Mr.Top Hat's TOP ALBUMS

“I’ll admit that a lot of times an artist or a group comes along and people heap loads of praise on them, and for whatever reason, I don’t feel the same way. It’s frustrating, because at times I do the same thing, and I get upset when people don’t see the brilliance that I am pointing out to them, so I definitely sympathize when it happens. A BIG fan of the TV show "Community", I tried several times to get me to listen to Childish Gambino and see wats the big deal about, to no avail. Both “Culdesac” and "The EP" intrigued me and made me think I’d definitely come back for another listen, but I still wasn’t feeling it. Camp came out, I listened to it, and I fell immediately in love with it. This album is smart, personal, entertaining, and really shows that sometimes, the good ones find a way of getting the attention they deserve. It may not have happened the first few times I heard Childish Gambino, but I definitely see the light now. Glover wrote and produced the whole album, meaning that there was no barrier between writer and producer, and this is reflected in the album. Experimental without losing accessibility, electronic and acoustic, complex and simple, dark and energetic whilst intricate and introspective – there is a sense of progression, and, the similarity in composition of instrumentals is one element that gives the album its unity, but each of the pieces is complementary to the others – by the end of the album, you feel that you’ve heard a complete artistic statement, making Camp his most mature and complete album. He puts his whole life story on display on the first song of the entire album. It's a gutsy call to go there so early since people who have never heard of CG before this album might want to feel his flow before knowing him that well, but listening to him spit over soulful vocals (used well to highlight the important message conveyed in the song) on "Outside" just sounds truthful and straight, and I think that's what makes this song such a raw and intense way to start off the album. It’s not unreasonable to say that there are tracks like "Bonfire" or "You See Me" certainly wouldn’t sound out of place on other current artists’ albums, but crucially they don’t sound like re-hashes or cast-offs – they’re simply more of the CG at his no-nonsense 'got no love for inferior rappers' best. Lyrical display full of fresh metaphors and punchlines... done well. Yes, it has to be admitted that the main riff of "Fire Fly" sounds more than a little like "Good Life", but the thing is you don’t expect a feel-good chorus dat undeniably infectious to pop up on its own. If anything, Gambino's hookwriting skills have improved. "All The Shine" is exemplary piece of depressing but ultimately hopeful melodic song writing, as Gambino flips things in a way by making the hook a sort of motivational wake up call. It’s odd to feel that an artist, that at times so directly replicates the sound of a specific esteemed artist's past music is creating something important, authentic and memorable, but that’s how I feel about Camp. The "Heartbeat" is little overwhelming, but it would slip easily into "808s & Heartbreaks" and not seem out of place. And there’s no question that WTT play a noticeable role on the song structures for both "Backpackers" and "You See Me". Not denying its influences but creating a cohesive album that is undeniably the sound of the artist completely in control of his solid production abilities and strong songwriting skills - somehow managing to simultaneously pay homage to all of Kanye West's albums (including WTT) without once allowing the overall sound to stray too close to any single one of them, which is about as hard a trick as a producer can ever pull off !! This, at first glance disrespectful description of the young musician turned out with further listening to be a sign of respect. There’s an honesty and truth laid out amongst the quirkiness of all his clever punchlines which is a part of his allure and make listening memorable. However, when the lyrics on a few songs stray from the quirkiness and come more straightforward, like "Letter Home", the results are (equally) rewarding. Donald Glover has used his influences as a jumping point and infused them with his own personality and story. In the future though I hope that he gets a little more independent and choose to really develop his influences into his own unique sound, something like Drake. But still, one general positive thing I can take away from this album is that Childish Gambino is talented enough to produce a good quality sound, and as far as influences go – well, not many artists have been as influential as Kanye West. It’s perhaps an easy thing to say about an album I love, but there isn’t really a dud track on here – it would be easiest to pick at "Letter Home", but in the context of the album it’s interesting to hear a song that ditches the quiet/loud dynamic for a quiet/quiet one. At a lean 13 tracks, Camp is low on filler and high on content. With all the huge fourth quarter releases it hasn't been easy for an on-the-come-up artist to get the attention they deserve. His name may not carry weight like Drake or Wale, but you'd be mistaken if you thought his music doesn't. If Donald Gambino keeps this up, he shouldn't have a problem making the Dean's List of hip-hop's elite. Don't be surprised to see this sneaking into the more clued up writers' albums of the year charts come December. My Top Picks: 1. Fire Fly 2. Outside 3. Bonfire 4. All That Shine 5. Sunrise 6. That Power 7. Heartbeat 8. You See Me”

