Showing posts with label Album Review. Show all posts
Showing posts with label Album Review. Show all posts

Thursday, May 7, 2009

Eminem "Relapse" Album Review























It's been five years since Eminem dropped his last lp "Encore", which was at most... meh. His most recent venture "Relapse" found it's way into my ipod today. Here's my review:

"Dr. West (Intro)" - Great intro. Scenario is of Marshall getting "great" advice upon his rehab release from his therapist. Sets up the next song lovely.

"3am" - The sequencing between the last track and this is perfect. I like this here better after I watched the video. Did Dre produce this? Only because I'm not mad at the production. At all. Plus, I'm digging the "Silence of the Lambs" reference. The horns, the keys, that dramatic foreboding tone is all there. Classic Em and Dre (?).

"My Mom" - Nigga, you ain't resolve any of those effin' issues with your moms yet? Em shares with us how effd up his childhood was and how he claims his moms introduced Valium and all other types of shit to him through his food. Marshall, for real, work that shit out or kill her already. This topic is as tired as it is listening to 40 year Jay still rapping about moving weight. Don't get me wrong, the song is somewhat decent, it's just we've been there and done done that already. No typo. Several times. I am firmly convinced that I don't ever wanna hear another song about Eminem's mom ever ever ever again.

"Insane" - Whoah!!! Em's rapping about how he was forced to suck on his uncle when he was a lil' kid? TMI!!! Anyways, this gem is laced with a tired ass sounding Dr. Dre(?) track. On the 2nd and 3rd verses, Em 's flow suddenly sounds like he's B-Real of Cyprus Hills fame. Meh.

"Bagpipes From Baghdad" - This is dope. If it were 1999 again. For 2009, not so much. Oh, he's dissing Mariah again? Why? Plus some shots at Nick Cannon. Dayum. Production sounds like an old Dr. Dre track. But not in a good way. Ah man. I don't think I'm liking where this album is going.

"Hello" - A really meh song trying really really hard to be a meh strip club banger. It succeeds in doing so.

"Tonya" - Another meh song about Em as a serial killer stalking Tanya, Lindsay and Britney. Poor them. Poor me too. There is absolutely zero amount of connect going on between this song and me.

"We Made You" -... fast forward to the next song. And quick!

"Medicine Ball" - Pretty good song, disgusting visuals though. And not that good to steer this cd from the train wreck that I'm foreseeing in the near future. Oh yeah, he fires some more shots at Christopher Reeves, whose been dead for years. What's the point?

"Paul (skit)" - Yet another skit with Em's manager Paul Rosenberg complaining about Em's choice of content and subject matter. He's also telling Em that Christopher Reeves has been dead for years. I'm wondering was he also complaining to Em about how shitty this album is sounding.

"Stay Wide Awake" - Great, another song about murder, and with buzzaws. ZZZZZZZZZ and meh.

"Old Times Sake feat. Dr. Dre" Uhm......................................

You know what? I'm a grown ass man with four kids, a mortgage, a beautiful wife who is wishing I spent less time on the keyboards, a close family member whose facing a potential life threatening disease and all other types of real life issues to deal with. FUCKOUTTA HERE! I'm not going through with the rest of this effin album. Not without getting paid. FUCK THAT. I have better shit to get into, and I deserve way better than this. And so do you. Stay away from this bitch!

On the strength of what I've heard and as extra credit for Eminem successfully undergoing a successful rehab, "Relapse" gets a 2 salutes out of 5 Combat Jack salutes.









FUCKOUTTA HERE!

Monday, May 4, 2009

Cam'ron - "Crime Pays" Album Review
























"Absence Makes The Heart Grow Fonder"


I've always liked Cam'ron as a rapper [||]. Not that he was ever that dope, just dope enough. What I also liked was that Cam's been able to be consistent in being unpredictable, and also, unfortunately, inconsistent. He hasn't always delivered, and even though he actually led the "dumb down rap" movement a few years back when he bum-rushed his Diplomat crew onto rap fans everywhere, Dip-Set thriving on ignorance, stale flow and the same old same old sounding frenetic beats and operatic chorus like production, their movement was fresh and somewhat invigorating. They even managed to drop a couple of classics during their reign. The '90's babies seemed like they couldn't get enough of them. Now in 2009, times have changed, Dip-Set broke up, Cam's former weed carrier and capo Jim Jones stepped up to wrest leadership of the remaining crew and Cam was exiled for a couple of years.

In his absence, all the good shit that I liked about Cam remained fresh in my memory. And when he started making noise about his comeback earlier this year, I was right there, claiming "Killa!", hoping the current underdog would come back and restore order to all this LCD rap flowing out of New York. I got my copy of his latest album "Crime Pays" earlier today and "went in' for the review.


