Common - Nobody's Smiling ALBUM REVIEW

Peace, love and happiness. Three things to me that best describes the music from veteran rapper Common. Things that he likes to talk about. It's because of that and just his overall humbling and positive character that's made him one of hip hop's most respected MC's for nearly twenty years. Having a string of classic albums and songs. My personal favorite being "The Light" from his 2000 album Like Water For Chocolate. However, despite such longevity in the game, it seems like Common didn't really become a household name on a mainstream level until he linked with Kanye West and dropped his 2005 album Be. My favorite album of his. Basically, which such a great discography, a new Common album is always something to anticipate. This is his tenth album Nobody's Smiling. After coming off releasing a really dope album in The Dreamer/The Believer in 2011, I was eagerly anticipating that this album would be the same story. Well I can happily say that it was that...and more. This was a very well done project by Common. Now before I began the break down of the album, let me began with the inspiration behind this concept album. As most of you may know, 2014 has been a very tragic year for the city of Chicago (Common's home town if you didn't know that). The recent outbreak of crime, particularly gun violence has caused total devastation throughout the city. Catching the attention of everyone nationwide. Granted this is nothing new in Chicago. It's a city that's been known for gang violence since the days of Al Capone. But when 80+ people are shot in a single Fourth Of July weekend, then that's when you gotta think enough is enough. This is what lead to this album. On here Common speaks about the state of the city, what can be done to make change and where this will all lead to. He title's this album Nobody's Smiling because he says that with all that's gone on in the Chi, no one is smiling right now in that city. The album is very emotional, sympathetic and has a very dark energy hovering over it. Dark is a word you normally don't use to describe Common's music but as you know...things are not so "peaceful and happy" as I stated in the beginning. Plenty of positives to talk about on this album so let's start there. The album starts off in dramatic fashion with the track "The Neighborhood". First off, big time props to No I.D. who produced the entire album as well as The Dreamer/The Believer. He been doing work with Common since day one and the two make magic together. They truly are "Chi-town's Gang Starr" as he said on this album. Anyway, "The Neighborhood" gives off this truly dark and eerie feel especially when it begins. Lyrically Common was on point (as he was throughout this album). He talks about the history of violence in Chicago from hood to hood and block to block. What I actually liked the most was the impressive guest verse from Lil Herb. Now I don't know much about him nor heard any of his work but this verse was cool as he told his version of the cities struggle that he sees. This was a perfect way to begin this album and this story. The next track is "No Fear" and based on the lyrics, it sounds as if Common is describing the typical young thug/criminal in Chicago and how he shows "no fear" when in the streets committing his crimes. It was spoken very poetic like over another crisp production from No I.D. Excellent song. The track "Kingdom" I would have to say was my favorite of the whole album. I love the strong soulful sound of this production. Here he talks as a criminal who has passed away and tries to ask for forgiveness at the gates. He sees the city and all that he and others like him have done and he regrets it. It was powerfully told as you can literally vision in your head everything Common says on this track. The guest verse from Vince Staples was pretty cool too. Amazing song overall. The only two songs on here that sound anything close to single worthy are "Blak Majik" and "Speak My Piece". "Blak Majik" has this really cool heart pounding beat. Jhene Aiko sings the hook and at first I didn't like it too much because it's repetitive (says "blak majik" over and over). But the part at the end was alright so it kinda made up for it. Then there's "Speak My Piece" in which the hook samples a line from Biggie's song "Hypnotize". Now this definitely has a party/dancy sounding beat. This track actually took me back to Common's 2008 album Universal Mind Control where almost every song sounded like this. Very futuristic but still club oriented. But still, it's a fun track to kinda take away from the dark depressing sounds of majority of this album. "Hustle Harder" is where he talks about the typical Chi-town chick. Describing her high maintenance, how she plays dudes, how she stays in the streets and so on. Lots of heavy drums in this beat but it was a good one. There was a guest verse from Dreezy who I'm being introduced to for the first time. She wasn't bad. She kinda had somewhat of a Kanye/Nicki Minaj flow but she was cool. On the title track "Nobody's Smiling", Common breaks down exactly why "nobody is smiling" in Chicago. Talks about not only the crime, but the poverty stricken conditions, drug fiends and so on. This was probably the song that lived up to the albums theme the most. The closing track (on the regular edition) "Rewind That", Common reflects on his past. Just basically speaking on his come up in the game and all the people that helped him along the way. Specifically No I.D. and J. Dilla. Awesome track there. Out of the four bonus deluxe edition tracks, "7 Deadly Sins" was my only favorite (however, "Out On Bond" might grow on me). I liked how he broke down every sin in relation to what's going on in Chicago. Definitely dope. My only negatives are again, the bonus tracks. Aside from "7 Deadly Sins" and "Out On Bond", the other two songs really didn't do much for me or the album for that matter. Especially "City To City" which felt more like a short interlude than a song. Also, "Diamonds" is a song I'm trying to let grow on me but I just was not feeling Big Sean on it. I don't know. It just seems him and Common styles don't mesh at all. Plus that whining thing Big Sean was doing on the hook was awful. It may grow on me down the road but I don't know. We'll see. Overall, this was certainly a very impressive and very important project Common has here. It is an album that everyone, especially those in the windy city must listen to. Even thought I felt he could have went further in depth with this concept, the message is strong enough to make that forgettable. I give it a final grade of a B+. Although we sit here and witness what this city is going through, understand Chicago isn't the only city where violence occurs. It's all over. It's an issue that everyone needs to be more aware of along with being apart of the cause to end it. I'm so glad of all rappers it was Common to do this. He's been a very powerful speaker of sorts when it comes to spreading awareness of things like this. Other rappers should take notes from him and follow him. Understand this young generation looks up to rappers and everyone involved with hip hop. It's up to them to be leaders, to be teachers, to set an example. How many people must die before we realize that violence is never the answer people? It's not only up to hip hop, it's also up to us. Don't wait for change to come. Stand up and make a difference yourself. Peace. End.