“In the interest of full disclosure, let me first say that no other album meant more to me in 2009 than Hawthorne's debut album, "A Strange Arrangement". In fact, I listened to it so much, I had to wean myself in that oh-so-painful way of any true fan that fears both getting sick of an absolutely favorite album, and who also feels a little guilty for lack of attention to other undeniably great, but slightly less favorite albums (this means you, Fashawn's "Boy Meets World"). An artist and album (A Strange Arrangement) that should have garnered more attention upon its release, as it represents the only time, in my opinion, when DJBooth missed a beat! on coverage of album dats most definitely worth checking out. To get it front and centre, it's impossible for me to do an objective review of this album. I'm just such a huge Mayer Hawthorne fan that my feedback will either be far too glowing, or knowing that, I'll overcompensate and be overly critical. I can't say anything you won't think is biased, so I won't even try. It was unlikely that the sophomore record would turn out to be underwhelming, and it delivers on the promise generated by singles. If anything, it’s slightly overwhelming in places. Balanced and unbiased my rating may not be, but this album is another damn good reason why Mayer Hawthorne has carved a special place in my life with his music. He's a talented artist who so obviously pours his heart and soul into every project. I'm just glad he keeps them coming. Use my bias as a warning if you must, but when all is said and done it's hard not to believe that "How Do You Do" could be anything less than the blueprint for what soulful retro-RnB should be. There's a certain soul and grit in music that's hard to imitate or fake. Some musicians are just born with it. Raphael Saadiq has it. Mayer Hawthorne has it. My Top Picks: 1. No Strings 2. The Walk 3. A Long Time 4. Stick Around 5. Henny & Gingerale 6. Finally Falling 7. Hooked”

“If an album gets too much hype prior to release, it can often lead to a backlash when it is discovered that the record is not the best thing since sliced bread, as had been expected. It’s much better, in my opinion, if there is little to no fanfare surrounding an album (for instance, Shane Eli's The Push) before it’s released: that way, if it’s good, it will always be appreciated all the more. We all know this right here falls straight into the former category, rolling in upon a sea of anticipation and sky-high expectations. Who could be blamed for getting excited? The artist's 2010 mix-album "Friday Night Lights" was lauded upon release in online communities and amongst the artist’s fans. It (FNL) found J. Cole expanding his horizons and pushing into more accessible territory, and it seemed that he was finally combining his lyricism with more direct elements. A step in the direction of immediacy, away from the conscious brand of hip-hop he had mined on his first two projects was a cause for concern? Yes! But today it gives me a great deal of pleasure and satisfaction to say that as many compromises as there are, "Cole World: The Sideline Story" is still a very artistic offering that is MORE concerned with quality than having a hit, despite having a very accessible, relatively polished sound. It’s not perfect, but for the most part the artist definitely has his head and heart in the right places. It shouldn't be confused with a classic, but it's another impressive addition to an already great catalog. Making a major label album is a commitment to the art of compromise, and Jermaine Lamarr Cole provides a prime example of this exercise. Courting the radio crowd while satisfying the artist within is a tough task, but Cole runs the emotional gamut from amusing to astute, and once listeners delve past the radio-friendly ditties, they’ll hear some of his most inspired work transpire. Although not a leading light in the genre, J.Cole demonstrates a surpassing ability to connect to the core concepts of hip-hop music. It’s an album that supplies more substance and less compromise. The second half of the album is a proof of this! Admittedly, the first few times I heard the album, before I had a chance to look closely into the lyrics or when I was unfavorably comparing some of the songs to the more intricate J. Cole songs from the past, the album didn't produced a tremendous impact on me. And although I still find a few flaws here and there, I think after learning this record – after studying it – it’s clear to me that it falls in an elite category of music, one that is defined by one simple rule: in order to find its true beauty it’s absolutely necessary to listen. It's an album that grows on you with each listen, and what was boring at first seems less so each go round as the lyrics sinks in. If there is a mainstream hip-hop album since "Attention Deficit" that needed time, it’s this one. If your first two records is to cultivate an original fanbase and the third is to extend the brand, the fourth should be about reconciling the three and J. Cole does that proficiently by adding new techniques and textures to what was already a fine, if infamously known for a lack of variation, style of music. J. Cole's skills hasn't grown by leaps and bounds. But more notably, to me anyway, is the vast improvement in arrangements. There's a breadth and diversity of style that had been previously lacking. His instrumentals proves to be more dynamic, moving around (though not changing directions drastically) but away from basic loop format. Both "Breakdown" & "Dollar And A Dream III" in particular comes to mind because production hints at a slickness, but still the real power for both joints lies in the breadth of emotional nakedness and the depth of thought. Piano has such an amazing presence on "Nothing Lasts Forever", with a mix of programmed beats & percussion playing on top, that somehow brings to mind MJ's "They Dont Care About Us", especially the arrangement after 3:58. Guess it comes down to the layering style. On mic, Cole displays a rather unsettling sense of despondency but evades being negatively dragged down by it, and the female vocals in the hook only adds to the feel of the song. “Dollar And A Dream III” has a lot of gravity to it. It’s hard enough to knock in the whip with enough elements to sound really interesting in your headphones. Flute and strings gently slides into the mix, and a pliable bass line that seems to merge with the drums pattern, recall to mind the best moments of Justice League's instrumentals. After you rock to this beat you go back and digest what he has to say. "Breakdown" sounds like No ID taking a stab at a Coldplay number. At least dats how I would describe. And anybody who can pull off something like that is definitely someone to be reckoned with. "Nobody's Perfect" features strong electronic drums teamed up with smooth guitar licks and bass notes popping strategically throughout the song that gives it a persuasive power all its own. Its very hard to not head-nod to it with guitar strums and vocals keeping it potent and catchy. “Sideline Story” tells a candid tale of the hardships that arise when trying to make it in the