Crime Pays Intro
: Slinky Beat, Cam rapping about what his classmates wanted to be in 3rd grade. Standard Cam fare, sounding like circa 2000 - 2006. But in a stale way.

Cookin Up: Sounded better as a leaked track. Same old production. Kinda like a New York Young Jeezy vibe. Cam fires shots at his old crew. Kinda boring though.

Where I Know You From: Actually sounds like an old Jeezy beat. But not in a new way. I'm getting bored.

Fuck Cam #1: Skit about a wino talking shit about Cam. Not funny.

Never Ever: Cool quasi anthemic joint. Cam's old flow, kinda on that "Killa Cam" joint, only lazier.

Curve: A bit more lively of a track. Cam's going in but I'm not really caring at this point. Maybe I should burn something, enhance my senses, 'cause I'm missing the point right about now.

Silky (No Homo): Sounded better as a leaked track. I'm starting to realize that even though he's back, Cam sounds uninspired. Like.really.effin.uninspired.

Get It In Ohio: So new and yet so old.

Who: Funky ass beat with Exorcist horror sounding vocal sound effects. Cam flows but again sounding very uninspired.

Grease Skit: Chick bitching over the phone skit again. Cam threatens that he'll drop a deuce in her car. Yawn.

You Know What's Up (Feat. Co & Sky Lyn): Really bad song about sex. There's TWELVE more tracks for me to suffer through. How ignorant is this, or how delusional was I to think I wanted to suffer through another Cam'ron album? Fuck me!

Spend The Night: Sounded better as a leaked track. Yawn.

Fuck Cam #2. Part two of the first skit. Brilliant. Not.

Woo Hoo (Feat Byrd Lady & 40 Cal): Cam tries to sound excited, maybe because he's sharing the spotlight with 40 Cal and Byrd Lady, but I'm really no longer interested. This album gets worser and worser. There's effin NINE more songs to listen to. Not happy about that at all.

Chalupa: I just gouged out my left eye to distract me from the pain I'm forcing myself to go through.

Cookies N Apple Juice (Feat Skitzo & Byrd Lady): Sounded better as a leaked track. I think I still like this, but I don't care anymore.

(I Hate) My Job: Best song on the album so far. But it's too late because now (I Hate) this album.

Homicide: Please, kill me now. Really.

Fuck Cam #3: Uhm, word.

Got It For Cheap: Got it for free and I'm still mad. Sounded better as a leaked track.

Get It Get It: Decent soulful feel to the production. Sounds kind of like a personal heartfelt joint, I'm just missing what exactly I'm supposed to feel though.

Bottom Of The Pussy: It is what it sounds like.

Fuck Cam #4: He said it, not me.


You know how when they dropped Nas' "Lost Tapes" and it was really really good? "Crime Pays" is like Cam's "Lost Tapes", tracks that were lost and unreleased between his "Purple Haze" and "Killa Season" albums, except that these tracks should have remained lost and unreleased. To his credit, I get the feeling that Cam'ron put a lot of work in this album, but only to make it sound kinda meh. Unlike the production work found on Jim Jones semi-classic "Hustler's P.O.M.E.", the old Cam/ Dip-set sounding production work on "Crime Pays" doesn't work in his favor, we've been there and have heard this way too many times before. Maybe Cameron Giles really went through all the personal shit he claims to have gone through during his absence because he's really coming off sounding very depressed and uninspired. This album is kinda like that old love you broke up with years ago, only to try and make the relationship work out of a sense of nostalgia, but right after that first date, you remember why ya'll broke up and KNOW it ain't gonna work no more.

With "Crime Pays", it's official, The Dip-Set movement is finally dead. Also, this might be the very last Cam'rom album I ever listen to. And I'm a Cam fan.

"Crime Pays" gets 2 Combat Jack salutes out of 5.

Tuesday, April 14, 2009

Asher Roth "Asleep In The Bread Aisle" Album Review























This past weekend, I was up in Ithaca, NY, speaking on a panel at my Alma Mater, Cornell University. I was on a panel with a couple of Cornell grads who ran with their Ivy League degrees and went on to having a career in the music industry. Like the homie Londell McMillan, a fellow classmate of mine, entertainment Attorney and current owner of the Source magazine. I remember when me and him would run through the campus rocking doo rags, shell toe Adidas and fat laces, he rocked the Cazals. The event was truly dope. Between the students soaking up game, the crazy architecture sprawled out across the ginormous campus or the beautiful town of Ithaca, New York with all its gorges, mountains, rivers and quaint college town, it made me remember how much I loved college. Best effin four years of my life. I feel so grateful in that I was able to transition from Lincoln Place between Albany and Troy Avenues, in the Crown Heights section of Brooklyn, with the crack jackers crack jacking up the block to waking up on campus, on late and lazy Sunday afternoons, with the crazy hangover from too much keg brew and with a young and warm co-ed snuggled up under my comforter, trying hard to not wake up in order to avoid her liquor induced headache from the night before. I loved college.
















