B.o.B - Underground Luxury ALBUM REVIEW

It's always a great thing to see rappers come into the game and straight up kill the stereotype of which ever city or region they are from. In this case, Atlanta. You normally expect typical southern trap rap and crunk music from there. But when B.o.B debuted in 2010, he showed that Atlanta rappers can be more than just that. He came into the game with a style and presence that was far left from his southern counter parts. That year, 2010, he dropped his debut album The Adventures Of Bobby Ray which featured his biggest single to date, "Nothin' On You". A collaboration with Bruno Mars, a new artist at the time as well. That was followed with "Airplanes" which featured pop singer Hayley Williams. This was essentially B.o.B's thing. Collaborating with many R&B/Pop names and making a lot of cross over tunes. This was strongly the case on his 2012 sophomore effort Strange Clouds. An album that didn't sit well with many (including me) due to the abundance of R&B/Pop sounds and features. Now I don't have a problem with artists experimenting with sounds and blending genres but it seemed to me at the time that B.o.B just didn't know what type of artist he was gonna be. Which just frustrates listeners like myself.  But now, it seems like B.oB has finally found his sound on this, his third album Underground Luxury. I could tell immediately by looking at the title, artwork and track list that this was gonna be a different listening experience for a B.o.B project and that's exactly what it was. It's not a great album but I do like it. In fact, this may arguably be his best album. On this album, he did a lot more of what he didn't do on the last album and not that much on the first, and that's straight up spittin'. He was aggressive, he was lyrical, the production was stepped up big time as well as the features. Also, unlike the previous releases, it sounded like a real southern hip hop album. It's quite clear he listened to his critics and heard them say how he's too "soft" or too "pop" to be a southern rapper. Well now let me begin with songs that stood out. The album started off with such high energy. The second track "One Day" was the first stand out. Throughout this album he speaks heavily on himself overcoming past struggle and making it to where he is now. Just over being blessed and thankful to have what he has now. This song is done from his point of view back then we he and his family was living in poverty and how he has faith that it will all change for him one day. It really sets up the album perfectly. I loved the loud, clap-happy production of "Paper Route". His lyrics were strong on here as well as he touched on a lot of political related topics and other corrupt things going on in the world. "John Doe" was a cool song where he finds himself fighting against infidelity and addiction. Priscilla Renae sings the hook beautifully and she says on it "I just want the John I know/once you put the drinks on hold/maybe you can come back home". Basically saying how the addiction will change you into someone your not and if you fight not to do it then you can come back home to family in one piece. Nice song. I can't even lie, "Ready" is my guilty pleasure. Again I normally hate these kind of songs but this is a cool and catchy club/party track well produced by Detail. As much as I loathe Future, he was actually tolerable on the hook this time around. On "Nobody Told Me", he speaks on the misconception of having money and being famous. A lot of people think life is all good when you're living like that but that's always not the case. Problems and drama comes with it and it sometimes will make you miss how things used to be. That's what he explains here. Now the songs I had some issues with. There wasn't a clear cut "worst song on the album" but there were a few that I didn't agree with. "Cranberry Moonwalk" with a better beat could be a better song. But this production was so erratic and all over the place and just made it an uncomfortable listen for me. The second single "Headband" with 2 Chainz is a favorite for some. It's the perfect strip club/twerk song but eh...it's not my cup of tea. It becomes a headache after a while. "FlyMuthaFucka" I thought was a major contradiction to every thing he talked about on this album. The hook was too cocky and braggadocios for his own good. If he was gonna address the haters he should have went about it another way. "Throwback" had good production but the lyrics were some of the worst on the album ("this dick right here is cleaner than a hypochondriac"). Then Chris Brown drops a rap verse that's even worse ("I bet your girl know me/a young nigga but I feel like a O.G./add a R and a Y that's an orgy"). A good beat wasted. Two songs that have the potential to grow on me: "Wide Open" and "Back Me Up". "Wide Open" is a high erotic sex track that I honestly think didn't meet it's potential. It's evident that these type of songs isn't B.o.B's forte. It was surprising that he got Ester Dean for the hook because this sounds like something right up Nicki Minaj's alley. Then there's "Back Me Up" where he shows some coast to coast love. But I wasn't really feeling the lifeless beat and hook. Well to close, this album at first listen seems average, but is still a major improvement from his previous releases. B.o.B silenced his critics by showing that he is pure hip hop and is not "soft" or "pop" in any way. I give this a final grade of a B-. On this album there were a few hidden interludes where B.o.B was being interviewed by Bun B. He broke down the meaning of underground luxury and he described it as something that is deemed as a miserable situation or something that somebody wouldn't want and making it into something luxurious. Taking something negative and turning it into something positive (or turning it into art as he says). What I personally get from that is that people should appreciate what they have or what's around them because you'll never know, one day that surrounding of negativity (underground) could, by your will, become something positive (luxury). A lesson we must all learn. Props to B.o.B for that one. End. 

Final Grade: B-

CREDITS

Executive Producer

Bobby Ray Simmons

Associate Producers

Doug Peterson

Brian Richardson (A&R)

Lead Artist
Bobby Ray Simmons

Production

Bobby Ray Simmons

Timothy Thomas

Theron Thomas

Aldrin Davis

Geoffrey Earley

Noel Fischer

Raphael Judrin

Pierre Antoine-Melki

Arthur McArthur

Dijon McFarlane

James Scheffer

Isaac de Boni

Michael Mule

Michael Williams

Collaboration

Nayvadius Wilburn

Christopher Brown

Ester Dean

Tauheed Epps

Priscilla Hamilton

Michael Davidson

Jameison Jones

Clifford Harris, Jr.