music industry. "Breakdown" is such a deeply poignant number, and the gripping "Lost Ones" - both sound like the work of a top shelf hip-hop veteran. J. Cole is a smart rapper who is concerned with the advancement of himself and his people, managing to describe the backward circular logic of the street without being too judgmental. Cole has a lot of strengths as a writer (witty punchlines, an ability to write an issue driven song that doesn't come across as condescending. Album also shows an artist with the ability to write songs equally interested in women's assets (Work Out), brain (Lights Please), and heart (Never Told). I admire his wordplay abilities, as he can loosen up and drag out the lyrics, then slip in a tight package of words a couple of lines later while walking such a lyrical tightrope. "Never Told" has a constant mesmerizing flow to the track that really does captivate. And it only helps that in J. Cole, you find an MC with a keen sense of self-awareness that knows how to make conscious rap accessible, with a strong feminist focus. Well, as accessible as it can be. While the piano still plays a major role in the music, it's not usually not the only focus. "Rise And Shine" is Cole's most dramatic efforts to date. The way he bring in the horns after Jay-Z's vocal sample is flat-out ill. Then he remove the drums at differing intervals, moving the spotlight to the expert sample work, giving every part of the arrangement attention. On the same end of the spectrum, "God's Gift" is a fuller, more all-encompassing sound than J. Cole ever really achieved. J. Cole has managed to accomplish a difficult task. He has come together with a long line of fans who have expectations based on previous work. With this record he kept his songs familiar sounding enough to placate those fans, while infusing just enough new elements to refrain from sounding derivative and tired. It was a hard balance to strike, but Jermaine has done it very well. With that out of the way, let's look at the bad. Well it's not bad really, more like this would be a standout on a weaker LP. But on here, it’s a bit of a disappointment. That's right, "Work Out" did not stand out as one of the great musical triumphs of the year, but it is not without charm, thanks to its up-front "sincerity" and ear-pleasing production. "Cant Get Enough" is that accessible, but much more varied & soulful than what you hear on the radio. "Mr. Nice Watch" features barely acceptable level of verses from Cole, but, considering his previous work and the courage to venture into some new sonic territory, the radio-ready sensibility shown here ultimately demonstrates that he is stylistically agile, not selling-out. Even though the song, as a whole, don't completely click, it does bode well for future efforts. Both title track and "Daddy's Little Girl", which depicts the complexities of promiscuous females thoughts and mannerisms, blends J. Cole's deep lyricism with production that have little to separate them from hundreds of generic 'street-ready' tunes in the current scene. And for this reason it leaves both songs feeling more ordinary than dramatic for which the artist seemed to be aiming. Lastly, both “In the Morning” and "Lights Please" are a little too old to be on this fresh project. But one of them is a great track, and the moody piano & vocal combination on "Lights Please", is incredibly difficult to be labelled dated. It feels timeless in the best way with a hook that dont just rhyme but give meaning to the lyrics. These are missteps, but nothing that could be used as a criticism to demean the album as a whole. However, Cole's journey to mainstream prominence is going to be longer and harder than we expected. He has not, indeed, successfully finished his trip from planet underground to planet mainstream. But what's most important, he hasn't surrendered to his new surroundings. Well, at least, not yet (hopefully never). The production is great (like on most big-record-company releases). But this time, what all the mainstream albums lack, is present on this record, in abundance. The larger portion of the LP is always pointed toward delivering a message and conveying dope music with feeling. More often than not singles are representative of the album as a whole and the singles released indicated J.Cole was going for more style than substance, but thankfully, they aren’t representative of the album as a whole. The bait and switch. It’s a classic ploy where you advertise one product but deliver another. Jermaine has employed a (positive) version of this for his debut long player, baiting us with three singles that are deceiving of how the rest of the album will sound because I think the album as a whole is ultimately more substance than style. Whether it gets J.Cole the wider attention that he surely deserves is something that will have to be seen, but you can be confident in knowing that... there will not be an album less commercially-inclined released on a major label this year - and it’s doubtful there will be many better, either. "Cole World: The Sideline Story" is not only one of the strongest debuts in a while, in my opinion, it's the third best album of 2011 coming only behind "WTT" and still the best hip-hop album of the year "Return Of 4eva". Rollin' just one step ahead of "Section.80", and the fifth-placed "The Red Album". It’s an album worthy of purchase on its own merit. Rating: 4.25/5 My Top Picks: 1. Breakdown 2. Lost Ones 3. Nothing Lasts Forever 4. Nobody's Perfect 5. Cant Get Enough 6. Lights Please 7. Rise And Shine 8. Never Told *finally adds J. Cole to favorite artists*”

