countless chart topping hits, awards, clothing lines and so much more. He went from hustling on the blocks of Marcy Projects in Brooklyn to billionaire CEO/entrepreneur. All while becoming a hip hop icon and legend in the process. Jay's influence and how he changed the game multiple times basically explains why his following has been so strong for so long. You won't find too many of today's rappers that wouldn't agree with that. To me, Jay has one of the most impressive discographies in the history of hip hop. Which consists of 12 solo albums and 3 collaborative albums. Of those 12, 3 of those are borderline classics. His 1996 debut Reasonable Doubt, 2001's The Blueprint and 2003's The Black Album. But with every release, Jay's music continues to adapt to what is new or relevant in hip hop while still being the same old Jay at the same time. Well now it continues here. Album number 15. Magna Carta...Holy Grail. Arguably the most anticipated release of 2013. The promotion for the album was unique. Jay announced the release of the album in a Samsung promo commercial during this years NBA Finals (which has now lead to multiple commercials). Then he decided to release the album on July 4th digitally via the Magna Carta...Holy Grail phone app. This is just Jay again changing the game with the way he does things. Now because his last project, 2011's Watch The Throne, was a collaborative album with Kanye West I won't reflect on that one as much. But I will go back to 2009's The Blueprint 3 which to me was a good album. Yes it sounded overly commercial and filled with numerous guest features but the production and the stories told on it took away from all of that. That's just the type of thing he does. This time around, I'm a little disgruntled. I thought after multiple listens this album is just barely above average. Which in my eyes spells disappointment considering the level of hype and promotion this album got. First off to get it out way, I clearly understand that Jay's content and topics have all changed in recent years and he's not the same. Just like he said on his last album, "niggas want my old shit buy my old album". People should understand that old Jay is in the past. This new Jay is all were gonna get now. Nothing but him rapping about his riches, his power, luxurious things etc. Things a common wealthy business man would rap about. Flaunting basically. It's all very present on this album. I feel like if he's gonna rap about that stuff that's cool but I think he should talk about it in a way to inspire these young dudes as appose to just shoving it in their faces in a "I have this and you don't" type of attitude. Basically...at his age and where he is right now, Jay needs to be more of a mentor with his music. Show these young rappers how they can get to where you are instead of basically laughing at them for not having what you got. Instead the feel I get, especially from this album, is that he making the kind of tracks these young dudes make but at the same time rapping about the stuff I just mentioned. Yeah he'll make meaningful songs and lyrically tell a story but that's all blanketed by the flaunt-rap. This is really the one thing that troubles me about Jay-Z. Honestly, the production saved the hell out of this album. If you saw the promo commercials you saw every producer he worked with on here. Timbaland, Pharrell, Swizz Beatz, Rick Rubin as well as a few others. Jay lyrically and especially flow wise sounded a bit well...boring. Not counting the meaningful message songs, his flow on a lot of songs sounded lazy and tired and a lot of his lyrics sounded completely rushed. This was the one thing that frustrated me about this album. Well now let me break down songs I liked and disliked. The album got off to a good start with the first two tracks. The intro track "Holy Grail" was dope and that's really thanks to Justin Timberlake. He really brought that song to life with a soulful yet powerful hook. His singing on that was amazing and was the best thing about the song. Then the second track "Picasso Baby" had this funky electric guitar and drums production done well by Timbaland. The beat switches up towards the end to an even better drum beat that kind of sounds similar to "99 Problems". On here Jay makes references to many art related things like famous artists and such. Like when he says "sleeping every night next to Mona Lisa, the modern day version with better features". Try and guess who he's talking about. I guess he's just showing his appreciation for fine art (which also explains the album cover and images in