Mike Dreams's TOP ALBUMS

“I just always want to stress that we need to remember that the known label forced records were "Words I Never Said", "The Show Goes On", and "Never Forget You", there songs in which Lupe still made into incredibly substance based records (On "Words I Never Said", he makes a controversial song about the government and the status of the world. On "The Show Goes On", he talks directly about his situation with Atlantic, as well as perseverance. On "Never Forget You", it's a beautiful track speaking about his upbringing in Chicago and serves as a memorial to his father.) The records most people are saying they do not like because it's not "classic" Lupe, and too poppy/marketable are "I Don't Wanna Care Right Now" and "Outta My Head (ft. Trey Songz), TWO SONGS that LUPE himself created. These were his original creations, on the original LASERS, because he had said already before the whole Atlantic politics started, that Lasers was going to be more of a popular record, still with great content. It was going to expand his catalog; 'cuz there's no reason Lupe shouldn't have things to go well on the radio and in clubs. He's well rounded, and you would think his real fans would remember that, and not act like he's always only been straight boom-bap, in the box hip-hop. To me, the only way people can find something wrong with this album is based on the personal preference of your taste. The songs are not BAD, but if they're not your forte, you usually equate personal dislike with poor writing and musical quality. Ultimately, if people hail his first two albums as 5 stars, or at least 4.5 (I'm thinking "5" for "Food & Liquor" and 4.5 for "The Cool"), Lasers deserves a solid 4 stars, at least in my opinion.”

“This album was certainly dope. I agree, it was ALMOST as good as "Below The Heavens". After listening to this, I have set the goal that I want to do at least ONE album with Exile someday in my career. I need to do AT LEAST one. My engineer used to intern for Exile last year and be his engineer and what not. He said they ended up doing the Fashawn album just from Exile hearing a couple tracks from him. He was like "Yeah, I wanna do a whole album with this guy!". That gives me hope!”

“"A Dreamer’s Perspective” Album Review Album: Jay-Z, The Blueprint 3 Written by Mike Dreams (Michael A. Hannah) So I’ve acquired a new rap moniker and haven’t wrote anything for a while on the journalism side of my love for music, so what better to break the proverbial ice again with one of the most anticipated hip hop albums of the year “Jay-Z’s “The Blueprint 3”. Everybody’s talking about if Jay still has it, if he’s washed up, old and should stop rapping and concerned if he can still make classics like the original “Blueprint” proved to be. Well, let’s talk about it. I must say that the intro utterly blew me away. I was able to hear these intro verses on a few live performances of the acapella. I always liked what was said and thought it was really dope. Lines such as “They keep saying Hov take it back, I‘m doing better before, why would I do that“ and “Talking about revenge while carrying his casket, all teary eyed, bout to take it to a mattress” really stuck out. These are the insightful, observant and “I scoff at em” attitude type lines that we know Jay for. It‘s like he‘s saying “Who‘s opinion really matters except for mines?” The intro was certainly Jay in his element over a production that you had no choice but to give your full attention to. One word to describe the introduction: Captivating. Now, in contrast to how you feel about “The Ruler’s Back” on BP1 based on how long you’ve been listening to it and the classic position is has, I actually really prefer this more epic approach to an intro that BP3 presented. It definitely fits with the status that Jay-Z contains in the hip hop world. The second joint we moved into was “Thank You” On my very first listen on the album, I disregarded this joint as a good song, but for some reason, on the second and third listen through, it seemed like an entirely new song and I liked it a lot. The production once again was one of those attention grabbing beats. You can blame the ambient snares with the snapback reverberation effects for the concentration-capturing attraction to it. Jay exhibited sort of a whimsical, fun vibe on the track, that was sort of reminiscent to a Lupe Fiasco track I heard a few years ago called “We Love You”. It’s not that the songs sounded similar, but just the feeling I felt from both songs I deemed to be similar. The third and fourth song we moved into on the album were of course the project’s first and second singles, “D.O.A” & “Run This Town. When you deal with reviewing a single for an album that’s been out for a while as you are talking about the album as a whole, it’s sort of hard not to be bias due to the fact that you’ve been able to get used to it through rampant airplay. Even while understanding that matter is very true, in my opinion personally, I felt these were two of the strongest records on the album. The production on both were classically gritty, but still held enough draw and demand for mainstream appeal. D.O.A was straight bars of something I’d like to dub as “braggadocios venting”. Jay spilled his dislike for the usage of the autotune tool as a gimmick within the hip hop world while reiterating that this might be the greatest hip hop record you’ve heard in a while, saving us from all the foolishness that’s been occurring in the industry as of late. “Empire State Of Mind” was one of the shining gems on the album. I wasn’t a HUGE fan of the production on the verses, but the “Love On A Two Way Street” sample was decent enough to lace this epic joint featuring the loveliness of Alicia Keys’ presence on a powerful, bravado driven, yelling-style chorus. She clearly “Eminem-ed” Jay-Z on this record with her soulful hook. Jay presented a few stand out lines such as “If Jesus is paying Lebron, I’m paying Dwayne Wade”. I guess it’s not a bad thing if the best record on your album is not necessarily because of you rap lyrics? Is it? I absolutely fell in love (PAUSE) with the production on “Real As It Gets” when it first came in. It had that “making of a classic” feel to it from the get go. Other than the incredible “Inkredibles” production, Jeezy’s introduction verse was definitely on point, as well as the inspirational style hook that we‘ve gathered as one of this trademarks. Some could say that Jeezy is the newest “D-Boy” rapper in the game that reflects the origins of Jay-Z’s music with a Southern twang and a raspy voice, so them linking up for a record together was simply bound to happen and be a success. In my opinion, this is one of the better street records that I’ve heard in a long time. “On The Next One” was one of the worst productions I’ve ever heard from Swizz Beatz or heard Jay-Z spit over. The kicks and snare instruments sounding fresh out of FL Studio 7 and was just not good at all. It’s sad, because Jay-Z’s lyrics were wittingly superb. “N*ggas want my old sh*t, buy my old album” & “No I’m not a Jonas, brother, I’m a grown-up, no I’m not a virgin, I use my Cajones.” I would have been able to stomach it better if it was just a mixtape joint. I’m not a hater, but Swizz Beatz should go to rehab after this one. #RealTalk. “Off That” is a record that certainly has to grow on you. Just like a handful of many others, when I first heard this record, I was a little disappointed for a couple reasons. #1: It’s a Timbo and Jay collab. It’s supposed to be epic, right? #2: You feature one of the hottest artists in the game right now and he doesn’t get a verse? #3: Are we still using cheap clap snares in 2009? Now this may come off as hating to many of you, but come on? Think about the past Tim & Jay collabs? This record certainly doesn’t hold a candle to “Dirt Off Your Shoulders”. But then I started thinking about what Jay said in the horribly-produced Swizz record that preceded this track and I realized, he’s on new stuff now. If we want to old Jay, go buy and listen to the old Jay. The songs swing grew on me and I can see it doing well in club settings. It still contains that uncanny Jay-Z candor and swag (we still need to find a word to replace this) that we all know him for and Drake equally presented his presence on the hook. In my opinion, it’s cool for Jay to branch out and do new things, but I still hope he brings those classic, soulful joints in the future. Let’s hope he’s not completely “Off That”. “And you say New York City!” [In Autotune]. Okay, now that we got that out of the way, “A Star Is Born” was a great record for me, because it really exhibited how Jay-Z is sort of passing the torch to these newer artists emerging into the game. I recall reading blog comments from people when they saw the track list and them being disappointed when they didn’t see the Part 2 to some classic collabs that Jay had in the past (Jay & Em, Jay & Nas, etc). For Jay-Z to be the “Best Rapper Alive”, it’s only right for him to have to be the one to really cosign these new cats and pass the torch. Regardless of anyone hating, you can’t deny that Jay-Z’s voice and opinion is one of the most powerful, if not the MOST powerful in the hip hop scene. “If you can’t respect that, your whole perspective is wack”. I thought this was a very commendable record, where Jay sort of put himself on the back burner to show appreciation to his peers who have accomplished great feats. He sort of took some of his losses with a grain of salt, (such as Eminem’s outshining verse on Renegade). Now some people will chalk this up for him trying too hard to not sound like a hater (what some people called him after D.O.A), but I say it’s sincere. Take it or leave it. The new Roc Nation signee “J.Cole” takes the song out with a pretty ill verse that showed off some of the reasons why he’s one of the next “stars” to shine in the rap game. “Venus vs. Mars” was Jay back on his super cool swag. Over what I can clearly say is one of my favorite productions on the album, Jay gets on his “Blue Magic” style flow, sort of with the lower tone and vocal swing, as he talks about the differences between him and his lady companion. Beyonce does his response vocals on the hook. All in all, I felt this was a fun track that Jay executed well. “Already Home” is the next record we embark on this journey. Kanye’s production was decent, and Kid Cudi’s hook grew on me, though I felt the engineering effects on it could have been a little better. But aside from that, the record was decent. Jay-Z had an exciting flow on it and there wasn’t much about it to hate on. (Even if I wanted to) “Hate” was a record that really caught me off guard. The production was quite weird and some of the lines were very elementary “I’m never sprung, but I spring-er, JERRY”. (Really Kanye? Is this what we are on? LOL.) It’s sort of a record you might HATE on the first listen, and then when you listen again, you will change your mind. This is what happened to me. You certainly can’t say the production sounds like anything out there right now. You will either love or hate the production. Jay shined creatively on this one. It also sounds like somebody’s been listening to the “UKNOWBIGSEAN” mixtape recently. He should have featured on this track in opposition to Kanye (Who was already featured on “Run This Town“ with a verse). I see J. Cole, Kid Cudi & Drake getting shine on the album. What’s good with Big Sean not getting his? “Reminder” was another low-grade production from Timberland and the girl signing the hook sounded like someone punched Rihanna in the stomach (No Chris Brown) and told her to sing the hook through her nose, and then they pitch shifted her vocals to be higher. Other than those obvious horrible things, Jay-Z’s lyrics was on point. “Tell them ordinary Joes Budden (button) up”. Somebody pray for Timbaland. While “So Ambitious” is certainly not “Allure”, it was a decent “diet” version of it. You can’t go wrong with a Pharrell/Jay-Z collab, (unlike some other producers who seem to be too busy bringing “Sexy Back” to produce hip hop music). It wasn’t a STANDOUT track, but certainly better than a couple of the previous joints. We finally wrap up the 3rd Installment of the Blueprint Trilogy with a classic sounding “Young Forever” which samples a song with the reverse title. Jay acquires that European installment of G.O.O.D Music that lives in the 80s and travels through time to do music now, for the song’s vocals and hooks. (By the way, Mr. Hudson sounding like he’s still in the 80s is not a bad thing at all. That era was timeless). Kanye recruited his “Coldest Winter” snare for this joint. I would have preferred a different snare but I guess that’s just me. (I’m a snare critic…I know. LOL.) It was a decent joint to take us out with. It reminded me of that “History” track Jay leaked a while back, but this version was just executed incredibly better. I throw my Roc sign in the air for this one. (Lighters and cell phones are allowed to go up as well.) Overall, I felt the album was decent. Some people were throwing the baby out with the bath water and saying it was a horrible album. I indeed think that there were some filler tracks that could have been eliminated, but it had it’s standout moments to shine. It was still Jay-Z and it was still better than most of the hip hop music that has come out and will come out this year. I think the problem is that we are spoiled now. Hip Hop fans have unreal expectations and closed mines to artists’ branching out and doing different things. These type of things are just what fans will just have to deal with on a personal level. Don’t criticize an artist for doing something different. Criticize yourself for being a closed minded aficionado. As for Jay-Z, by the looks of this album, he still knows how to craft a “Blueprint” for success. And that was just my two cents…and then some. Rating: 3.5/5 stars. -Mike Dreams (Michael Hannah) http://www.mikedreamsmusic.com Mikedreamsmusic@gmail.com AIM: mikedreamsmusic”