Final Grade: B+

CREDITS

Executive Producers

Lonnie Lynn

Ernest Wilson

Lead Artist

Lonnie Lynn

Production

Ernest Wilson

Collaboration

Herbert Wright

James Fauntleroy

Sean Anderson

Jhene Chilombo

Snoh Nowrozi

Seandrea Sledge

Malik Yusef

Elijah Blake

Vince Staples

Label

ARTium/Def Jam Recordings

Mic's Mixtape Of The Week

Chris Webby

The Checkup 

Available now on Datpiff

Mic's Web Chick Of The Week

Ashley Lorraine

Orlando, FL

Twitter/Instagram: @siimplyashh

Copyright 2014. Mic Navarro's Corner.

micnavarro.blogspot.com

Riff Raff - Neon Icon ALBUM REVIEW

Plenty of artists in music now got their first taste of fame through television. Drake would be an immediate example. It can be a huge help in pushing music careers. However, for few, it's either a gift or a curse. Take Riff Raff for example. Many know of him from the MTV reality show From G'z To Gentz. A show that took thugged out guys off the street and tried turning them into clean cut gentleman. Now me personally I never did watch this show but based on reactions from those who did, Riff Raff was the stand out guy on the show. Mostly because of his rap skills...or lack there of. Everywhere I look, he seems to be the victim of countless jokes. Although he looks extremely corny, I couldn't judge until I finally heard his music. Now was the time. This is his sophomore album Neon Icon. Based on how everyone perceives him and based on what I already know about him, I was honestly expecting the worst. Guess what? That's exactly what I got. I am not exaggerating when I tell you this is easily the worst album I've heard so far in 2014. I honestly don't even know where to begin here. Everything from the lyrics to the production to the content was absolutely piss poor. There was not one original or creative idea presented anywhere on this album. Riff Raff comes off to me as simply a country white dude from Texas pretending to be thugged out or hood. It's almost like he's a comedian and he's spoofing southern gangster rappers. Speaking of comedians, that's really the only thing I could get out of this album was the comedy from his atrocious lyrics. I mean not since 2 Chainz first album have I literally been in tears of laughter listening to such terrible bars. So much corniness, so much lameness that it was unbearable. I mean just look at this dudes album cover. It just absolutely screams comedy. Not in a good way either. So because there were so many notable horrendous lines on this album, I'll list them all at the bottom of this review. Anyway now, as you probably have guessed by now I have way more negatives than positives so I'll start there. The album starts off with "Introducing The Icon". This actually was an okay song. Not as bad as the rest of the album. The lyrics and beat are still rubbish but his flow was alright and made it a little bit passable. It was here I thought to myself that maybe this won't be as bad as I've been expecting. I spoke way too soon. Right after that song this album goes down hill super fast. "Kokayne" sounded like some awful fusion of hip hop and country rock music. The hook was awful and the beat was a cluttered mess. A lot of the beats on this album sounded like generic throw away beats that the producers just had laying around and decided to give to Riff Raff. This sounded like one of them. "Versace Python" was another lame hook song filled with more comical lines. On this song as well as some others, he kinda raps with somewhat of a Pimp C like flow and voice. You could say that's his way of paying respect to him but I think Pimp C is doing back flips in his grave at the sound of these songs. Then, for you sneaker heads, there's the excessively titled "Tip Toe Wing In My Jawwwdinz". This had a trap inspired beat that for the most part was decent at best but the horrific hook and yet again horrific lines makes it a ear bleeder. I mean this hook is a perfect example of what I said before. It sounds like he's purposely sounding bad in a spoofing effort. It's like watching sketch comedy on TV. "Lava Glaciers" shows him completely not giving no fucks about riding a beat. I at times hate it when rappers rap fast on slower beats especially when they sound like this guy. Not even Childish Gambino's dope guest verse could save this train wreck. "Aquaberry Dolphin" was one of the most comical songs on the album. First of all, this dude literally put dolphin sound effects in the beat. That just reached all new heights of corniness. The lines (see bottom) were so horribly funny. Even Mac Miller, who's verse was cool, stooped to his level of corny with lame lines of his own ("these hoes thirsty and I look like pink lemonade"). But knowing Mac Miller I'm sure he was goofing around while Riff Raff is dead serious. Now I had the save the two most absolutely horrific songs of the album for last. The first is "Time". Picture this: You're hanging out at the karaoke bar having drinks enjoying yourself. Then that one sixty something year old drunk white guy gets on the mic and starts singing some terrible country music. Slurring words and everything. That's exactly what this sounds like. I mean that's literally what I pictured the whole time listening to this travesty of a song. Then...there's "VIP Pass To My Heart". Words cannot describe the level of horror I went through listening to this monstrosity. The beat has this awful techno/dance sound. Worst of all thought, he...is....singing. The whole song. It is some of the worst vocals I have ever had the discomfort of hearing. The audio sounds distorted as hell. On top of it all, he had the audacity to sing on auto-tune. Auto-tune! As if that would make this a more enjoyable song. This song alone made this album a painful listen. I wouldn't make my worst enemy listen to this. Truthfully, the only song that has any level of tolerance is "How To Be The Man" thanks in large part to DJ Mustard. The remix however is much better thanks to Slim Thug and Paul Wall's guest verses saving the day. Man...overall, this album was just too God awful for words to describe. Not even the comedy and the cool guest verses could uplift this album from the pits of failure. I give this a final grade of an E. The sad part about this is, if he actually gave a real effort, Riff Raff could be a decent rapper. I can see it in him. But he's so stuck in this goofy and corny persona that he believes this is who he really is. He's a cross between Vanilla Ice and B-Rad from Malibu and he thinks the hood feels that? It's almost a complete joke to even consider him an artist. I do wish him the best of luck with all of his future endeavors. But after this nightmare, I think I'll pass on "the icon" next time. End.