“If the career plan was to go to the lowest of lows (with the aid of choice 'short term profits but long term embarrassment' antics) before releasing an album of resurrection and substantial replay value, The Game ought to be applauded for conducting the whole stunt to perfection. Like many, I too had lost confidence in Game and going into this album I was, to put it nicely, skeptical. But it took me as many as one spin to really digest this album and appreciate it. With four solid records under his belt now I think I can finally officially say: Game, we forgive you for "Pussy Fight". From the beginning of the album you get the impression that Game is really onto something. It’s always good when an album starts on a high note, and the record's first half is consistently great. The downside to setting such a pleasing tone is that it is quite difficult to maintain. The middle section of the album is actually the low point. Here we see the pressure of conformity to sticking to the script in its truest form. (for better understanding read Nathan's review for Big Sean's "Finally Famous"). This shows why Game should have gone with an all-out hardcore album, and didn't compromised the quality of the album cohesion with a number of average RnB tracks or mandatory guest features (in this case an attempt at street anthem with Jeezy) to please a specific region. This shouldn't surprise anyone. Following the 'script' is what nearly every Game album has done before. Sure, they've added and tweaked the script, but it has never been his strong suit. Or maybe the flaws just stand out more this time because of how great it could have easily been had the fat been trimmed and some guests left off the roster. Both "Hello" and "All the Way Gone" features satisfactory verses, almost (but not quite) catchy production with the slow tempo, the long-winded delivery of bland hooks, and ultimately lack of depth. "All I Know" is certainly better but it's likely you'll find your thoughts drifting towards the more noteworthy moments present on the album. "Paramedics" has too much of Jeezy involved in it for me to visit the song for repeated listens. Luckily, The Game does rescue the album in the last few tracks by creating some legitimately compelling moments for those of us who are still checking this "mentally unstable" artist's music. For every bullet that go astray, there are more than a few armor-piercing bullets that hits target, with the album demonstrating a new energy that leaves his career anything but stagnant. Lyrically, we get an assortment of topics, styles that we've come to expect from Game. And there's little to criticize in the tight and energized verses. It's by no means are exceptional performances lyrically, but overall The Game sound as though he got another good 6 years in him. With mostly solid songs and some refreshing takes on things you’ve heard before, The Game came out at the beginning swinging with some hard sh!t, struggled a tiny bit in the middle and ended the album with joints that did the job... creating a very listenable album that captures the many facets of The Game; baller, lyricist, father, storyteller, and thug. I wonder what kind of commercial impact this will have cos over the course of time Game has (deservingly) become something of a 'Fails of the Week' mainstay, and surely his popularity as artist has been affected. We know that outside drama tends to toy with sales as well, so that may lead to the lack of sales. Despite all that, it's clear that anyone but the most hardcore haters will find it difficult to draw much hate from this product. From the obvious peaks in the form of songs like “The City”, "Martians Vs Goblins", and “Good Girls Go Bad” in the first half of the record, to the glaring, yet minimal missteps in the second half, that have already been spoken of, Game proves that he can still produce a respectable product worthy of any Hip-Hop fan’s monetary support. 1. Dr. Dre Intro 2. The City 3. Drug Test 4. Martians Vs Goblins 5. Red Nation 6. Dr. Dre 1 7. Good Girls Go Bad 8. Ricky 9. The Good, The Bad, The Ugly 10. Heavy Artillery 11. Speakers On Blast 12. Pot Of Gold 13. Dr. Dre 2 14. Born In The Trap 15. Mama Knows 16. California Dream 17. Dr. Dre Outro Had it been released with the above tracklist, I would've been more than happy to push that prestigious 5 star button right here! But then, it's easy enough to reorder and edit the album to solve the problem, right? Hmmm... the more I think about it now... It’s not an album or something I’d put on while entertaining a large group of people. But I can definitely see it becoming my go-to record for the times where I prefer to stay away from the skip button. Most importantly, the fact that Game did it once and put in another solid effort this time around is probably far more than hip hop fans were expecting. Hmmm... *rates* * resume playing "Speakers On Blast" *”

“We’ve waited long enough for this, with numerous supposed lead-singles and push backs. The reality, thankfully, has made it worthwhile. Our patience has been fully, generously, rewarded. A legend still at the top of his game is both comforting and immensely satisfying to hear. Can never be accused of standing still, all the while evolving as an artist, yet staying true to the elements which made people fall in love with their music in the first place, but avoiding any feeling of repetitiveness or having become stale, Big Boi has delivered, and he has delivered in spades. Hearing Gucci Mane is like smelling dog sh!t that was just sprayed by a skunk, but despite that the "Shine Blockas" is epic. "General Patton" is so ridiculously amazing that it could stop criminals and global warming if played loud enough. Possibly. And I think “Shutterbugg” might actually cure cancer. Though "Fo Yo Sorrows" might not be able to lock down the first position on Billboards. But it could take another position, if not the first, for one of my favorite songs this year. While these tracks are certainly the strongest, that’s not to say the rest of the album is not worth listening to. Actually, trying to find faults with rest of the tracks would be like people complaining about winning too much money on the lottery. It was highly unlikely that the record would turn out to be underwhelming, and it delivers on the promise generated by singles. BUT... Just when I thought Big Boi could not possibly attain a more anthemic and bigger sound than "Shutterbugg" and "General Patton" I was proven wrong with track #2, "Daddy Fat Sax". This might be the only time in which a single song wiped away every smidgen of a doubt, resting beneath a healthy amount of buzz, and fully certify an album as my favorite of 2010. Before I blinked, I knew I had to buy it (not support. Yes, there's a difference). I started listening to this song three days back and am a little unwilling to disclose how many times I’ve already played it. And I see no reason for this trend to continue unabated. To be honest, I've been even waging an unsuccessful (so far), campaign to get people to call me 'Daddy Fat Sax' because of this song. Its hard to tell what is more dope: the