“My Thoughts After Listening: I thought this joint was a really solid tape! I’ve been rocking with XV every since I was introduced to his music on his DJBOOTH.NET Series. I was definitely feeling this. I liked the future style tracks, BUT, what really actually appealed to me was his more introspective and at times, SOULFUL joints opposed to the more new age joints. That’s just my forte. “In Due Time” contained the most powerful message on the project and is overall my favorite track. The only joints I rocked with were “Awesome”, “Come back Down”, “Life Vs. Life, “Now Look”, “Fall Out The Sky, Me, You (THE UPTOWN FREESTYLE verse! LOL), The Rabit Hole, Undenianble and Bad News (shots at Mickey? Wonder what completely happened with that sitaution). Overall, I thought it was a great tape. Much props XV. I hope we can connect for a collab sometime soon if you are available. KEEP SUPPORTING THE NEW SCHOOL Y’ALL!”

“Sidebar: I realize since I've been working on my album and my music heavily, I haven't got a chance to go in depth on album and music reviews lately. I really should on this one, but I guess I will keep it short this time around...lol First of all, I wholeheartedly cosign Nathan's quote: "What’s strange is that for all the album’s undeniable quality, I’m oddly unmoved by the album as a whole. There’s a difference between appreciating music and loving music, and while Chrisette Michele makes me appreciate her new album like crazy, I just didn’t fall in love with Epiphany" Even though I've only listened to the album once (it also happened to be in the background while I was working on something else as well), I sensed that the album was as lovely as the visual of Chrisette herself. I feel in love with this girl back in 2006 as well on Nas's "CAN"T FORGET ABOUT YOU" video. Her first album was great, and so was this one...it just wasn't something I would consider a classic. Just like my first go round, it works perfectly like it did...a great album to play in the background while doing something...chillin, working, writing, thinking or relaxing. It's also something about those type of albums that are really dope which sort of put them in a timeless category of their own anyways. Therefore, I give this loveliness 5 stars in her own lane, but 4.5 compared to the standards of an R&B classic.”

“This makes my list for top 10 albums of the year 2008!”