Final Grade: E

Notable wack lines

"Look who it is it's the white Chris Rock"

"Catch me cooking cookies but I'm not your damn granny"

"But I step inside the club and I smell like Power Ranger"

"Ice in my ear look like a baby penguin"

"Rockin' all this snow might freeze a rainbow"

"I'm the white Gucci Mane with a spray tan"

"You should practice martial arts the way you karate chop my heart"

"Ah shit look who it is the white Wesley Snipes"

"Might be in a movie with Barry Sanders/or Adam Sandler and my cup is pink panther"

"Might hit the club as the white Danny Glover"

CREDITS

Executive Producers

Horst Simco

Thomas Pentz

Lead Artist

Horst Simco

Production

Rory Quigley

Thomas Pentz

Dijon McFarlane

Larry Fisherman

Rafael Greifer

D.J. Allen

Collaboration

Donald Glover

Michael Posner

Malcolm McCormick

Amber Coffman

Stayve Thomas

Paul Slayton

Label

Mad Decent Records

Mic's Mixtape Of The Week

Chris Webby

The Checkup 

Available now on Datpiff

Mic's Web Chick Of The Week

Ashley Lorraine

Orlando, FL

Twitter/Instagram: @siimplyashh

Copyright 2014. Mic Navarro's Corner.