intense fit of Big Boi's flow with precise delivery, that flexes lyrical muscles with just the right amount of southern grit juxtaposed against such a contagious melody that begs for an arena-sized room to spread its wings or the fact that Antwan Andre Patton is clearly enjoying himself the entire way through. It’s choke-full of energy, attitude and effortless cool <- understatement of the century. His swag makes new-wave rappers seem extremely out-of-touch with the generation they think they speak for. It is probably a crime how excited I get listening to it and always a problem when it ends cos it only deprives me of it's sound when it closes and there really is nothing much I can do but rewind and find myself stuck in an endless circle of listening to "Daddy Fat Sax". Can't recall the last time a song has affected me in such a way. I’ve made up my mind, I would call my life complete if and only when I come up with my own self-power anthem all equipped with one hell of a chest-beating chorus over a beat as banging and dope as "Daddy Fat Sax". And I will not rest until I accomplish my mission. I fcukin mean it. I have IDEAS! Many of them stolen, almost all of them bad, but I won’t let that stop me! lol Till then... I will do the next best thing i.e. to buy the album and whore the sh!t out of track #2 in my modified black Swift till it's wheels fall off or I start getting yelled by random strangers in the traffic to stop the noise - to which I will respond... "With my ears to the streets, and my eyes to the skyyy, I’m on another planet my n!gga and you just flyyy, take dat motherfcuker, take daattt!!" [Resume playing]”

“*Logs In* *Clicks Edit Your Profile* *Adds D-R-A-K-E to favorite artists* *Save & Logs Out*”

“Now this my friends, an absolute treat for the ears, feet and soul, coming straight at you with some pure greatness. To describe Janelle Monáe’s music? Well, the best description for me would be 'guessing'. Well, the album heads in a variety of directions and after each song, you wonder where is she heading next. It has unexpected moves and twists, unexpected progression through songs. That feeling is heighten with Janelle's use of her voice almost as though it were an instrument in and of itself. You might expect that it will sound forced or something, but it doesn’t! This album is daring, as it is hypnotic. Janelle Monáe’s voice matches and flows along side the soft and blaring music, painting a blank canvas of the listener’s ear with vast landscapes that promises to entice and surprise. I simply cannot decide whether I want to revel in it's beauty and let it slowly drift me off to sleep, or whether I want to stand up and dance around the room and appreciate it's trippyness. I'd be quite happy doing either. There's a wide array of styles on display over the lengthy 18 tracks, revealing an artist with PLENTY of ideas and PLENTY of talent to carry them out. It really is like the work of an artist who really fcuking knows what she’s doing and though craftsmanship sometimes gets put into a binary with real art or emotion, this is album that shatters that dichotomy. One thing that is consistent is solid gold craft of song writing. Janelle Monáe and company have created songs full of emotions, feeling, absorptions, cinematic flair and thoughtful musical weight that will take your mood to higher plains and greater heights. Further, the wide variety of musicians and singers really adds to this album's depth. Skipping effortlessly from one musical idea to the next - from happy, to poppy, to sweetness and sunshine, to hope and light, to melancholy, to aggressive and dark, a few times rather odd but enjoyable in every shape and form. It's all over the place in the best kind of way. It never becomes too much, and that’s the best part. Janelle Monáe is clearly a serious talent who knows how to use her voice to create multiple characters for herself that really bring these songs to life. And despite the comparisons, I can’t lay a finger on any ONE musician that she sounds like. This showed she could take nearly any style of music and make it her own, and "The ArchAndroid" sound palette is particularly wide. The diverse palette of influences or the seamlessly mixed collage of sounds; regardless, "The ArchAndroid" is easily her most accessible and enjoyable album and is — no doubt — her breakthrough as media darling. My Top Picks (it was tough to narrow it down, but here you are) 1. Locked Inside 2. Tightrope 3. Oh, Maker 4. Cold War 5. Wondaland 6. 57821 7. Faster 8. Neon Valley Street Hair-Style make over still needed though... :p”

“It's been more than 15 months since Clipse first made it clear this album was "coming soon," and after a series of fine-tunings, re-toolings, and push-backs, the finished product is anything but a disappointment. "Til The Casket Drops" would allow their sound to evolve in a more accessible direction isn't particularly surprising. But the fact that they also took the noisiest, most gut-wrenching aspects of their songs, that is beats, and cranked them even higher makes this evolution even more intriguing, and just plain kicka$$. Right from the start, "Freedom", we find the duo straight owning a track and venting something serious on any and every person, place, situation and bad memory that they crossed paths with on the way to where they are now, over Sean C & LV's live drums and rock-guitar driven beat. Both emcees come through with some of the best lyrics on the record and ripped DJ Khalil's reggae-tinged backdrop to pieces on "There Was A Murder". "Footsteps", also a dope track that showcases their intelligent, deeply personal, guilt-heavy lyricism over a thoroughly knocking beat. Cocaine laced raps which delves deeper into the psychology behind their hustlin. It's those subtle nuances to what duo's saying, the hidden gems within the rhymes that sparkle without blinding you, that put them on another level. Clipse came back this year with a slicker, cleaner sound than on their previous outings and overall managed to make a success of the new direction. Admittedly this release lacked some of the rougher experimental edges of the band's previous material but what it gave up in white noise we gained in suave, tuneful melodies and hooks. 