“Young Son’s Review of T.I.’s “Paper Trail By Michael Hannah (a.k.a Young Son) Introduction: Paper Trail is the sixth studio album by rapper T.I. released on September 30, 2008. Let’s get into the review. 1. 56 Bars (Intro) There was no slow, dramatic style intro. T.I.P and Toomp just jumped right in it. The beat came right in with the usual swagger and down south bounce that T.I. usually laces. I personally would have preferred a more epic intro to back up the hype of the CD. But T.I. didn’t disappoint though. The wordplay was highly impressive and T.I. sounded confident as ever. The subject matter? Basically telling the listeners we don’t need the wack rappers. You can hear the advanced word usage and vocabulary in this joint and can automatically can say that T.I on the pen is the illest you’ve heard from here. 5/5 stars for the energetic intro. 2. I’m Illy I’m Illy didn’t hesitant to come right in at all. It almost was like a continuance of the intro. The production followed a “Let the Beat Build” format. The King sounded just as confident and continued the extended advanced wordplay with an overabundance of similes in the style of playing with proper nouns of names and titles. I will say that I felt the hook could have used some work. It seemed real simple and didn’t exhibit the same focus that was given to the verses. It also made T.I sounds a tad bit like V.I.C (LOL….Silly….Illy….sounds the same). I give this song 3/5 stars. 3. Ready for Whatever I really liked the introduction to the production. The electric guitar set it off. I felt the drum kit used could have been a tad more epic, with some harder kicks and snare hits. T.I gets introspective and personal on this joint. It’s definitely not single material, but a great album track. This type of personal subject matter really gives you a chance to look into the rapper’s life and it allows him to become tangible. Listeners are able to really understand the man and the gun charge situation more. Great respect points for T.I on this joint. The tones are motivational and real. His commentary at the end of the song definitely cosigned this idea. 5/5 stars for this joint from T.I.P. 4. On Top of The World T.I & Ludacris together finally! I know you remembered them beefing backing in the day. It now seems that the two rappers have grown up and connected for a collaboration of supposed epic proportions. The production wasn’t super impressive with me. I felt it sounded pretty generic and didn’t capture my attention well. T.I’s verse was sort of boring and easily forgettable. Ludacris’ delivery alone NEVER allows him to be forgettable. He definitely outshines the album artists’ effort on this track, with plenty of energy and flow change-ups throughout. The hook was slightly annoying. It is semi-catchy though, but I felt could have used work. 5. Live Your Life (feat. Rihanna) The track began with the presentation of an interesting sample used for the beat. Rihanna served the hook very nicely and the added background exclamations really set it off. It definitely had an “anthem” feel to it. The production was definitely catchy and had me bobbing my head back and forth. The beat and flow reminded me of a faster paced version of T.I’s style on his debut single “No Matter What”. T.I. basically discussed that his previous promotion of the “gangsta” life deserved a break. He’s grown up as a person and has began to value life more. He broke down what hip hop was all about and downplayed how most artists are on childish games involving beef and the glorification of material gain. Overall, the song is classic status. 5/5 stars for this joint. 6. Whatever You Like I heard this single and viewed the video for the track about 3 weeks before the album’s release. The track overall was great and it showed T.I. in a different light. I felt he hadn’t didn’t do a track like this since “Why You Wanna” from the KING album. This track seemed less annoying than that track though. T.I.’s sing-song style resembled that of Nelly’s previous weeks. The production was very eclectic. I didn’t like the hook in it’s entirety as much as the “Whatever You Like” part…lol. The verses didn’t go too in depth. They definitely kept a melodic flow and catchy approached. I will say you will probably find yourself listening subconsciously and being trapped in the bounce of the track without actually listening in depth to the words. If that’s not a definite recipe for a successful single in this age’s music industry, I don’t know what is. Overall, though a great song, I only give this song 3/5 stars for it’s performance. I feel T.I. and/or his label played it safe with this record and it lacked substance and subject matter. 7. No Matter What One of the hottest singles I’ve ever heard released from T.I ever. As a matter of fact, one of the hottest songs from his plethora of discography ever. It definitely makes the top 5. This song revealed nothing but confident, introspective personal rhymes about T.I’s legal issues, his response to the criticism and his triumph over trial (pun intended). The hook served straightforward inspirational lines stating “I ain’t dead, I ain’t done”, letting the world know that Mr. Clifford Joseph Harris, Jr. is far from finished. It took shots at whoever has been trying to throw salt (Shawty Lo, blog sites, media) that people always want to take shots at someone when they are down. He’s now’s back and all their plans are ruined. As the drum kit fades out in the last four bars of the third verse, the platinum rapper states “Wonder how I face years and I’m still chillin’? Easy, let go and let god deal wit it.” I couldn’t have said it better. 8. My Life, Your Entertainment (featuring Usher) This song features one of Usher’s very low list of hook feature appearances. T.I. continues to spit personally introspective rhymes about his life and what he’s went through as a star. As the title states, the fans watch it like a show, but it’s his real life. Overall, this track didn’t move me to well. It easily became boring as it continued and Usher’s solo part could have completely been removed because he really brought the songs energy down. Drumma Boy’s production was the highlight of this track. Overall, I give it 3/5 stars for the effort, but definitely not a standout track on the album in my opinion. 9. Porn Star Lil C’ served up some really eclectic styled production on this track. It sounded like a well-flipped jazz sample with some rim shots and simple kicks and snares added and the signature transitional sound known from Young Dro’s “Shoulder Lean”. T.I. serves up the track with some commentary to a beautiful woman he is wooing at the club for a late night rendezvous. The title definitely is appropriate for the inappropriate for young ears, explicit subject matter. The chorus was served up by an unknown, sultry tenor vocalist. Overall, the track was decent, but not a standout track for me. I’m sure it will be in heavy rotation for the ladies though. 3/5 stars. 10. Swing Ya Rag Bring Em” Out Pt. 2 maybe? Swizz Beats served up the catchy and epic production as usual. The hook was highly catchy and the track had it’s capital S-W-agger up. The swing back and forth production on the verses makes for a great street anthem to bang in the speakers. T.I. gets his cocky swagger flow on while name-dropping high priced and well known brand names from Gucci or Louie rags. This is definitely a standout track on the album production and lyrically/delivery wise. I would probably say one of the best tracks on the album period. 5/5 stars for this Swizzy/T.I.P connection. 11. What’s Up, What’s Happening I heard this song previous to the release. The production in my opinion is absolutely nuts! Drumma Boy really goes in on this with an original digital composition of hi-hats, hard hitting kicks and high energy tempo transitions and crescendos. T.I. gets his confident, aggressive flow on as he talks directly to his “haters”, (more likely an extended diss response to Shawty Lo, an artist who has been the most vocal of his criticism of the rapper). On the second verse, he breaks down his accomplishments in the game and how he still keeps his status in the streets and where he came from. Confirmation of it’s direction towards Shawty Lo are lines such as “Tell em take ya best shot gon get yourself hot, cuz I yelled "Bankhead" and you felt left out, I ain't mention yo’ name that's what all this bout?!”, as well as a satirical reenactment of a possible conversation that went down between Shawty Lo and other “hater” comrades of their plans to try to take T.I.’s career out when he was under fire for his gun charge. “"I really hate his a** I don't like him neither" "We'll do a song together maybe then we could beat him" "Somehow he must be stopped, something must be done" "If we can't knock him off lets just try him when he get caught with guns" “Then he'll be really done, and we really won" "Any more ideas? Suggestions anyone?" "How about we stay up all night? On the blog site" "Spread vicious lies and nasty rumors we could all write" Overall, I felt it was a very solid song and worthy of classic status. 5/5 stars for this joint. 12. Every Chance I Get DJ Toomp served as a usual signature sounding “trill” sounding epic production. I felt the hook could have used work. I really wasn’t feeling T.I’s lyrics on the hook. I don’t know…I just didn’t personally like the subject matter. His lyrics were decent on this and it certainly didn’t lack clever wordplay. It’s a tad cockier and a little more on the obnoxious side than the previous tracks. Overall, I give this joint 3/5 stars. The beat bangs though. It certainly bangs. He definitely snapped on [Shawty Lo] hard with his angry commentary at the end of the song. LOL . Nice T.I. 13. Swagger Like Us (featuring Kanye West, Jay-Z, Lil Wayne & MIA [through the sample] We’ve heard enough of this for the past few weeks! LOL. Definitely an all star lineup. Kanye's production is decent. I wouldn't say it's his best, just like that "Jockin Jay-Z". It really wasn't moving me. The track sort of became boring after a while. Kanye's verse was pretty decent, though I did expect more for Ye, and the voice box needs to go. Jay's verse was decent, but it wasn’t classic Jay. I was a little disappointed with his effort. Lil Wayne did pretty straight. His verse wasn't too bad. But T.I smashed the track. In my opinion he had the best verse. That's how it should be on your own song, but with all those other legends, that's not how it should be. But that's how it panned out. This song is decent though. It's a definite banger. I can’t comment if it’s a classic or not yet. It needs a little more time to marinate. My favorite rapper Kanye seems to be dropping in illness to me, and I am a bit concerned with that. I'm hoping to hear some better stuff in the future. I will say though, this is a standout track on the album! Probably the second best on here. What T.I. said was straight truth: these verses on this album were definitely autobiographical. 14. Slide Show (featuring John Legend) I’m loving the production from Blac Elvis. This is exactly what I expected from a T.I./John Legend collaboration. You have a classic John Legend vibe and T.I.’s introspective, soulful style flow with a twist of southern slur. I really hope this becomes a single. This is some true and absolutely real talk from T.I.P. The very soulful ballad sums up what true talent T.I has as an artist, one of the greatest of our times. 5/5 Stars. This is a definite classic. I wished for a third verse from T.I. It seemed like the track ended too quickly. That really leads me to believe it may be a single though and it’s short for radio purposes. My favorite passage was: As a juvenile, caught cases so fluently Look at my life and learn from it, don’t do it If I only knew back then what I know now How much better life would’ve been if I’d have slowed down Maybe I’d have been Kanye Instead of seeing gunplay, but God got a plan How I understand one day But one day of life like a snapshot taken Just believe you can make it Have faith Be patient That definitely summed up T.I’s aim for this album which was to move away from the negative connotations of his image and begin to be anti-detrimental to his fans and listeners and society as a whole. He asks the generation to observe his life and learn from it, not glorify it. You Ain’t Missing Nothing ‘ T.I. follows up with another slow ballad style joint. Drumma Boy showed an entirely style with the jazzy, melodic backdrop. T.I dropped some heartfelt rhymes about some people he’s lost and a good message to people he knows behind bars. This is definite classic status. A very sincere track for T.I’s peoples. Dead and Gone Justin Timberlake served up the track nicely. Production was great! T.I decided to end the album with a third slower, ballad style track. But he also returned to a fast paced “My Love” style flow, with a taste of Timbo style on the production. Definite autobiographical lyrics about the death of the old T.I. and the rebirth of the new T.I. Also, in my opinion, classic track. I hope it becomes a single as well. 5/5 Stars. Overall, this was the greatest T.I. album I’ve ever heard and definitely one of the best from this year (Yes…way better than L.A.X in my opinion). I feel this puts T.I. up into primetime caliber, like the status of a Kanye West or Jay-Z, for the most part. He’s found himself as a person and taken responsibility, and above all else, he’s presented himself absolutely real. He opened his life up and spilled it into a notebook and recited it for us. You can’t argue with that. Not one bit! Not at all! I’m definitely not mad at the brother. Since EVERY track wasn’t a classic, I’ll have to give an overall rating of 4/5 stars, instead of perfection status, but it’s definitely close. I’d say it’s caught in that position between an above average album and a hip hop classic…wherever that place is…that’s where the album lies. So much so, I might even have to throw in an extra .5. Yeah. 4.5 stars for “Paper Trail.”. The last three tracks of the album were the kicker. Awesome composition from one of the greatest of our time in hip hop. I look forward to see what the future brings for T.I. Hope you enjoyed as well. That’s just my two cents…and then some. Peace Easy -Young Son (Michael Hannah) Twin Cities Hip Hop Artist Head Rep for: Influential Melodiez™: An Unsigned Independent Collective The Nu Twin Cities Brand™ Website: http://www.youngsonmusic.com Email: youngsonmusic@gmail.com Blog: http://theyoungsonblog.info AOL Instant Messenger: youngson2k”

“Awesome debut. Chrisette is my baby!”

“Common's best album behind "BE"!”