Jordan Houston

Label

Rebel Rock/Grand Hustle/Atlantic Records

R. Kelly - Black Panties ALBUM REVIEW

As we all know, there's a long, long list of numerous R&B legends that have came and went through the genre's history. But since 1993, there's only been one man. One man who has been hands down the undisputed face of mainstream R&B music. That man is the immortal R. Kelly. Countless chart topping hits, number one albums back to back to back, dozens of songs written and produced for many artists, Grammy's and many other awards. This man as you can see has put together quite the legendary career. A career that a lot of today's new R&B singers can only dream of having. I could on listing his accomplishments. But anyway, here we are with yet another anticipated release from R. Kelly. This is his twelfth album Black Panties. Coming off dropping two albums (Love Letter and Write Me Back) that were both throwback, old school dance albums, it was certainly a good feeling looking at this album title and album art and knowing he's getting back to what he does best. That hot and steamy bedroom music. So apart of me was definitely intrigued to hear this album. Sadly, this wasn't what I was expecting. This wasn't a bad album but it definitely not a good one either. I'm honestly having trouble on where I stand with this album. The sex talk is there in full force, but the album just sounded like a more watered down R. Kelly. The album sounds too much like R&B's current sound today. A lot of hip hop influenced production, hooks and collaborations. Now if this was an album from any of today's singer I probably could live with it more. But this kinda falls short of the R. Kelly we've grown to like for two decades. The only way I can explain this further is by just naming my likes and dislikes so let me start there now. I didn't really have any favorites. Just a few that stood out. The first is the closing track "Shut Up". This was one of two or three songs on the whole album that sounds like the R. Kelly I prefer to hear. On this track he speaks on a more personal issue that has bothered him. In regards to him going through his surgery and listening to the media and the streets talk about how he's near the end of his career or how he has fallen off. Obviously something that doesn't sit well with R. Kelly as he lashed out on this track at all of those naysayers. Cool song. "Genius" sounds like one of those old vintage R. Kelly slow jams. Originally I thought this was gonna be about him being some kind of a music genius and bragging about his accomplishments or something. But nope, he's talking about being a "sex genius". I do like this song because it's sounds old school and it's the only slow jam on the album that sounds like the true R. Kelly. I thought "Spend That" has the best production of the album courtesy of DJ Mustard. However this song still has some growing on me to do. Young Jeezy's verse made it more enjoyable but it's still just an okay song. There were a few "just decent" songs. "Right Back" where he gives salute to "his niggas" and the lovey dovey duet with Kelly Rowland on "All The Way". Well there were plenty of dislikes so let's now go there. By far the worst song on the album is the second single "Cookies". Even when I heard this on the radio for the first time I shook my head in sheer embarrassment. There were bad lyrics throughout this album but this songs lyric were over the top poor. "bout to bang on the pussy like I'm throwing up crip", "break your back crack it open like a lobster", "I kill the pussy dig a grave", "I'm hittin the spot on your map/that's me going on tour". I mean these were just horrible, Lil Wayne level lyrics on an R&B song. The hook is just as awful. I can't even eat Oreo cookies the same anymore. "Marry The Pussy" was plain bad. This was next level simping that would even make Drake laugh. He sings about how he doesn't want to marry the woman herself, but rather her vagina instead. How can R. Kelly's genius mind come up with something so lame and stupid? Then right before that track is "Prelude" which is a pointless three minute interlude with him over the phone with a friend discussing the before mentioned song. All while the friend argues with some chick he just slept with. Again, pointless and not funny. The second single "My Story" could have been a much better song honestly. But the repetitive hook ruined everything. The trap style beat does mesh well with R. Kelly in my opinion. If this song belonged to 2 Chainz, who's featured on the track, I could probably deal with it more because it's something more up his lane. But no. It just sounds like another desperate attempt by R. Kelly to fit in with today' hip hop/R&B sound. It's a short album so I'll end it here. Overall, I wasn't too thrilled with this album. I don't think it was borderline bad but if someone asked me which of R. Kelly's albums is his worst then I'd probably say this one. I give it a final grade of a D+. As stated at the beginning of this, R. Kelly's career and legacy cannot be matched. The man is simply legend. Quite honestly he doesn't have to prove any else to anyone. Some wouldn't even mind him releasing an album of this quality because he's given us so much classic material for two decades. He's been through a lot obviously. But despite all the obstacles he went through throughout his time in the industry, he has always persevered and came back to show why he is a music legend and why he is the self proclaimed "R" in R&B. End.

Final Grade: D+

CREDITS

Executive Producer

Robert Kelly

Lead Artist

Robert Kelly

Production

Robert Kelly

Lamar Edwards

Dennis Manuel-Peters

Daniel Coriglie

Mario Bakovic

Antonio Brown

Dorrell Mays

Paul Jeffries

Dijon McFarlane

Tony Scales

John McGee

Collaboration

Christopher Bridges

Kelly Rowland

Tauheed Epps

Jay Jenkins

Nayvadius Wilburn

Quavious Marshall

Kirsnick Ball

Jordan Houston

Label

RCA Records