the booklets). Good song. The track "F.U.T.W." (or Fuck Up The World) I didn't like at first but grew on me after a couple of listens. It has this smooth piano filled beat courtesy of again, Timbaland. Could have done better with the hook but the song is still enjoyable. My biased side comes into play on the track "BBC" because of yes....Nas. Honestly I don't think I would have even listened to this more than once if it wasn't for him. What I didn't understand was why Nas wasn't credited on the track list because that sure was a full verse he dropped. Oh well....still a cool song. The song "Part II (On The Run)" may have been the most surprising to me. It's a duet that features his queen Beyonce' and I'm guessing this is supposed to be the sequel to their first ever track together "03 Bonnie & Clyde". This song had a strong throwback feel. Like those rap and R&B collaborations from the 90's. But again, just like the intro song, this was a case where the singer shined the most because Beyonce' made it listenable with her dark and soothing vocals. She fit the mood of the track more than Jay's lyrics did. Still...a surprisingly good song. "Jay-Z Blue" is the track dedicated to his new baby daughter. He talks about fatherhood and balancing that and his career. Now anyone that has been following Jay all these years know that every now and then he likes to borrow a line or two from Biggie. Here he samples his ad-libs and mixes in Big's lines with his own. Though I don't think the "Mommy Dearest" movie skits weren't needed, this was a nice song that I'm sure Blue Ivy will appreciate when she old enough to understand it. Well now the things I disliked. Right of the back, "FuckWithMeYouKnowIGotIt". No song on here pissed me off more. First of all, I really don't like hearing Jay-Z rapping on trap beats even though that's what's popular now. On here he delivers the worst flow and lyrics on the whole album. It features Rick Ross who's verse was just as bad if not worse that Jay's.  I feel like Jay lowered himself to Ross's level as far as lyrics and flow on here. To top it all off it has a repetitive hook and I absolutely despise repetitive hooks. I mean this sounds like something that would be on a Maybach Music mixtape. Not a Jay-Z album. Terrible song. He had two interludes on here, "Versus" and "Beach Is Better" and my problem with both is the fact that...they're interludes. These should have been full songs. Especially "Versus". I think it was totally pointless to make these interludes. Either extend them or take them off the album. "Tom Ford" is a track I'm trying to force myself to like but i just don't see it happening. This has a futuristic video game sounding beat that honestly sounds like a track Kanye scrapped from Yeezus and Jay took it. It just sound off overall. Speaking of Yeezus, the track "Heaven" sounds like Jay's version of Kanye's "I Am A God". Comparing himself to God and calling out all the conspiracy theorists that constantly connect him with the Illuminati. It's not that this was a bad song but I felt like he should used the "heaven" concept in a different way besides doing what Kanye did. Even though he did it better than him. "Crown" is a song that I saw a lot of people enjoyed but it may have to grow on me. It has this deep and distorted sounding beat that sounds like something else that belonged to Kanye first. I was surprised to see that it was produced by Travis Scott. Wouldn't have guessed it. But I don't know, something is off about this. It just has to grow on me. In conclusion, this album was saved by production. Thus making it just above average for me. I give it a final grade of a B-. This is one of those albums that will have to grow on me over the course of time I suppose. In my honest opinion, I think Jay-Z is at a point in his career where the mic needs to be hung up. Not because he sucks now or whatever but because there's nothing else he has to prove. He done and accomplished everything a rapper can accomplish. Now all he should be worried about is all his business endeavors and his new family. Leave this rap shit to these new young guys. But still, like I mentioned, be more of a teacher and a mentor to them. Show them how to get to where you're at. They all look up to Jay and he should acknowledge that more. We all know he's a legend for more reasons than one, but right now, at his age, I think it's time to close the rap chapter of his life story and move on to the next. I'll be the first to say it, thank you Jay-Z. Hip hop thanks you. There will only be one Hov. Nothing can change that. End. 