“Here goes the review: GOOD MORNING (INTRO) This track really sets the tone for the album. It is one of those intros where you are supposed to do on your third album. You know people have been fiendin’ for your new material and you setting the tone. The beat has everything to do with the feeling of the song also, as well as lyrics. This all speaks to the listener with a soul tie. Great intro to the album. Favorite line: “You graduate when you make it up outta the streets” CHAMPION YES I DID! This track continues the energy as the CD begins. Got the Kanye swagga written all over it. Hot dance joint too. I expect this to be a single somewhere down the road. This a feel good track and a great blend of music and flow. It will definitely keep a listener interested. Love the references to Lauryn Hill, cuz you know we all be thinking bout how she been acting lately. I don’t know who’s on the song singing at the end, by ironically, it sounds a tad like Lauryn Hill….so I’m wondering if it is, consensual or Kanye doing what he wants to do and he’ll take the consequences when they come. It will be interesting when someone of significance asks this question. It may also be Connie Mitchell, who did most of the background vocals on the album, including the most notable “Oh, oh, oh, oh ,oh” from “Can’t Tell Me Nothing”. Favorite: We was sorta like Will Smith and his son, in the movie, I ain’t talking bout the rich ones STRONGER We been hearing it, and hearing as part of the whole CD makes it even better. It’s a breath of fresh air forreal. Kanye West stepped up the game. Daft Punk all over the sample and production, and this is just another song that goes on the list of most memorable hip hop songs and epic pop songs period (Even though Kanye claims he‘s through with the pop stuff…lol). No doubt. The lyrical content I will say was a bit mediocre for Kanye’s standard, but his swag and the song as a whole makes up for it. This is like a “say anything” dance track, which clearly is a much better “say anything” dance track than most “say anything” dance tracks were hear on the radio. So I guess we can just call this “Crank Dat K-West”! LOL. The long extended version just is so ill, cuz it will have you almost crashing your car or getting crazy looks while dancing to it while stuck in traffic. High energy and intelligent lyrics make a song super ill. No doubt. Favorite Line: “You know how long I been on ya? Since Prince was on Apollonia” I WONDER When the sample comes in, I get super excited. A nice chill vibe to it, and it definitely is setting a tone. When Kanye comes in spitting, you realize it’s a different type of track, and it’s basically a vibe record, and it’s ill. There is kind of like a dream type feeling to it. The drums and snares are mad ill. This is the first song on the album that reminds me of the production Ye did on Common’s “Finding Forever”. It’s definitely an addictive song and the entire thing runs smoothly. I equate this with a track like Celebration or something on Late Registration. This comparison is not because of a resemblance in sound, but just how the track is presented and the flow, etc. Hot track. A quality non-single track that is not at all filler. Favorite Line: “Do you even remember what the issue is? You just trying to find where the tissue is…you can still be who you wish you is. It ain’t happen yet, and that’s what intuition is.” GOOD LIFE FEEL GOOD MUSIC! The “PYT” sample is very evident when the song first come on. And no doubt, I think this is the best song T.Pain has ever touched. He didn’t even use as much of the fake voice effect. This definitely is a great single and should get people on that has been hating or not even feeling Kanye. Plus, can 50 Cent say anymore stuff about Kanye….I don’t think so. Not only did Kanye never come back at 50, but in this song, twice he references to 50 in a influential way. Come on now. Wordplay is definitely ill. This song Kanye sounds the most comfortable on. The synth is ridiculous. That was the doing of Toomp I know. The song is definitely mad ill. The screwed parts is something new for Ye too. The whole track is definitely the best option for the post-CD release single. I must say to that the video for this is super innovative. It’s like the hip hop version of Justice’s “D.A.N.C.E” video. As far as that concept, I think when Ye did it, it was just yelling “You Make Me Better!”. LOL. Ironically, Ne-Yo does background vocals on this song as well. Interesting. Favorite Line: Yo, it’s got to be cuz I’m seasoned, haters give me them salty looks, Lowry’s! CAN’T TELL ME NOTHING The song where the hood couldn’t hate on. It was for us. Jeezy in the background and you addicted. “I’m on TV talking like it’s just you and me.” I’m sure he’s referencing to the Bush/Katrina controversy. Basically, this whole song is Kanye being real. Real talk. Truthfully. Nobody does this but him. He being true on a track. We can see directly into his life and he’s laying it out. The track is definitely ill, and Connie’s vocals in the background definitely make the track. Toomp snapped hardest on this track than all the tracks he helped produce on the album. Favorite Line: Don’t ever fix your lips like collagen, and say something where you gon end up apologizing (I like how Kanye didn’t care to even try to pronounce the “z” in that word. LOL) BARRY BONDS When I first heard this track, I thought it was pretty wack. Now it’s grew on me. It’s not a super epic track or nothing, but it’s still better than most music out. Is it filler…possibly. But I’d say it’s a decent track, but the wackest Lil Wayne verse I’ve ever heard “I shall hate them, whoops I mean have them”, and he said this twice. C’mon now. If you have a track with Kanye and Lil Wayne, you except epic status. But as you listen more and more, you feel it and can listen to it all day. The swagga factor is definitely up for both emcees and this makes up for any lacking that track has in other spots in m opinion. This wasn’t that, but it’s a track that will grow on you until Lil Wayne’s verse. LOL Favorite Line: But my head so big, you can’t sit behind me DRUNK AND HOT GIRLS Possibly my least favorite track on the CD. I wasn’t feeling it at first. Though in other reviews I see it received critical acclaim, I actually liked the Mos Def singing. Once again, it was something different. The sample was definitely pretty ill though. It’s something you can vibe with it. I’m sure this will be a hit overseas, but America fans won’t get on this as much as the other songs from the album. This is kinda like a eclectic track. Some cats will think Kanye was tripping on this one. I felt he stepped out on a limb with this one that “they” might not feel, but I’m going to do it anyways. Also, for some reason the girl he’s talking about sounds like Amy Winehouse. LOL. Favorite Line: All of Mos Def’s singing lyrics FLASHING LIGHTS One of the hottest songs on here. Anything Dwele touches is usually gold. This has that grown and sexy vibe to it, so I don’t expect many people my age to feel it. I do though. Has a Timbaland (new style) to it. The synth is that deal. This is like futuristic hip hop. People will definitely hate on this track. The hook is just addictive. The blend is so ill. This would be a joint you’d play on the way or in the club on a Sat. night club. This should be a single too. I hope so. Dwele, Dwele, Dwele! Favorite Line: Hey Mona Lisa, come home, you know you can’t Rome without Caesar. EVERYTHING I AM Here We Go Again! Back to the soul basics that we know Kanye for. He was being really real on this track. Addressing actual things that went on and what cats were saying. Reminded me of the “Dumb It Down’ track Lupe Fiasco just released. It was addressing some of the statements that you’d heard actual people around you say or express about him as an artist. This was a good dose of reality and reference to the real people and fans. Everything I’m Not made me everything I am. All about individualism. This was like a song to go along with the statement on the SMACK DVD responding to Beanie Siegel about when you play that tough guy role, it’s a lot of different stuff you cannot do in the game. Being so real on this, talking about how cats love to talk about killing in music and we feed off it, but when it happens in real life, it’s nothing to get hype about. Feel me? Feel him? THIS IS REAL HIP HOP! Beanie Siegel better recognize. Favorite Line: Killing’s some wack sh*t, oh I forgot, ’cept for when niggas is rapping! THE GLORY This beat is back to the basics “College Dropout” Kanye West. Welcome back. It’s was a nice reminder. Another real song. Something Kanye would just say to you in a conversation. LOL. The wordplay is very nice. He ain’t trying to hide the fact he is big headed and arrogant. Everybody who trying to hate and act like they don’t like em know they do, and that’s what he’s saying here. LOL. It’s actually quite funny. Favorite Quote: It’s easy, the hood love to listen to Jeezy and Weezy, and oh yeah, Yeezy! HOMECOMING (FEAT. CHRIS MARTIN) First off, if I’d compare the Kanye/Chris Martin Collab with the Jay/Chris Martin collab, BEACH CHAIR takes the cake. But that’s not even the issue right now. I didn’t like this song. Or let me rephrase that. It would have been one of my favorites, but when I heard the verses, it automatically lost points. Maybe it is because I have a bias against it before Kanye’s lyrics are just recycled from a very great, soulful track called “Home” featuring John Legend that showed up on one of his mixtapes about three or four years ago that was so much better than this track. So off top, I wasn’t feeling this one. Chris Martin’s part was pretty good, and if Ye had of spit some of his new lyrics to this, I’m sure it would have been a ill vibe. But simply because he used some recycled lyrics from a song that was heavily rotated in the mixtape circuit, I just wasn’t feeling it…as much. Still liked it and Kanye West is still that deal. So for many, this will be an instant favorite, and for those who know the original joint, this will just have to grow on you and you’ll learn to love it as much as the first time listeners. BIG BROTHER Big Brother was the realest track on the CD. I love how the story is told and presented and I really feel this was the best ending to an album. We get to be taken back 7 years or so and see into the journey of Kanye West becoming part of Rocafella and “Getting Out of His Dreams” and take the path and journey of the real life stuff that went on. He laid it all out on the table, real, for everyone to see and hear. There was no clichés involved. It was a track where he spilt his heart out. I felt it was really good because we were able to find out some behind the scenes information about some of the events going on during certain times in their career that we didn’t even know about. I was personally interested in hearing how Jay was first not embracing Kanye as a rapper and other things like that. How he summed it up, showing much respect in a dedication track was just classic and this will go down in history as an epic hip hop song period. Arguably the best song from Kanye West ever. The DJ Toomp production was nuts mania and this was one of the main reasons the song was so epic sounding and memorable. FAVORITE LINE: When I kick a flow, it was like pick and roll, cuz even if he give me the rocs, it's give and go Let me hear y’all opinions! Holla back http://www.myspace.com/michaelhannah http://www.myspace.com/youngsonmusic (That’s my music page, so definitely peep that too!)”