micnavarro.blogspot.com

Trey Songz - Trigga ALBUM REVIEW

As we continue to venture on into this overly sexual explicit era of R&B, you gotta believe one of the people responsible for starting this is Trey Songz. The funny thing about it is, if you been following his career since day one then you know he wasn't always like this. When he debuted in 2005 he just seemed like a pretty chilled dude out of Virginia trying to make a name for himself in the industry. Thought he had back to back hits that year in "I Gotta Make It" and "Gotta Go", I got to be honest, I thought he would be another here today-gone tomorrow artist that we wouldn't hear from in the next few years. Looks like I was proved wrong huh? He would last more years and would become what he is today and that's one of R&B's biggest names. I don't really need to explain why this, his sixth album Trigga, is much anticipated release. Every one of his releases is an anticipated one in the R&B world. Now my expectations were the same expectations I have every time he releases a project. He's not someone that changes up what he does a lot so you kinda got to expect the same thing every time. His 2009 album Ready to me is his best project. From the production to the hooks to the themes and concepts. It was a masterful R&B blend of hip hop, pop and soul. I thought that Trigga overall wasn't as good, but definitely a solid album. Like I said, Trey just sticks to his usual script. Plenty of hip hop blended tracks, strong hooks, strong production (even on the slower tracks) and of course, plenty of high sexual content which he does best. He's not someone who likes to experiment with sounds or change up content so none of this is a surprise. Here's what I find unique about him and this album. As good as it is, I could honestly see a plethora of singers putting together this exact album. However, it wouldn't come off as strong as it does with Trey. He has a way of taking such simplistic sounds and turning into gold. Whether it be his way of words lyrically, his intelligence when it comes to the serious topics on the ballads, or his high level of sex appeal towards the women. It may very well be just his vocals and overall melodicism which is pretty much unrivaled at this point. Especially when it comes to those certain notes he hits that I like to jokingly call "the sheep notes". Anyway now, it's time to break down the album and what I liked/disliked. He starts the album off wasting no time with the panty wetting tracks. The song is called "Cake" and if you heard Rihanna's song of the same title, then you should already know what's going on here. I won't even get into it but let's just say this is one of many tracks on here that will get the ladies riled up. I like the pacing of the beat here too. Not too fat nor not too slow and with a nice bass drop. Great way to start the album. The first single "Na Na" is the perfect hip hop/R&B blend of every song on the album. Thanks in large part to the producer DJ Mustard who's been killing it this year. The song is jumpy enough to play at the club and dance too and at the same time it's slow enough to play at night while your laid up with "bae". It's a number of songs on here like that. The very next track, "Touchin, Lovin", I have to admit caught me by surprise. It's another multi-purpose beat but the hook is what sells it. It's a play on the hook to Biggie's "Fuck You Tonight". He does such a good job with hooks even when he's borrowing one. He makes it seems like it's his own work. Then after the success of his past hit "Bottoms Up", it was only right he again got Nicki Minaj on the track to throw a couple bars that wasn't too bad, considering how she normally is on these type of songs. Dope song. Definitely a favorite. "SmartPhones", the second single, is a very interesting song. This is the part of the album where the songs with meaning take the forefront. Listening