Final Grade: B-

Joey Bada$$ - Summer Knights MIXTAPE REVIEW

Perhaps no other new artist in hip hop made more underground rap fans and hip hop vets turn heads quicker than Joey Bada$$ did. Last year when he dropped his debut mixtape 1999, many people were blown away. He's bringing back a sound of hip hop that hasn't been heard in a long, long time. The golden era boom bap style hip hop. The sound that was generated from the east coast during the 1990's. Everything from Joey's voice, his flow, lyrics and production just screams mid-90's New York. Most other rappers Joey's age are making poppy radio club songs. You would think someone as young as him would never be influenced by the kind of hip hop that was popular before he was even born. It's safe to say he and his group Pro Era stands out from the rest of the pack. After dropping that mixtape last year, everyone put Joey on their radar. Anticipating the next project. Well it's here. His third mixtape Summer Knights. I for one thought 1999 was one of the best projects of 2012 and would probably be a tough act to follow. Pro Era's mixtape PEEP: The Aprocalypse, which dropped in December of 2012 was good  but wasn't quite as good as 1999. Well this time around it's the same thing. Though this wasn't as good as the last tape, I still did enjoy Summer Knights a lot. As usual Joey's throwback flow and lyricism mixed with the boom bap styled production are very well present. This tape to me seemed a bit more darker and more serious toned than the last tape. Especially on the first half of it. The first thing that caught my eye is the list of producers involved with this project. Everyone from DJ Premier, to Statik Selektah, The Alchemist, MF Doom, fellow Pro Era member Chuck Strangers and a few others. These are truly the type of producers that fit what Joey does and they totally made this tape shine brighter with their production. Now on to the notable tracks. My favorite track to me was the last track on the tape "Unorthodox". This was the lone track produced by DJ Premier and really for that alone I enjoyed this song a lot. Joey's old school flow meshes so perfectly with Premo's throwback record scratching beats. I would have loved for more songs on here to be produced by him because this was dope as hell. The track "Word Is Bond" is another super dope song acknowledging the popular New York slang term. The beat was well produced by Statik Selektah. The song "Long Live Steelo" is basically a eulogy to his friend and Pro Era member Capitol Steez who passed away late last year. It was a emotional song where he's just reminiscing on the good and bad times they had and wishing to kick it with him again, do another song with him again and all of that. Good song. "Amethyst Rockstar" was a cool song and was probably the most energetic song on the whole tape. Joey drops some very hard and aggressive lyrics in a very deeper and rougher voice. MF Doom provides a very uptempo, spacy and somewhat futuristic sounding beat. Another enjoyable track was "Sit N Prey". The highlight of the song was the guest verse from Dessy Hinds who sounds a lot different on here than he did on the Pro Era mixtape. On here his voice is deeper and he sounds a lot like Jay-Z circa 1996. "Sorry Bonita" is basically a posse cut that features various members of  Pro Era where all of them was just spitting like a cipher. These were the type of songs that were present on Pro Era's mixtape and was also what made that mixtape enjoyable. On "Reign" he sits back and reflects on where his life was, where he is now and where he wants to be in the future. Already calling himself "the king" and he's just "fresh out of high school". Comparing himself to LeBron James in that sense. There were really only two songs I had a problem with. When I saw the track title "Death Of YOLO" I said to myself "finally someone did it!" I'm sick of the term "YOLO". Turns out he didn't really "kill" it. But more so overused it in the hook in an attempt to I guess mock the way rappers constantly use it. I felt he should have went the extra mile with this and really went hard on everybody that says it. Wasted opportunity. "My Youth" I really wasn't feeling and this was after multiple listens. He links up with Collie Buddz for a reggae infused track that really sticks out like a sore thumb compared to the rest of this tracks. Certainly one song I could have did without. Overall I thought this was a very enjoyable mixtape. I give it a final grade of a B. At such a young age, it's so refreshing to see Joey Bada$$ bring this style of rap back to relevance. This is truly what hip hop and especially the east coast needs right now. Hopefully the fame doesn't consume him and he changes because he just may push others to dive into this vintage style too. Hopefully this marks the official rebirth of true New York east coast hip hop. End.