“Lupe Fiasco’s “The Cool” Album Review By Michael Alexander Hannah a.k.a Young Son OVERALL: This is the album of the year, hands down. 5 stars in my opinion. One thing I can say is Lupe is definitely a front runner for moving hip hop to a higher dimension within the music world. One thing that was favorite to me about this composition was the multiple songs that were hip hop integrated with other genres including grunge, alt. rock and pop, in the same types of ways songs such as Beach Chair, Heard Em’ Say or The Instrumental has done. Crossover success in a sincere fashion. 1. Baba Says Cool for Thought This was a great spoken word. Didn’t move me as much as the intro from “Food and Liquor” but it was definitely on point Favorite Line: Check Your Ingredients before you overdose on the cool 2. Free Chilly Lovely dedication snippet for Lupe’s partner serving the long sentence. Sarah Green and Gemstones blend very well. Favorite Line: The entire track 3. Go Go Gadget Flow NOW! This is what hip hop is about. Anybody still oblivious to the fact that Lupe is a sick lyricist and deliverer will be quiet when they hear this. This track has an “up” swagga on it and kind of reminds me of some of the energy tracks he’s done on mixtapes, but never on an album. The lyricism is on point and the blend of bounce and pace makes this a simply off the chain punchline hype track. The production of the tracks is mad ill might I add. Also, if you are already a fan, you can identify the “M-A-D-I-S-O-N” reference from the mixtape track “Don’t Get It Twisted” from the “Fahrenheit 1/15: Part 2: Revenge of the Nerds” Mixtape Favorite Line: From the M-A...D-I to the S to the O-N Po'in, to getcha open Move like a n*gag’s supposed to get the dough It'll go with the flow that I'm holdin' 4. The Coolest Now we start the story. We heard the song on the earlier leak, and this reconfirms the greatness of the track. Classic Lupe Fiasco. This sets the tone and sums of the rest of the story, and for fans of “F&L” begin to understand more of the background info from the epic track “The Cool”. Favorite Lines: My new lady gave me a Mercedes and A necklace with a solid gold key Like the starter of a car The opener of a door Or two pounds of raw & And pray to god that the floods subside, cause you gon' need a sub 'till he does reply. And not one of Jared's, you think it's all arid, and everything’s irey, a null supply 5. Superstar (feat. Matthew Santos) The single…we have already grown to love it. Tyte to see how it fits in the story. The chorus is mad catchy and the epic feel to the track makes this song have a mass appeal to anyone. I like how it a double reference to Lupe himself and then to the story of Michael Young History. With Soundtrakk on his second time producing the first single from Lupe, this definitely lays right up there nearly equal with the classic feel and excitement “Kick Push” gave true hip hop fans. You’d be surprised how many different people the song who in any other part of life would be a different opposite. Favorite Line: Though I need a holiday like lady who sung blue 6. Paris Tokyo This is so old school! Sickery! And sickery is not even a word! This is like some “A Tribe Called Quest” and “Common’s “Resurrection” feel music. The production from the not widely known producer, Alex Kresovich is definitely gold. I love how these productions are from some unknown catz that Lupe is helping put on the map. Definitely coulda been a hit from the 1990s. The lyricism definitely compliments the eclectic flow style nicely. All the heads should be on this, no doubt. No hate on this track. Singing vocals ain’t bad either, for Lupe to be a rapper. This is supposed to be the next single, and it’s definitely going to get people’s attention. I’m definitely hoping to hear a remix of this track with maybe Mos Def and Q-Tip on it. That would be sick. Favorite Line: I ready to Walk It Out like Unk in my John Lennon chucks And Wash the rain (rein) from my dear like Dasher 7. Hi-Definition (feat. Snoop Dogg and Pooh Bear) This song is has a funky retro feel. Snoop highlights it nicely for that fact along. The singing vocals were strong and accompanied the track well. Lupe’s lyricism definitely doesn’t lack this time around with lines such as “My other hand throwing "we" without the E up". Lupe is definitely holding it down for his peoples’, as he references them multiple times. Snoop was coo on the verse spit. A little more intelligent than some of his past stuff. Favorite Line: I’ve been around the world like the gnome (and for you slow ones, that’s a reference to the Visa Card commercial with the pics of the garden gnome all over the world.) 8. Gold Watch This track was the first track on the CD so far I felt was sort of mediocre, as if it should of made a mixtape or something. The flow and stuff was cool. The beat was interesting do to the sample, but it felt mad simple. But a average Lupe track usually is better some of most other rappers’ is best track, so this is definitely cool. Just another part of the story he’s telling, and I equate it with a calm time in a movie or something, like towards the middle of it. Definitely a riding track too, might I add. GIVE THE DRUMMER SOME! Favorite Line: I am American mentally with Japanese tendencies 9. Hip Hop Saved My Life This gives a warm feel to the album. Not the same flow at all, but it kind of reminded me of the feel I got from Lupe’s mixtape track “Glory”. Man, Lupe knows what he’s doing and it’s like in the mind of a lot of these hip hop heads out here. Everybody got the same story too, and you can see these words he’s saying happening right in real life in front of you. It’s crazy, cuz like, I bet you even know many homies who are just like this. Ill right? Yes. Of course. It’s Mr. Wasalu Jaco. This is a nice scenic hood soundtrack type song. Nikki Jean (from MINNESOTA might I add) accompanies the track very nicely. Not too much, not too little, just enough to give the track a whimsy, wholesome feel. Maybe rappers will start talking about real stuff now. Let’s get it! Favorite Line: Something, something, something, STACK THAT CHEESE (describing stereotypical hip hop music choruses) 10. Intruder Alert I liked this song a lot. Probably one of my favorites from the album. The piano was highly melodic and gave a nice dramatic setting for a song with a serious topic like the lyrics Lupe is rapping. A great story telling type of joint, telling multiple stories verse by verse. The content is very serious, especially the first verse which clearly is about rape, but as a different kind, through deception, false comfort level and interior motives. It’s easy to tell Mike Shinoda (Fort Minor) but together this track, cuz it kept a type of sound of most of his joints. And is it just me, or does the delivery remind you of Eminem? Sort of does….a remix with him for this joint would be dope. The sweet and syrupy vocals from Sarah Green were lovely. The male backgrounds actually sound like someone from Linkin Park. All together awesome song, sort of equivalent to “He Say She Say” on the last LP Favorite Line: Before long, she was cool with giving hugs to him 11. Streets on Fire The introduction to this definitely catches your attention and the whole tone is set for the track . I love it! The story telling scene is set. This is the track where I was reminded that Lupe said this album would have a dark feel. The tempo and pace of the flow is mesmerizing, as well as the chorus vocals. This goes into a category of songs like the original Kick Push II beat that was leaked last year before “F&L” dropped, the one that Jlack produced. Loving the rock feeling of the hook and music too. Just like the Hello/Good bye track, it reminds you of some early 90s Grunge or Alternative Rock. I already loved Fall Out Boy, and Patrick Stump just adds to this track as he steps behind the boards for this one. Still wondering who that vocalist on the hook is. Hmmm…. Favorite Line: The entire chorus 12. Little Weapon feat. Bishop G and Nikki Jean SAMPLING FROM PREVIOUS MIXTAPES HE’S DROPPED! HOTNESS! Once again, I had forgot that Lupe has said things would tie in to some of his mixtape tracks. This is the level of out of this world music man. No doubt. Continuing the theme of the mixtape track “Kids with Guns” from Fahrenheit 1/15: Part 3: A Rhyming Ape, the Lupe Remixes of the Gorilla’s “Demon Days”. Explaining the wiles of a child solider from it’s point of view. The percussion was very well put together here. Minnesota vocalist “Nikki Jean” put it down again. Bishop G is a spitter! FNF up baby. Lupe ain’t the only one with the swag and skills. He trades over talking about somewhat of the same topic, except from the standpoint of young videogame players of war and kill games. Favorite Line: Just five more dogs, then we can get a soccer ball, that’s what my commander say. 13. Gotta Eat Around this time, you figure out this whole CD is so much different from Lupe’s last album. Or maybe you had already figured that out. The story continues and it’s a chill twang. And Lupe is a foo for the comic book style reference at the end. LOL Favorite Line: …bacon wouldn’t take him, had the pigs on the payroll 14. Dumb It Down The lyricism is very smarted up. LOL. Not much more to say about this one. We know the track. A lot of punchline verses to basically tell you that he doesn’t dumb down lyrics, even though the hood people are saying they ain’t feeling it. The first verse seems to describe the fact that Lupe has mainstream appeal while keeping it true to the consciousness of the music (so trill and so sincere, yeah, I’m both them there) PIMP C THE WINGS ON AN UNDERGROUND KING-R.I.P PIMP C Favorite Line: The windshield is minstrel 15. Hello/Goodbye This has a Kurt Cobain feel to it, no doubt. Or, my bad, Nirvana. Funny too when you realize it’s Lupe is on the vocals singing. A whole different style. Sick to me, but that’s just my opinions. Definitely not the stereotypical hip hop song and some might be definitely criticized as not a hip hop songs. But hey, who cares about all that. This is genius art. The raunchy and raw feeling of the song is contributed to it by the fact that the rap vocals are muffled a bit and highly equalized, sort of a la Kanye West’s chorus on “Two Words” from College Dropout. This is basically a rock song and a great addition to the feeling of the entire spectrum of the story. A true eclectic piece that highly stands out in the CD. Of course, he will lose hood points for this, but once again, who cares about the average wannabe thug who’s favorite rapper is probably Lil Boosie or Lil Wayne. One of those “lil” name. Nothing “lil” bout this track though. Epic freshness right here. Should make it’s way to the rock charts. No doubt. This is one of the coldest joints ever. Maybe me go listen to Nirvana after listening to it. Favorite Line: All the chorus lyrics and the delivery of it 16. The Die (feat. GemStones) Nice dark synth middle tempo track. Continuance of the story to sum it up. GemStones style highly compliments this, with his Twista-esqe flow pattern. The “We On” trade-off style was a nice touch too, trading ideas of perspective, most likely like the consecutive thoughts of the main character at the same time, like the two things sitting on your shoulders. This is around the time you figure out this album is an instant classic that will be remembered forever! Song stops, and what do you hear in the interlude part (if you listen closely, it’s the original song “The Cool” from “F&L” on the radio). Ending was definitely a sick one. You could definitely see this as a movie and everything. Great track to sum it all up as we come back to where we started, the death and post death times of Michael Young History. Favorite Line: You got a lot of money, and I ain’t trying to be funny, but they said where you going you ain’t even gon need it 17. Put You Up On Game Introduction here is very weird and uncomfortable. Horror-core sounding is the first thought that popped in my mind. I already knew what the topic of it when it came in. The travel to hell of the main character. Predictable, but still eerie I might say. The track really is eye opening, basically summing up what society thinks is “Cool” leads to Satan, for it is evil. Crazy huh? Maybe so, but oh so true and a good lesson. Favorite Line: All the lyricism here was a great picture of the ending fate of Michael Cool Young History 18. Fighters (feat. Matthew Santos) Shaking off the strange, eerie evil feeling of the previous track, this patches up your imbalance with some conscious lyricism and knowledge directly from Lupe and Matt. Family references all through this and shows Lupe’s care for his people once more. Also, it serves as a subliminal message to hip hop to speak about something more important than the superficial ignorance. Favorite Line: The entire chorus by Matthew Santos (WHAT YOU RAPPING ABOUT!) 19. I think Cee-Lo shoulda been featured on this, cuz it’s definitely up his lane from the type of Gnarls Barkley track he made. It’s a fun track. Not my favorite Lupe track, naw, never that. But it’s a great track. Lupe can pull off the cheesiness of the hook, but GemStones doing it just makes me chuckle. Lyricism is not as heavy, but definitely still there. Note probably the wittiest line of the song below: Favorite Line: They want me to leave my Dame like the fella from Marcy FAVORITE TRACKS: Fighters Paris Tokyo Hello/Goodbye Streets On Fire Hip Hop Saved My Life Go Go Gadget Flow The Coolest Hi-Definition Little Weapon Intruder Alert The Die”