3rd album, features richer production than their first two albums with bigger hooks and rhythms that bounce around in your head long after the CD has stopped spinning. "I'm Good" finds duo on full-floss mode. But, it also feels like a natural step. Clipse rendition of the good life is laced with a heavy amount of tongue-in-cheek wordplay. "Eyes On Me", the track's infectious hook and The Neptunes oddly choppy, yet fluid production has been stuck on the dome all month! "Doorman" sounds better the more you crank it, with a big pumping chorus that is so damn addictive that I defy you not to sing " I put my money on the roof, and crush this b!tch..." cranked up on your stereo while cruising down the highway. Throughout the album, whether the songs are celebratory/upbeat or introspective/kick-back, the lyrical swashbucking that made them famous takes center stage. Intricate and intelligent, they represent that well-balanced wordplay. Putting their best flows forward, each emcee delivers a relentless flurry of paranoid coke-raps and witty punch-line filled verses that are at the very least memorable, and at their best, mind-bogglingly dope. The Clipse have balanced the coke rap with some swag talk and the results are still just as potent. On "Kinda Like A Big Deal" you'll enjoy the beat and the rhymes in equal measure, with Kanye adding his usual dose of ill flavor on the cut. Tracks such as "Champion" and "Life Changes", shows that although they stick to the tried-&-tested formula the group has matured and grown to add a different side to their music. Possessing one of the nastier 808 sounding bass drops I’ve heard in a while, nicely accentuated by vibrating Mariachi trumpets, "Popular Demand", the track is a great bass test for those cars that go “Boom”. And all three Rappers involved shows that they can flip back and forth between street intelligence and pop potential in the same song… sometimes even in the same line. The brilliance of Clipse is the way they offer up the same 'we sold cocaine' tropes but said a little better, song after song, and then suddenly drop a particularly dark insight or emotional reality/quotable. This CD shows Clipse maturing a little more and learning how to walk the fine line between mass appeal and street appeal. Banging production, flamboyant lyricism, and another chapter in the saga of Virginia's finest. My Top Picks: 1. Kinda Like A Big deal 2. Doorman 3. Freedom 4. Popular Demand 5. Footsteps 6. Eyes On Me 7. I'm Good”

“A bit disappointing. Emilio had ample time and resources it would appear, to just be himself and make something more memorable, yet he chose to underachieve. Over-inclusion of braggadocio rhymes, many times getting caught in woman/relationships tracks, but, still, no complaints cos the verses on those joint were even laced with slick rhymes. I guess, I just prefer when he was kickin' knowledge. No matter what happens I'm saving "Tic Toc" to my Mp3 Player and throwing it on a CD-R too. This is a solid release, no doubt there, and it caters to a pretty broad audience than his past releases. I also felt Emilio could show more variety in terms of his flow but what he may lack in terms of voice or flow, he makes up for in solidity and consistency in lyrics. There aren't many independent artists that are able to churn out intricate lyrics, over diverse flow and sound. When I saw the tracklisting and saw the beats are handled by 6th Sense, DJ Green Lantern, Boi-1Da, M-Phazes and Nottz, I really couldn’t wait to hear it and it didn’t disappoint. Beats were high-quality throughout. Loved it! All in all, some of it I bumped all day, other joints I really didn't show much love... yo gonna have to explore for yaself, but the joints "Tic Toc", "Sympathy for the Devil" and "Bold & Arrogant" make this more than worth the download effort alone. Overall a strong 3.5 outta 5. My Top Picks: 1. Tic Toc 2. Sympathy for the Devil 3. Bold & Arrogant 4. Live for the Moment 5. Tonight”

“Outside of Eminem, Joell and Crooked I, there isn’t another emcee who is writing with the quotables per bar and utter technical mastery that Royce is right now. He bodies almost every track he gets on, and he combines energy and intensity with impressive, intricate verse construction. If anything, Royce Da 5'9" makes it abundantly clear that his vicious rhymes and brutal swagger have only been made stronger by years of adversity. With some of the most sought-after producers of the day, from DJ Premier, Nottz, Streetrunner to Denaun Porter; Royce gets a chance to place his words and flows within different soundscapes. Each one is capable of pushing Da 5'9" over the top, and he's able to succeed. Some of these beats are quite complex, with rhymes following suit. The triumphant horns of "Warriors" is not Streetrunner's most ambitious production, by any means, but the rewind button will get a workout nonetheless, as each MC lays down the same lyrical fire they have now become famous for. Hardcore rapping, comical punchlines, and a no-nonsense flow combined with a deep voice that rings in your head like an uppercut. Royce is more than happy to prove his skills and breath control are no joke on "Dinner Time". Over Premo's soulful and laid back boom bappery Royce, Joell and BunB delve into the vast subject that is 'Hood Love' i.e. having love in the hood. There's nothing simplistic about the bars of "Street Hop". Royce purposefully stack his rhymes between bars, challenging you to follow the flow, and rewarding you when you do so with superior punchlines and compelling storytelling. Bottom line, Royce Da 5'9" does not drop even one mediocre verse on the entire album, some would say his career. "Street Hop" is a stellar album, but it still has a few slight discrepancies. The album is a little disjointed. Although there are no true duds, per se, there are a few songs such as "Thing For Your Girlfriend" and "Bad Boy", listenable in their own world, but they doesn't fit with the rest of the album and sounded forced. The album as a whole could have been tightened up a bit. Still, I’m proud of Royce Da 5'9". He’s always had some of the best talent in rap, but with this album, he finally has an album that shows everything that he can do. Solid four stars. My Top Picks: 1. Shake This 2. Dinner Time 3. Gun Harmonizing 4. On The Run 5. Part Of Me 6. Hood Love”