to this, it sounds like the scenario is him getting caught cheating. He incidentally calls his girlfriend and she over hears him with another woman. He doesn't realize until it's too late and now, according to the hook, is planning on lying to her about it but doesn't know what to say. Out of fear of telling the truth basically. Sounds like a messy situation you'd see on a daytime talk show. This is why I choose to be single for now. Nonetheless, it's a relatable situation for many. Cool song. "Y.A.S. (You Ain't Shit)" is another interesting song that gave the the impression that he's kinda...attacking himself? He talks about all the wrong he does towards his girl like lying to her, ignoring her etc. and how her only response is..."you ain't shit". I guess he isn't if he's doing that. I'm sure the women will get a kick out of this but the fellas I don't know...they might not have his back on this one. I however thought it was the best ballad on here with yet again another superior hook. Now from that, we go to "Dead Wrong" where now he's lashing at the hoes (much like Chris Brown's "Loyal" track but not as hard bashing).Calling them out on their hoe-ish ways but yet he still kicks it with them. Typical. But hey this is certainly something all dudes can relate to because we've all came across one like this at least once. I could have done without Ty Dolla $ign on it though. He literally added nothing special to it at all. "Late Night" is produced by Mike Will Made It and has a heavy trap influenced sound. The hook sounds a bit inspired by the classic Three 6 Mafia song "Late Nite Tip". Which also explains the Juicy J feature on here who was alright (except for that "she should work at Lids the way she gives me cap" line. Super face palm). Cool song that will most likely end up as a single. Now for the dislikes. On an album chock full of great hooks, the one that wasn't too great to me was "Disrespectful". It just sounded kinda repetitive. The singing and chemistry between him and Mila J. was alright but the hook just kinda made it a uncomfortable listen. Now the single "Foreign" I have no problem with, I do however have a problem with the remix. First off, I don't understand why he added as part of the main album and not as a bonus track. It messes up the flow of that part of the album because it makes you feel like your hearing the same song twice. Also....Justin Bieber. Now I have no issue with him but man his verse sounded so forced and phony. Like he's trying to convince us that he's this thorough and hood now. His braggadocios/cockiness level is starting to reach Kanye West heights. Trying to sing like the guy who's song you on is a no no Justin. A big no no. Lastly, the deluxe edition bonus tracks. I honestly could have done with every single one of them. This is a problem I've had with a few albums I've listened to lately. Not one of those four songs did anything to make the album better. The thirteen track normal album is where it should stay. I don't think I even wanna hear the special edition Target bonus tracks. Well anyway, although I put Ready as his best album to date, Trigga is not far behind. This was certainly and enjoyable project and could have possibly set the bar for the rest of this year's R&B releases. I give it a final grade of a B+. It's easy to understand why Trey Songz is one of the top voices in R&B today. Some can make an argument that he is the best male singer now. Through history there have been male singers who dominated for a period of time. Marvin Gaye in the 60's/70's, Michael Jackson in the 80's, R. Kelly in the 90's, Usher in the 2000's and so one. Trey Songz could very well be the dominant one for the late 2000's/2010's (unless you ask Chris Brown fans). Regardless, he a huge name because of his talent, his catchy music and his ways with the women. He can and will "steal your girl". Protect your hoe fellas. End.