“Review of Nas’s “Untitled” Artist: Nas Album: NAS (Untitled) Written by Michael Hannah Nas’s ninth studio album is packed full of sincere, controversial, informative and intelligent lyrics. I will say that the album as a whole is presented more like a book that Nas could have been the author of, versus a musically superb album. There is nothing wrong with that at all, and it actually was an interesting twist on a hip hop album, especially for today’s hip hop scene. I sensed no fillers and every track just served as a chapter in a book of thoughts of black culture, community, America, politics, government and moral integrity. In some parts, you can definitely speculate on depicting some the lyrics that there are some underlying tones of 5-percenter doctrine and free masonry, but then again, that’s just assumption and personal theory. I’ll let you decide. Starting with the first track, here goes. The album began with an sultry intro titled “Queens Get the Money”. The beat was very lack luster and sort of made Nas seem off, but I’m sure there was some underlying reason that was supposed to be happening. I really liked the production nevertheless, and Nas’ vocal presence set the track off. I’d say it was a 4/5 rating intro. Moving on to the second track on the album, “You Can’t Stop Us Now” The entire track served to be lyrically high in cholesterol. It was undeniably pro black, and I liked how he spoke in retrospect to black people of the nation back in the day. One of the most controversial lines was about Bessie Smith and the American flag. You’ll have to peep that for yourself. 5/5 on the scale for this potentially classic-brand worthy composition. We then move to a track titled “Breathe”. I loved the production right from jump. This was a solid Nas song, although in my opinion, it really didn’t stand out. I definitely liked it, but it was low-fat content wise. I was actually more like one of those joints that you could play in the background while doing something else. I’d give this a 3/5. Moving on, you are definitely in for a treat when you embark on “Make the World Go Round (feat. Chris Brown & The Game)”. I was surprised to hear Chris Brown on a Nas album, but the combination was an excellent choice nevertheless. It was definitely an expansion of the subject matter of tracks that Chris usually hops on or presents as a solo artist. Nas was good, but didn’t really stand out on the first verse. I really liked the lyrical delivery presented by The Game. By the second verse, I feel Nas stepped up. I especially value and respect how he alluded to the success of current new school artists we refer to as “ringtone rappers” and how he still commends them for doing what they do, because they are nevertheless grinding, just like the pioneers of hip hop were at one point. The only differences is that times and eras have changed and it takes more time and negative energy to come against it, rather than just to embrace it, or even simply have a tolerance. It’s very interesting that Nas touched on this concept, noting that his last album was “Hip Hop is Dead” and he was the main reason for all this recent up rise of a death of real hip hop and the things like that, yet now he becomes a voice for them as well. This is sort of similar to the main character of my favorite novel “Ender’s Game” by Orson Scott Card, where Ender leads the fleet to destroy the species and entire planet of fictional insectoid alien species called the Formics or Buggers informally. Ultimately after being their supposed xenocide (a slang term derived from said publication referring to an act of killing off an entire species), he understood them afterwards and became a speaker/voice for their concepts of life and reasoning. That in itself is a very interesting and conflicting light of Nas. Aside from all of that, on another note, I won’t be supposed if this will be a single from the album, since the two featured artists are high profile and a Cool and Dre joint. They definitely did their thing on the production. I love how he called Chris Brown “the young Mike Jackson”. Everyone knows Chris Brown is the closest thing we have to a new version of Michael Jackson, and that’s including his style, talent and ambition. I give this track 4/5 overall. When I first heard the debut single “Hero” featuring Keri Hilson a few weeks ago, I really wasn’t feeling it, and after hearing it again, I must say that I still am not feeling it. I felt it was an interestingly weird collaboration in the first place, but Keri Hilson has held her own in the past, so I looked forward to embracing it. But what I ended up hearing is a track where Keri Hilson’s vocals were mixed horribly, though they sounded like they were sung well. The engineering flow itself I could say ultimately ruined the smoothness of the song as a complete whole. Nas’s vocals sounded good though, so I’m thinking he must have mixed his somewhere else. Either that, or the engineer is just schizophrenic. Another reason why the track was highly sub-par was Polow the Don‘s amateur production. The drums were really nice, I will give him that. What made the instrumental sound like generic trash was the bootlegged synthesizers used and a well-known GarageBand trumpet sample in there (Please refer to the Polow produced “Love in this Club“ by Usher where Polow was first exposed for making these quick, non-creative, prepackaged recipes for beats and production. This is by far the worst production I’ve ever heard Nas spit over. I wish he had of not choose this for a single, and better yet, maybe chose a way better producer overall for this track. Nas and Keri Hilson are great artists. The problem is that they didn’t hook up with a great producer. Even though Nas held it down lyrical and concept wise, this single sadly receives a 2/5 from me. Shifting to a track called “America”, Stargate’s production was ambient and outstanding on this track. I could tell right away it was going to be on point. Nas’ lyrics really reflect the truth of America and us as Americans and our tendencies. His delivery was captivating and the lyrics were just retrospective and informative. Enough said. I’d give this track 5/5 on the album. NOW…you want controversy right? There is plenty backed in the next song “Sly Fox”. I had also heard this song previously before, and didn’t like it as well as I did on the run-back of it during the listen-through. The production and everything sounded more cleaned up than the previous version available before the release, which made the track more listenable within itself. “The FOX has a bushy tell, and Bush tells like in FOX-Trots. This was definitely a controversial shot at a huge network and corporation, but you know Nas. He will always push the envelope no matter what, and I commend him for that. I didn’t really like the production a whole lot, but I felt the track overall wasn’t really about it’s musical “catchiness” but more about it’s message and in depth information. This receives a 3/5 for me. On a very soul stirring, introspective song called “Testify”, Nas really pushes the card to the maximum degree. Over a smooth Mark Batson production, Nas basically gives you way more than expected. He really touched on the topic that Lauryn Hill sort of had been rumored to be talking about some years back, about how her music wasn’t for “rich suburban white kids” who really don’t understand what is being talked about. I will say the track was way too short, but lyrically and musically powerful nevertheless. It definitely sent chills down my back. I hope this will spark great conversations across the board of ethnicities on their interpretation, thoughts and opinions on the subject matter. I give this song 4/5 on the rating. On what you can call the actual “title” track of the album, based on the original proclamation of the album’s title, N.I.*.*.E.R served to be my favorite track on the album. Critically acclaimed DJ Toomp surprises me every time he laces a track. I like the imagery that Nas painted of the African American community and life. I’m always a sucker for image-based librettos. This to me is classic status for Nas, along with “The World is Yours” and “Nas is Like”. I inquire if the last bar of the third verse about one-eye was a free mason reference, but we won’t go into that. That’s just something to think about (and look out for), but for right now, it’s just speculation based on my perception and construal of the lyric presented. I give this song 5/5. Moving on to the actual title track “Untitled, Nas seems to serve up some good verses over some really low grade production by Stic.Man. One up note is that Nas served the track with his rapid fire delivery. I don’t know what the heck the hook is really about, and once again seems to be hinting to some kind of hidden agenda of Nas’s messages, as it states “they did not have enough force to stop Louis Farrakhan but once again, we won’t get into that, because it’s just my speculation at the moment. Overall, this track was not really cracking to me at all. 2/5 stars. Nas gets his clever idea of personification on a joint called “Fried Chicken” featuring Busta Rhymes. I had also heard this track before the album release. I remember hearing certain listeners hating on this track due to it’s “bamboozled”, minstrel cliché approach on the topic, but I felt it was creatively interesting. I mean hey, black people ultimately love chicken, and oh yeah, pork, according to Busta. The personification of two of the black culture’s soul food delicacies definitely achieves the goal of being different and thought provoking. Busta is a fool at the end for what he said, but I mean, it’s so true. In a nutshell, he basically says what we know can kill us continues to still be desirable and at the top of our list as something absolutely needed for satisfaction of the fleshly urges of our daily existence. The concept basically can adapt to a lot of situation in life with “bittersweet” concepts of pro and con results of an action, including good and evil. This was one of the better tracks on the album, and I’d definitely dish out a 5/5. Right after the interesting and creative concept of fried chicken, Nas once again personifies people as roaches. The legendary hip hop group “The Last Poets” served the track with some intellectual spoken word throughout the song. I also had to run it back twice to catch Nas’s concept. What I concluded on the topic was that he was talking about people in the epitome of roaches, but then again, it sounds as if he could just simply be talking about actual roaches! But these types of tracks, the ones that make you inquire upon the concept, are also good ones. Eric Hudson’s production laces the track well and I give this one 4/5 stars. Y’all My Ni**as was the following track. I really liked Nas’ concept of this. It’s true that America and society in general uses the culture, swagger and boastfulness of African Americans and urban communities as acceleration of their corporate, media, and economic agendas in order to sign on the generation who already readily follows. It’s basically saying that mainstream America and dominant society based on these classifications use this entire package of our influence for their gain and then turn around and criticize it as well. Overall for this track musically, I didn’t like the engineering. I felt it could have been better. J. Myers’ production was nice and served the track well, though it doesn’t stand out amongst the production of other tracks on the CD as a whole. Acclaimed vocalist Mykel dished up a decent hook, though his vocals were shaky at times on a provoking joint titled “We‘re Not Alone”. Nas’ lyrics were very interesting. I did peep out the “three eyes” lyric, somewhat of a reconfirmation of mass speculation that Nas is a five-percenter Muslim who believes black people are the dominant race and we have a “third eye” to see what other races can’t see. This is sort of like the concept of being Neo, living outside the Matrix. Personally, I totally don’t agree with that doctrine, and it was very interesting to hear it more blatant in the Nas’ lyrics versus the more subtle approach of message delivery in previous tracks and albums. Overall, the track is solid and I’d give it a 4/5. Look into the writing of Ivan van Sertima, who Nas mentioned in the lyrics as well, Guyanese historian, linguist and anthropologist at Rutgers University. Nas also had a slight message to say towards the end of the track, as the beat became absent, about ending all racism. He stated that all races have became “slaves” to a certain ethic group recently, making all of these groups “ni**ers” What he stated sounded like the concept of 5 percent Muslims, accept adjusted to all people instead of just one group (blacks). This ultimately makes it confusing to understand what Nas’ spiritual and religious aim was in some of the references in the songs. One thing is clear that I derived though…oppressive action towards people in America has overall shifted from racial coercion to more of a class-based stereotypical malice in the work force, economic and corporate globe. In a song called “Black President”, Nas expresses his thoughts about Obama and the upcoming presidential election. The track contains an epic 2pac sample, but that’s not even the most epic thing about this track. This was one of Nas’ finer points consciously and lyrically. He touched on the topic that even some black Americans are so called “haters” of the idea of having a black person lead America. He also dropped some interesting facts about some of our previous “white” president who were mixed with some other ethnicities, which was good to know. One very interesting twist is how Nas expressed and revealed he is amongst some of those who feel that they want Obama in, but also still have their natural human skeptics about how things would pan out in the after effects of a triumphant 2008 Presidential election result for Barack Obama. Overall, the track is an awesome reflection of a rapper’s feelings towards the current political running and the anticipation of our possible first black president. This should definitely get the attention and a cosign by Obama for Nas. 5/5 stars on this classic. In conclusion, I give the entire Nas album @ 4/5 stars rating. It was actually really hard to rate the album like you would rate previous Nas albums or even other hip hop or music albums period. Though it lacked a lot of catchy music tunes, that simply wasn’t the point. The point was to rile up people, get them thinking and to effectively inform. I’d say Nas did that completely and with great precision. Is it a classic? I think it will take a few more listens from many people before they start calling this the equivalent to “Illmatic”, but we’ll see. Times changes everything.”