Final Grade: B

Killer Mike & El-P - Run The Jewels ALBUM REVIEW

If someone were to ask me to compose a list of the most underrated MC's of all time, especially among southern MC's, there is no way I could make that list without adding Killer Mike to it. For a little over a decade Killer Mike has been a favorite for many southern rap fans. As well as fans of more lyrical rappers. I for one find it quite sad that he isn't recognized more by the general public. The average person may only know of him, if they do, from his first ever single "A.D.I.D.A.S." in 2003. That or because the work that he's done with Outkast. Again, that's sad. Well now Mike is back and he's back again with producer El-P for their debut collaborative album Run The Jewels (which is also Killer Mike & El-P's group name). Now last year these two got together for Mike's sixth album R.A.P. Music. Which was easily one of my favorite albums of 2012. It was in my top 10. I loved how Killer Mike was aggressively deep and political on that album. It took me back to the days of Ice Cube on AmeriKKKa's Most Wanted. Then El-P's production on top of that just made the album great. So in the back of my mind before listening to Run The Jewels, I'm thinking how on earth can these two follow that damn near classic from last year. While he didn't quite match it, this album was still very dope. I swear you can make an argument that Killer Mike and El-P could be the dopest MC/producer duo in hip hop right now. Just like last time El-P puts together amazing production. Lyrically he and Mike was extremely dope. If I could sum this project up, this sounded like one big stick up to the rap industry. Throughout this whole album, Mike raps about things like robbing, beating, killing etc (sticking to the theme of the tapes title). Targeting I believe these new industry rappers that he finds to be wack. He sounded so aggressive and ruthless on this tape to where he sounds like he's bullying these dudes. Sounds like he's back on his Ice Cube shit again. Even though the mood of this album has an aggressive 90's underground east coast sound. Especially given the content. Well let me break down all that I liked and dis-liked. My stand out track would have to be the second track "Banana Clipper". This was my favorite beat of all the great beats that were on here. I also thought this was the best track lyrically as well. Their flows sync well with each other throughout the whole tape but it sounded the best here. The track also featured a pretty dope guest verse from Big Boi. The track "DDFH" (which stands for Do Dope Fuck Hope) was a cool head nodder too. This was one I had to listen to a few times because listening to the hook I thought to myself "wait is he trying to promote drug use?". But after a few listens he and El-P are just talking about all the troubles and crimes that plague the hood. Saying there's no hope or "fuck hope". Dope song. "Job Well Done" was where I think Mike and El-P were at their most aggressive. Mostly Mike. I like the catchiness of this beat and the hook makes it sound like it could be a single. I loved the beat on "36" Chain". It sounds futuristic. Like a Nintendo video game or something. Very fun and catchy song. I would have liked to see them tackle the concept more on the last track "A Christmas Fucking Miracle". The song has this eerie creeper feel to it and it is dope but I wish they would have went deeper with the whole dark Christmas concept. "Twin Hype Pack" was a cool and hilarious track (in large part because of the hysterical hook interludes). But again, they kinda strayed away from what would have been a cool and funny concept about females. It sounded like they started to but then just abandoned it. Overall I did find myself enjoying this album after multiple listens. I give it a final grade of a B. Killer Mike & El-P are bringing an element of rap back that really is needed. The MC/producer tag team. Not since the hay day of groups like Gang Starr has these types of groups been relevant. Real hip hop heads like myself been took notice but hopefully, these new school fans will. Hopefully. End.