“"Boy Meets World" is a magnificent example of where hip-hop’s future may lie. It embodies the principle of hip-hop in a pure form – one producer and one emcee. And most importantly, it spotlights the extraordinary talent of two of the best artists out right now. The album is branded with Exile's insignia, thus bringing Fashawn's name to a multitude of new listeners. Right from the "Intro" track, it is apparent that Fashawn is a gifted lyricist, probably more so than one would expect. When a big named artist (in this case Exile) collaborates with a lesser-known talent (in this case Fashawn), there is a definite stigma; we almost automatically expect the aforementioned lesser-known talent to be out-matched, or musically inadequate. Fashawn squashes this assumption with a confident flow and by speaking on a number of diverse topics throughout the record. The song that sealed the deal for me was "Life As A Shorty" where Fash dives into some pretty candid facts from a childhood that seemed a lil' mis-spent and a lil', well, "rough".. Speaking on his multiple "dads", not having tons of money and even a first love long gone, this tale will ring all too familiar to a lot of us. Fashawn, a young man, a few years out of his teens sets out to tell the world the story of his ups and downs, a troubled/dysfunctional family background, love, and financial struggles amongst other themes such as society and surviving urban life. He’s got a steady confident flow in that the delivery/cadence remains smooth but all the words are sharp and punctual, making sure to never fumble over any lines. The type of emcee that doesn't sound like he's forcefully rapping. The concepts/rhymes are dense and repeated listens pay dividends. Exile’s silky smooth strings and melodic keys production is equally impressive, effortlessly matching Fashawn's flow throughout with varied, earthy, & soulful blues and jazz samples/soundscapes that never sound redundant. "Stars" and "Samsonite Man" both remind us that Exile has impeccable taste when it comes to choosing samples. My ears thank you. "When She Calls" allows Fashawn to show off his gripping story telling ability, riding the beat effortlessly. At no point does he sound weak on the mic; and at times is outstanding in his own right, for example, his half sung melodic flow on the bridge of title track "Boy Meets World" caught me off-guard and it literally blew my mind! "The Outer City" is a laid back, spacey joint that is true production genius. The sing songy delivery on hook and slice of life tale that Fashawn kicks on verses matches up perfectly with the instrumental. Fashawn & Exile leave little room for additional help on "Boy Meets World", but when the duo do bring in third parties the results are pleasing. Co$$ and Mistah FAB makes guest appearance on "Sunny CA" and completely killed the beat, where Planet Asia and Fash show great chemistry on "The Score". "Hey Young World" features guest verse from Aloe Blacc and also enlists Devoya Mayo, a male vocalist, who successfully adds to the personality of a very soulful chorus. Both Fashawn & Exile obviously care a great deal about what they commit to wax, and the effort definitely shines. All in all, a must-have for the heads. Fashawn's debut effort may not lead to overwhelming commercial success, but I'm sure that was neither the purpose nor the intent. Get this, and get re-acquainted with hip hop all over again. It's hard to say what songs I like the best because he has one for every mood. But for what I think will be instant classics I can say: 1. Life As A Shorty 2. Samsonite Man 3. Boy Meets World 4. When She Calls 5. Stars 6. Hey Young World 7. Why”

“"I will never doubt this man's work ever again." This may not be considered his greatest album to date, but it does serve as a positive shift to show that Tony Starks is a man of many hats and can handle music on all ends. While I may not be the best at keeping track of how many albums he has done, but what I do know is that this record is certainly among his best ones. Solid four stars. Rare is the artist who can write for multiple audiences and please nearly all of them. If you're a true fan looking for the Ghostface Killah you know and love, the one that never hesitates to raise the bar while staying to true to himself, "Wizard of Poetry" is what you've been waiting for. It will surprise and entertain fans both old and new. High quality stuff from one of the Rap's best storytellers. Top Picks: 1. Paragraphs of Love 2. Forever 3. Baby 4. Let's Stop Playing 5. Guest House 6. Lonely”

“Let me start by saying this, the album is like a surreal walk through the mind of the main character, that character is KiD CuDi. The production sonically pieces the ups and downs together into a cohesive unit. The album is best heard from beginning to end so you can feel the experience of it. The variety of instruments and narration (by Common) between songs take you on musical journey. The album is properly sequenced, which enhances both the rhythm and the pace of this work. The album’s rhythm is well managed. Speed changes are never stark or uneven but always noticeable. The album is cohesive while still being entertaining and keeping on the path of the story. Adding Common as the narrator was a nice touch, it doesn’t come off as forced or pretentious, instead sets the mood for what’s to come. From the jump you can tell that this is no party album as it opens with "In My Dreams" CuDi croons softly over violins and spacey keyboards where he emits pride and emotion in finally realizing his dream, and being able to share it with all his listeners. It’s the perfect tempo for an opening song. It sets the pace and allows for variation. On "Soundtrack To My Life" instead of focusing on the usual topics, CuDi offers you a glimpse into his weaknesses and fears. The entire album is conceptually written and follows that tone all the way to the end. CuDi has a very rhythmic flow, with runs of harmonized sing-song raps. The rhyme schemes never gets in the way of the message, and the flow never fights the beat and just floats on top of it. He's not trying to convince you he's the hottest lyricist going but he's not so simplistic that you can't get with it. Album often indicates that KiD CuDi is more of a mood carrier who uses his words and deliveries for atmospheric effect. “Mr. Solo Dolo (nightmare),” which opens the second act. Over plucked harp strings and violins, CuDi immerses the listener in the landscape of his dreams. CuDi gives positive message on "Heart Of a Lion" showing