Final Grade: B+

CREDITS

Lead Artist

Tremaine Neverson

Production

David Cunningham

Kenneth Coby

Dijon McFarlane

Frank Brim

Kevin Ross

Dernst Emile

John McGee

Michael Williams

Bryan Nelson

Alvin Isaacs

Danny Klein

Matthew Campfield

Christopher Umana

Uforo Ebong

Marcos Palacios

Ernest Clark

Troy Taylor

Brandon Alexander

Collaboration

Onika Maraj

Jamila Chilombo

Tyrone Griffin

Justin Bieber

Jordan Houston

Label

Songbook/Atlantic Records

Mic's Mixtape Of The Week

Lil Durk

Signed To The Streets 2

Available now on Datpiff

Mic's Web Chick Of The Week

Jesse Belladonna

Long Island, NY

Twitter: @butterscotchflv

Copyright 2014. Mic Navarro's Corner.

micnavarro.blogspot.com

Ab-Soul - These Days... ALBUM REVIEW

In case you people haven't noticed yet, the TDE takeover is real. The domination continues. There's just so much hype with every release. It started with Jay Rock and his 2011 debut, then Kendrick Lamar's damn near perfect debut album in 2012. This year already we've had releases from Schoolboy Q (Oxymoron), Isaiah Rashad (Cilvia Demo) and SZA ("Z"). Next up...Ab-Soul. After Kendrick, Ab-Soul was the second TDE/Black Hippy member I took quick notice to. His dope lyricism and intricate, mind-boggling word play was certainly something to marvel at. His 2012 sophomore album Control System was easily one of my top five albums of that year. It was deep, it was poetic, it was intelligent and filled with so much meaning. So you gotta wonder...how do you top that? Well the anticipation has ended. This is his third album These Days. Like I said, I wondered how on earth would he be able to even match what he did on Control System. So I kinda had up and down expectations for this. After listening I have to be honest. This may have been a slight let down for me. Now this doesn't mean that the album was bad. In fact it wasn't. But this was still a huge step back from his last album. While Soul still hits you with dope lyrics and concepts (somewhat) on here, I felt like there was a lot of reaching on this album. One thing about Ab-Soul as apposed to his TDE homies, he not really "mainstream friendly". What I mean is his rhyme style and his overall kind of music is something you don't hear on radio. So when I put this album on and I hear blatant reaches for commercial attempts, I get a little disappointed. He's just not that kind of rapper to me. On the flip side though, the album does have it's positive moments. Especially when it came to certain production. The album starts off with "God's Reign" and this was the Ab-Soul I wanted to hear throughout the entire album. Hitting you with that dark, thought provoking lyricism ("A.B. sees everything/every M you end up with is owed"). Keep reading it you'll get it. The beat gives this dark misty feel as does SZA's vocals. One of the biggest highlights of this album is a track that Ab-Soul is not even rapping on. "Kendrick Lamar's Interlude". Much like Soul did for Kendrick on Section.80, Kendrick drops a hot sixteen and he just goes off. I'd quote some stuff but then I'd be writing the entire interlude. I also loved the smooth jazz instrumental as well. Kendrick's loud and aggressive flow over this mellow beat seemed weird at first but it grew on me quick. The first single "Stigmata" is another favorite of mine. One big reason in particular is because of the hook. It comes straight from Nas's song "The Cross" from God's Son. You know the Nas fan in me enjoyed that. I'll give Soul a couple hundred cool points for that one. But seriously this was a dope song. Action Bronson's verse was dope as was Asaad's. Props to Rahki for that cool production too. While I'm on the topic of production, there were many tracks on here where the beat switched up and the song changed. It at first confuses when it comes to the order the songs are in. I don't want to say it was pointless doing this but none of the change ups really did much to enhance or better the track. If that's what he was going for. Moving on, "Tree Of Life" was one of my favorite beats on the album. I loved the throwback bass drop on it. He raps about weed, something he does a lot, referring to it as the 'tree of life' ("why you think money is green?