Final Grade: B

Ciara ALBUM REVIEW

In 2004, Ciara Princess Harris burst on to the R&B scene with quite the sassy and cocky attitude. Her debut single that year "Goodies" was one of the biggest hits that year. But it also had a lot of people turning heads asking "who is this barely legal girl talking about her 'goodies' "? Well soon enough, everyone became quite familiar with her. Four albums and some chart topping hits later, Ciara is one of hip hop and R&B's most popular and talented artists. Her combination of the hip hop and R&B sound stands out from many other artists. Everything from radio songs, club songs, dance/pop songs, slow ballads, even some southern trap-style music. She can make any kind of song. Not to mention she's one hell of a dancer and performer. Again, very talented and versatile. Well now, CeCe is back with her self titled fifth album (originally titled One Woman Army). Now her previous album, 2010's Basic Instinct, to many people was forgettable. Though I never got to hear it all the way through the general response to it wasn't good. Nor were the album sales. In fact the only full album I heard from her was her sophomore 2007 album Ciara: The Evolution which was a okay album. Well this time around, I feel a slight bit the same. This album was actually pretty good. Again, no other singer can blend the sounds of hip hop, R&B and pop better than her and it shows perfectly on this album. Though it was decent, the album to me had more of a mixtape feel to it than a album. It's a short ten track project and mostly all the songs on here sound like radio singles. I literally can picture this entire album being played in the club. This maybe in large part because of production which I thought was the best thing about this album. For such a radio/club sounding project the production was pretty good. Maybe the best production of any R&B project I've heard this year. Now let me get to the highlights and low lights of the album. I don't think I have like a favorite song but if I had to pick a stand out track for me it maybe the second track "Sophomore". Of all the great beats on here this one was my favorite. It has that deep vibrating southern trunk bass that's perfect for the car. The clubs should love it as well. "Keep On Lookin" was a okay track. It has the Houston chopped and screwed sound and ironically she sounds like a female Kirko Bangz on it. I don't know about that opening line though ("maybe it's Maybelline, or maybe I'm just born with it"). I don't know I found that kind of corny. But the song was still cool. The sexual tension began to surface on "Read My Lips". Now at first I didn't think this would be anything too crazy. Just an ordinary love/relationship song. Boy was I wrong. On here she sings about treating her man by feeding him his favorite "dish". Telling him that "he's not leaving until he eats it all up". Now with that and the song title, it doesn't take a rocket scientist to figure out what sexual act this song is talking about. Ciara did this before on that single from her last album "Ride". Those hidden sexually explicit messages. It's safe to say she's extremely comfortable with her sexuality. The first track and second single "I'm Out" still has to grow me. It's not necessarily a bad song it's just something I don't think I could listen to consistently. I honestly like "Body Party" better. Although, Nicki Minaj's verse on there, and on the track "Livin' It Up" weren't bad. She'd be much more tolerable if she rapped calmly like that. The track "Overdose" has this really cool electric funk/flash dance beat. It actually sounds a bit like vintage Janet Jackson. The person most people compare Ciara to. The worst song on here for me is "Where You Go". It features her new boyfriend Future and quite frankly, he should have waited for her in the bedroom until she left the studio instead of hopping on this. His nauseating singing made this almost impossible to listen to. I know he was gonna be on this album regardless but man this song did not need him. The track "Super Turnt Up" was okay but I was expecting this song to have more energy considering the title. But the one thing that did kind of ruin the song...Ciara's "bars". I know a lot of her songs, well beats sound like rap beats but leave the rapping to the professionals. She sounds like another Lola Monroe when she raps. However, she's a better rapper than Future is a singer that's for sure. "DUI" is the only song on here that sounds like actual slow R&B. But even that has somewhat of a mainstream hip hop beat. That song needed a much more slower and mellow beat considering the content of the song. Well overall, the production is what really made this album easy to listen to. Otherwise, this wouldn't be all that fun to listen to. I give it a final grade of a B-. While many people thought Ciara was done or wasn't the same anymore considering previous album sales, she has now shown that she's far from done. The hits are gonna keep coming and the clubs/parties will continue to be satisfied. As a fan I'm happy to see her silence the critics and show why is still Atlanta's princess. Keep killin' them CeCe. End.

Final Grade: B-