“This album was fresh to my eardrum. For an older veteran, he has a modern style flow and great production!”

“Killa Killa, the single we’ve heard already. It’s clearly not the best track on the album, but I will go further into that as I talk about the other tracks. The track has solid production and is perfect for radio play with its synth based background up-tempo instrumental. I felt Yung Joc’s rap feature was mediocre. To me, a more skilled rapper could’ve did this better. I actually wouldn’t have even minded another Wayne verse (for like the 65400303030304th time in the past three years…lol). The highly ignorant and inconsiderate line “My wrist stay flooded like New Orleans” was pretty tasteless. Overall, the vocals from the 4 girls were crispy, but didn’t fully exhibit the vocal ability that we know Cherish possesses from some songs they’ve dropped from their previous album. I Ain’t Tripping The production on this track was awesome. On the contrary, I felt the duration of the song and the diversity of verses and change-ups were absent. This was once again a solid joint, but not one that exhibits the vocal talent and ability of the quartet. One plus to the like ability of this track is the catchy potential of the hook. Amnesia The mellow ballad and guitar strums caught my attention right away. Once again, awesome production is ambient in the track. The first vocalist holds it down. Her flow and delivery is very appealing. The hook, with the extra added background reverb/echo part sets the track off. I really dig the engineering/mix of some of the background ad-libs that are equalized to a sound resembling a phone receiver. Notice Once again, the production and engineering/mix on this track is highly incredible. The drum kits are outrageously skilled and perfect for the feel for the track. This track has single potential as well. The synth backed chorus is nicely done and original (wasn’t a carbon copy of Timbaland’s style of it) The lyrics and writing on this is skilled as well. Catchy choruses are always the key to hit songs. This was a success here. Though the track was about three and three-fourths of a minute, it still feels like it ended fairly early. I guess longer duration on this track would have been an added plus for it, but aside from that, it’s near perfect. Framed Out To me, “Framed Out” almost started like Destiny Child’s 2005 hit “Solider.” From the intro, I actually expected a mediocre cheap production, but it actually turned out pretty great. Lyrical content was nice on the first verse as well “In my True Religion’s (jeans), I so far from pigeon (referencing the parody of TLC’s “No Scrubs” by Sporty Thieves called ‘No Pigeons) The song overall was about purchasing and rocking fresh and fly gear. I didn’t really feel the hit potential of this track as much as the album’s previous joints. The chorus was a bit cheesy and the “Framed Out” was a little unintelligible, taking away from it, should I say “catchy ability”. Overall, the track still is near 100% due to it’s flame production and the catchy potential/swagger of the production itself. Before You Were My Man I have to commend E. Hudson/F. King/N. King on this composition. They really came to the plate on this with the song theme and idea and production. This was also a switch of feelings on the production for me. From the intro, I didn’t expect it to drop and be as flame as it was. The chorus wasn’t as catchy as the previous songs on the album, but it seemed very obvious that this will be a strictly album cut because it focuses more on the lyrical content of the song on this one. It’s a very solid writing job and vocal exhibition of skills by Cherish. I feel they could’ve came a bit stronger vocally though. I know the skills are there, but it seems like they play it safe on this song. The lead vocalist of this joint carried herself vocally and underlying very well. The end of the song reminded me of Usher’s “Confessions” with the talking part. How very carbon copy of them. LOL. Superstar Superstar displays an entirely different type of production. It’s a solid ballad feel. I felt the vocal engineering could’ve been better on the track, because the mix seems a tad off and seems a bit weird. The equalizing seems a bit heavy on the choral and background harmonic mix of the background vocalists behind the lead singer. This is definitely a genuine song other than it’s possible production deficiencies that could be improved. It’s maybe not the best choice as a single, but definitely a great album cut. This is certainly a record where Cherish shows more of their skilled vocal ability, compared to other joints where they’ve played it safe or kept it sort of commercial, as far as new R&B goes. Only One The production on this is also different, just as Superstar’s instrumentation was. I love the reverb on the drum and snares. The reverberation ambiance created is very similar to that of Omarion’s “Ice Box”. The song content sticks along the lines of having only one that is the an intimate lover for them. The harmony mix is very well done. At some parts, it seems to be equalized very sharp, but it comes together well halfway through the track. I can definitely see this as a single from Cherish from this album in the future. Love Sick Love Sick is definitely my favorite record the entire album! The productions starts out semi-dramatic and the lack-luster piano scatter throughout the track that pans from left to right and the fluxuation in volume. It starts out seeming like a song about the girl being sad about her man leaving, but as it continues, you realize it’s a ridicule of the man that she leaves! Absolutely genius and pretty cruel if I would say myself. The writing, production and vocals were sincerely presented, well put together and undeniably on point here. I would say this could be a single, but wouldn’t be mad if it wasn’t. It’s definitely the most solid and consistent track on the album, period. Damages This song starts out creatively weird. Man, this funny intros! As the track begins, the production serves to be normal. It’s pretty simple compared to some of the more complex digital instrumentation in the previous tracks. The timing actually seems off at some parts and doesn’t flow as well. The vocals are decent on here, but not a standout track at all production wise or vocal wise by Cherish or the producers here. Also, the screwed parts of vocals on here was very amateur on the executive producer and engineer’s part. That could’ve been gone. It totally made the track sound, excuse my inconsideration of mental ill patients, but retarded. Like A Drum Like a Drum is the last track on the album “The Truth”. The production is pretty smooth, with a drum roll “parapumpumpum” type feel. Like…well…a drum…lol..duh. The chorus is very predicable. Though the production is very smooth, this doesn’t seem like a standout track for the album. The vocals were pleasantly performed, though the safe-playing with vocal ranges were exhibited here again. The vocal mix of the ad-lib/harmony parts of the quartet could have definitely been equalized sharper to stand out more. They impart themselves in a muffled manner sonic-wise. Overall, a solid, but not prominent hit potential track. Overall, I dub the album a hit. I give it 4 out of 5 stars because of it’s highly skilled and solid production throughout the album. That was very consistent and very purposeful, because on a few tracks that weren’t vocally “outstanding”, it carried the track. Vocally, the quartet brought their A- game I would say. I didn’t hear a ballad/song on here as good as the group’s second single from this debut album “Unappreciated” (the name of the album and also the record I’m referring to), but there are definitely some classics. In conclusion, I believe it’s a solid project that will show people that Cherish has big potential and they are the real deal. In the late 90s and early 2000s, we had Destiny’s Child. Are we looking at the new version? Maybe -Young Son, Twin Cities Hip Hop Artist and Writer http://www.youngsonmusic.com http://theyoungsonblog.info/ Youngsonmusic@gmail.com”