us that following your dreams, no matter what other people think, is the only way to become truly happy over anthemic horn-like synths and piano chords. "Day N Night" the track that started it all, chronicles the self-proclaimed stoner’s lonely adventures and the relief he finds in that good, sticky Kush. In "Sky Might Fall" the midnight pensive moodiness of Kid Cudi holds sway, and the vibe is chill. The message screams “HOPE!” as he expresses the ups and downs of his life through rhymes and rhythm. "Alive" a chick song where CuDi compares himself to a Werewolf and is on the “prowl” for chicks. Ya dig! ... "Hyyerr" in which Mr. Mescudi employs a new lyrical cadence that suits him (and the beat) quite well. There are no deep messages to be found, just two chill dudes making that laid back rap you can smoke to. I don’t even smoke anymore and I can still vibe to this sh*t all day. "Up Up & Away" is one of my favorites and it sets off a flurry of positive emotions in me every time I listen to it. :s ~ :I ~ :-) seem to encompass you into a celebratory mood. All the artists need to take a note cos dats how you should end your joint! The moment it got over I was all ready for another spin front to back. Bookoo props to CuDi and all parties involved. CuDi keeps his style tight throughout on standouts like “My World” and “Pursuit Of Happiness” but also opting for a slightly more straightforward rapping approach to verses, less sing-songy, spoken-wordish delivery on one of my favorites cut "CuDi Zone." Just like most of the fans of his past ventures, I was also taken aback by the focus on singing aspect more this time around. But I can't help but enjoy the fact that he took another route to express his life and still put out solid songs throughout the whole CD. It’s undoubted that KiD CuDi ain't a gifted singer, but he does possess an appropriate sense of tone and harmony to pull of sing-songy delivery with ease. And I don't mind hearing slight errors of an artist as long as their voice is filled with true emotion and care as they sing capturing lyrics. As far as for the production on the tape, CuDi went down the synth heavy, electro route for a good deal of the record. Cudi takes Spaceship metaphor and flies away with the electro sound giving the tape a echoic, almost ambient sound at times and space age feel. The tracks that lack the electro touch, feature a stripped down and simple production value which let his rhyming and singing shine through. The production is intense/dark where it needs to be and soothing/celebratory where it needs to be. The album sonically captures emotions and then CuDi comes in and work on those emotions lyrically. All of the joints, are very much approached musically. It's not about the best beats, or the fiercest rhyme scheme but about putting together a song as a whole and connecting with people. CuDi deals with personal issues and is not shy about addressing them in almost every song. At times his lyricism isn’t well pointed and more than a few times I felt that he wasn't able to nail the concept lyrically he was going for and nearly on every track you'll find KiD CuDi repeats at least one phrase (usually several) multiple times in a row. But rhymes can’t really be evaluated in the typical fashion as they take their time to get their points across, which is a nice contrast to the in-your-face antics of most artists today. The hooks are very accessible and not heavily intellectually challenging, yet very intriguing in the context of the song. With the hooks that include his vocal presence are exceptionally melodic and stay with you longer than the hangover after a bad night of tequila. The result is an album that reaches into black music's past to push Hip Hop and RnB's borders into left field. the whole vibes and sheer musicality of production is so damn-near hypnotizing. Sometimes you just want to reach for a moody album and CuDi obliges. Too many artists are afraid to step outside of their “boundaries” and do something different. They’re afraid that people won’t accept it and that they’ll be looked down on for it. Bump that, we need more artists like KiD CuDi, Shawn Chrystopher etc. who aren’t afraid to test the waters and go against the grain. And for that sole reason alone I'd rate this full-on! His evolution will be exciting to watch and I hope that his lyrical-skills will grow and mature over time, perfecting his vision along the way. Top Picks: 1. Enter Galactic 2. Hyyerr 3. Up Up & Away 4. Sky Might Fall 5. Day n Night 6. Act 1”

“'My First Neo-Soul/RnB Purchase' Maxwell ends the guesswork over his long exile with a return-to-kingdom album. Maxwell’s music has a very grown up feel to me. Songs that speak of love, adoration, anticipation, pleasure and pain are complemented by contagious hooks that sink deeper with each revisit. Just like smoke that's in no hurry to leave the room, they are loaded with pregnant expression amidst all the leisure-groovy instrumentation. “Pretty Wings” begins with Asian chimes and speaks of a love lost. It is melodious, smooth, deep and vocally flawless and a track that makes me want to by-pass puppy love and get right into the thick of love. His songs content and voice are unmatched quality. No other song is an initially breathtaking as "Pretty Wings". However, after that initial realisation, on second and third listens, you begin to appreciate the album for what it is. The realness of the music cannot be debated, with an impressive lineup of instruments used, from organ to trumpet, trombone to saxophone. “Cold,” is a horn infused track where Maxwell explains that some women are just cold-hearted, but he does it with it a cool jazz feel. "Fistful of Tears" and "Playing Possum" are another stand outs, keeping with Maxwell’s meaningful and minimalistic word style. Ending with an instrumental, "Phoenix Rise" is what you can call 'funk meets Ibiza' in instrumental mode. According to Nathan - it might not be topping Maxwell’s previous work, but it definitely stays true to his style. And we have another two almost-guaranteed albums to look forward to from him. With his delicate voice, smart song arrangement and his talent for writing, the Maxwell drought is over and if once you get pass the number of songs on BLACKsummer’s night, you’ll see it was worth the wait. Top Picks: 1. Pretty Wings 2. Bad Habits 3. Love You 4. Help Somebody”