/the color of vegetation the most important thing/trees..."). Cool song. "World Runners" was another song that may have been saved by production too. As well as a cool guest verse from Lupe Fiasco. Two of the songs towards the end in "Feelin' Us" and "Ride Slow" were likeable too. "Feelin' Us" sounds to me like him embracing the people (fans mostly) who show him love wherever he goes for his dope music. Jay Rock yet again comes through and kills another guest verse while RaVaughn blesses the track with some nice vocals. However, I had to take some of his cool points away for basically rapping Chief Keef's entire hook from "Love Sosa" towards the end. Not cool Soul. Not cool. Then "Ride Slow" is something smokers would probably enjoy more because of it's slow trippy sound, but it should be enjoyable to a lot of folks. Danny Brown's brought a lot of wild energy to the track with his verse while Mac Miller (under the name Delusional Thomas) gave it a more trippy feel than it had. Now...the things that disappointed me about this album. The track "Hunnid Stax" with Schoolboy Q had potential that just was not met to me. Schoolboy might as well have rapped this entire song because Ab-Soul was rapping damn near just like it so it was hard to tell who's who. I think I would probably like this more if it was Schoolboy Q featuring Ab-Soul instead of the other way around. Hell I feel like this song might have been an Oxymoron throw away that was given to Ab-Soul. The very next track "Dub Sac" had a very similar beat. The overall vibe of it sounded very A$AP Rocky like. Didn't like that. Here's where the reaching began. "Nevermind That" featured Rick Ross and had a trap inspired beat. The hook was a repetitive but catchy line which said nothing but "real nigga shit". A song like this, had it came from someone else, I would like it. But this is so not Ab-Soul. Then it gets worst with the track "Twact". This truly sounds like he was trying hard not only for a commercial sound but for a major club/party/twerk track. The beat is done by DNYC3 but it sounds like DJ Mustard's work (with the "ay! ay!" ad-lib and all). I mean the hook was so clubby and so not his style. The whole song actually sounds like something from YG's album. I would have rather heard it on that then this. Then the feature verse from Jinx or Short Dawg (I don't know who is who) was piss poor. This was definitely the worst song on the album. "Sapiosexual" I suppose is for the ladies where it sounds like to me he wants to make love to...her mind? At least that what he says on the hook. I don't know...sounds kinda bizarre to me. I also didn't like how Souls flow on this. It sounded too Danny Brown/Chance The Rapper-ish. I also would have liked to heard more of Jhene Aiko on this track besides her one worder in the hook. Despite it, I feel like this might grow on me down the road. Overall, while this was in no way a bad album, I'm being honest when I say this may have been the biggest disappointment of the year so far. I guess my expectations were too high for this. I give it a final grade of a B-. For TDE to continue to dominate, they all will need to achieve some kind of mainstream success. I know this. For someone like Ab-Soul, it's a little complicated due to his rhyme style and what he generally talks about. I guess sometimes things are like this expected. Rappers to step out of their element or their comfort zone sometimes to make a hit record when it may be necessary. Whether we see it as a reach or not. I guess...that's how it is these days. End. 

Final Grade: B-

CREDITS

Executive Producer

Anthony Tiffith

Herbert Stevens

Lead Artist

Herbert Stevens

Production

Corrin Roddick

Dwan Howard

Dacoury Natche

David Friley

Donte Perkins

Gabriel Stevenson

Terrace Martin

Mark Spears

Jermaine Cole

Columbus Smith

Larry Fisherman

Collaboration

Solana Rowe

Jo-Vaughn Scott

Quincey Hanley

Wasalu Jaco

Nikki Jean

William Roberts

Bryan Sledge

Supreme Williams

Donte Blacksher

Kendrick Duckworth

Jhene Chilombo

Arian Asllani

Saayid Asaad

Johnny McKenzie

RaVaughn Brown

Daniel Sewell

Malcolm McCormick

Christian Berishaj

Label

Top Dawg Entertainment

Mic's Mixtape Of The Week

Wiz Khalifa

28 Grams

Available now on Datpiff

Mic's Web Chick Of The Week

Trina Janelle

Gainesville, FL

Instagram: @_mollyandmary

Copyright 2014. Mic Navarro's Corner.

micnavarro.blogspot.com