“Young Son’s Review of Gnarls Barkley’s “The Odd Couple” What actually prompted me to even go check out the full album was after I ran across the review of it here on DJBOOTH.NET and was liking what the reviewer was saying about the album, so I decided to peep it in it’s entirety. This was surprisingly dope! I've been a Gnarls fan since 2006, when they first came out with the “Crazy“ single and their freshman effort “St. Elsewhere. I dug maybe a handful of tacks from that CD, but on this sophomore effort “The Odd Couple, 95 % of these tracks I am DEFINITELY DIGGING. It's more mellow in some ways, some more soul is used on here and it's all around a fresh listening experience. I call this music for the intelligent urban music fans. LOL Charity Case: The production on this track definitely catches my attention. Of course it carries that old-school 70s vibe that Gnarls Barkley is keen for. It starts out with some classic trance sounding vocals from Cee-Lo. It definitely puts you in that psychedelic soul feeling. The track also contains some minimal female ad-lib and background vocals, which gives it a authentic touch. The introduction track for the CD definitely sets the tone of how the entire album will be. Gnarls continues to have that type of sound and mix that makes you believe this very track that has came out in 2008 could’ve been dropped over 30 years ago and really be a classic already. Who’s Gonna Save My Soul: This right here is undeniably my favorite track on the album. It presented another soul sound from Gnarls, this time somewhere along the lines of a Bill Withers. It’s definitely a type of joint you would hear on a socially conscious topic based soundtrack from any time, now or the past. The simple, yet deep soul dipped production by Danger Mouse and ?uestLove (The drummer of the hip hop band “The Roots”) is definitely on point. Some mellow guitar strums ride on a bed of a sample of some soul synth keyboard vocals and some live drums. Going On The tracks immediately captures you with some electric guitar and belts into a medium tempo clap along rock/soul anthem. They definitely still haven’t left the 70s yet on this track. The live instrumentation on here is on point and the song itself is just appealing to the ear, where you can listen to this consciously or subconsciously and still dig it. The organ gives this a nice upbeat, eclectic feel. I am a little confused around the 2 minute mark when what seems to be some unmixed beat box type bass comes in. It all seems to blend and gives that out of this world type of feeling where you sort of get lost in the track that most urban music these days rarely possess. Run The highly danceable, addictive first single is already a crowd pleaser. Nothing too much to say bad about this. I think this is an all around banger for alternative music fans and hip hop heads alike. You can deny the classic old school hip hop drum loop it contains and can’t seem to not bump your head to it’s appealing tempo. For the most part, the production is fairly simple, and that’s all it needs to be. This definitely shows how Gnarls know how to easily put together a solid track without under or overcompensating. Would-Be Killer This would have to actually be my least favorite joint on the album. The mix of the vocals by Cee-Lo can easily get very annoying to the point where it makes you mad. I know that’s kind of harsh, but a simple adjustment in the panning and equalizing of these vocals would’ve made this song more listenable to me. But then again, that’s just my opinion. I’ve heard older 70s funk/psych joints in the past like this, and apparently there is a fan base out there for them. It just wasn’t my cup of tea. The almost demonizing sound of the music that sounds like a backdrop for a junkie scene on the wire just wasn’t cutting it for me. Open Book You have to stick with this track as it comes in. The lack luster intro may not be too appealing. It’s one of those joints where you don’t catch the rhythm until about the 8th beat of the song. This song definitely grew on me. I like the style and the yelling/chant vocals from Cee-Lo. It definitely sounds like a joint that could’ve made the “300” soundtrack. It’s an awesome war/fighting preparation type joint. I would classify this as world music. The production is very unique and once you begin to comprehend it all, it’s great. The somewhat stumble-like feeling of the beats irks you in the back of your mind, but yet makes you want to continue listening to it. Cee-Lo doesn’t give a whole bunch of vocals here and for the most part keeps it simple. Whatever This is your classic humorous alternative type joint. The content and subject matter sounds like a whiny teenager complaining about how life is so hard at this age. Pretty classic and original. Cee-Lo’s in character vocals are very distinctive and the pop-rock, glam music sound is rarely done, so it was interesting to hear it done. This track will be probably the only one where you hear an obscenity from Cee-Lo, which was a bit awkward. Overall, the track was okay. By the end of the track and how quickly it ends, you begin to release that most of all the tracks on this album are between 2.5 and 3.5 minutes in length, radio directed potential singles. Surprise This track wasn’t bad, but wasn’t anything to jump around about. The album begins to get boring around this track. The track by itself is good, but if you are doing a full listen through, it begins to sound like one of the previous tracks. What I did like about this one was the fact that there was a semi-distant guitar bass strumming in the background that I wish could have been more ambient. I also enjoyed the reverb and panning work of the chorus vocals. As the tracks rounds it’s last verse, it might become okay to you. The tempo won’t lure you to sleep, but also is not too much of a memorable track. No Time Soon If “Who’s Gonna Save My Soul” is my favorite, this joint right here has to be a very close (I’m talking a matter of decimals, like .001 or something) second. I’m a sucker for semi-mellow, ballad rock joints. This song definitely has y favorite production on the album. Gnarls finally steps into possibly the late 80s, early 90s with this joint. The vocals and backgrounds serve nicely and the dirty snares on the drum kit. This actually is a track that I think should’ve been longer...at least 4 minutes, if not more. The song can definitely take you away on a contemplative tip. Also, musically, I don’t know if this relates to it at all, but I can’t help of thinking of George Michael when I hear this. No idea why. I just do. She Knows We return to the 70s with a soul/R&B ballad style beat introducing this song. To the ear, this is appealing. Nothing too fancy, just simple vocals, croon style from Cee-Lo. The interesting production with strategically placed inference makes for an eccentric blend. I definitely would run this back for a second listen. The lyrics and vocal performance reminds me of Gloria Gaynor in some ways. The tracks sound almost more like an interlude. Neighbors Bring the bongos and keyboard vocal samples out again for this 70s soul trance style joint again, that sounds like it contains some of the same elements of the group’s debut single from St. Elsewhere “Crazy”. The tempo isn’t annoying. The lyrics are definitely not too clear on most parts, so I’m sure the sole purpose is for an interesting listening experience. This is one of the warmer tracks on the album. It once again sounds like a track from a movie soundtrack during a highly dramatic “walking through the city” type scene, gathering all the thoughts, building to a climax. A Little Better This song’s lyrics are very clear and the first time on the album where you might sit up and listen to the positive message and words in the song. The production is pretty simple. I love the simple reverb on the vocals. This joint here is a solid track where the message of the vocals were clearly the main focal point. Awesome blend. There is not much more to say about it than that. It’s very solid. Sort of like a track you would here after everything is over. If the previous track “Neighbors” was a building up type track, this is that joint you here at the end of a movie where everything is done and the credits begin to run as you see the main character walk off in the distance. It’s actually funny because at the end of the track, you hear the sound of an old school slide finishing up. Irony eh? Blind Mary This is a decent track to end the album with. It has a turtles “Happy Together” sort of bounce to it. The raunchy and itchy sounding equalizing of Cee-Lo’s vocals gives this a unique feel. Not too complicated again on here. This track on the Gnarls album is the equivalent to “Go Baby “ on Lupe Fiasco’s “The Cool” in my eyes. A simple outro track that really isn’t super packed with lyrical content or complicated production. Overall, aside from the fact that a select few joints on the album could’ve been longer in duration, the album itself was surprisingly awesome. It was more appealing to me than the group’s debut simply because more soul sound were involved in this one and less techno oriented joints. It was a nice blend of everything and shows how truly unique the group is. I stand on the fact that I said this album could have been dropped in the mid 70s and still be a classic. 4/5 stars in my book.”