Which is why I was extremely amped to review Asher Roth's freshman album,"Asleep In The Bread Aisle". Having just mentioned him last week, it might seem like I got sucked into the hype beast surrounding dude, but other than "I Love College", "Just Like I Em'" and his "Roth Boys" freestyle, I did a great job of not having heard his work until I had the opportunity to listen to the album in it's entirety. Here's my review:

"Lark On My Go Kart"
Ahser starts the lp nice, spitting a controlled and smooth flow, white boy inflection and all. The track is crazy too, rolling beats, dirty bass, dusty ass sounding sample. I'm not mad, and now I see where dude says he studied Jay-Z, not in his wordplay but in his tone, on how he rides the beat while keeping his voice on a perfect and steady pitch. This track here is tight and right.

"Blunt Cruisin'"
Slow and low dubbed out beat with traces of reggae and a jungle type break. As a dude whose first single is about how he loves college, this here is the required ode to weed smoking. His lyrics and flow sounds like Asher is spitting free association and under the influence. The song as a whole doesn't grab me, coming off somewhat lazy sounding, but I kinda could see how if I was in college this Spring, and this was being banged out of a dope system, in a small setting, with chicks dancing and with the scent of burning herbals wafting through the atmosphere, warm Guiness in hand, I might could like this a bit more.

"I Love College"
Me too! Perfect single. Never gave it this much attention before. Great pop song but with bass guitar licks that manage to sink into my system. Mellow ass hard beat. Roth does a great job of reminding me why college was the best time of my life. I wish this came out back then. Nice song to get up close to that cutie majoring in engineering, get her to take her study break back to your crib off campus.

"La Di Da"
Sounds like he's sharing some personal issues. Simple melody, soulful vibe, problem is I'm just not connecting with Asher. Not to come off all judgemental on dude, but this here sounds like he ain't really go through some hellish life shit yet, the type of shit that would give his message here just a little bit more depth, a bit more desperation. I don't believe him.

"Be By Myself (featuring Ceelo)"
Groovy song, good to hear Ceelo. Solid hook with Asher flowing, once again though, his words are lost on me. Very Gnarls Barkley sounding, like it should. Might have legs on alternative based college radio shows. Maybe.

"Don't Wanna Man"
Way over-produced for this album. Not bad production mind you, just too obviously and clearly aimed at the pop charts. I'm also starting to get annoyed that I'm not retaining any of dude's lyrics, not really feeling his mind-state. As different as possible from "I Love College" or "Lark On My Go Kart", both of which set the stage for that classic crunchy college album you might think this is, or might want it to be.

"Sour Patch Kids"
Asher goes in deep. Raps about issues like capitalism, war, America's games of lies and deceipt. Problem is Asher doesn't go deep enough for my liking. When I was in college, one of my boys was really heavy on the whole anti-apartheid divestment movement on campus. I personally think he went in only to score with the white chicks. No doubt I would show some support by attending some rallies, but my dude would go the whole nine, sleeping overnight in some janky ass cardboard shanties, all up in the snow and rain and mud. One of the few (if not only) Black dudes that was camped out on campus with a whole lotta white kids. The first time the cops came to bust that shit up and dragged his protesting ass straight towards the paddy wagon, his heels digging deep in the grass as he peacefully resisted arrest, me and my ignorant ass crew stood by the sidelines laughing our asses off as him being subdued was some of the funniest shit I'd ever seen. Just as I'm making it clear here that I wasn't the type to take certain issues on campus that serious is how Asher sounds, only with him trying his best to convince me that he is that concerned dude. Not bad, just not translating. I'm not believing him and I'm wanting to hear something from him again that can make me believe. Great rocking and bouncy funk track though. Good production.

"As I Em (featuring Chester French)"
Being as how him being white and having to be compared to Eminem must really be annoying, Roth comes off sounding like this is some valid personal close to home shit he's going through. Being that the whole white rapper thing is a real issue, Asher's delivery sounds sincere on this one, so much so that I really feel his pain. When Asher raps about issues that Asher really goes through, he sounds at his best. This is most definitely his lane, you know, the white rapper being misunderstood and unfairly being compared to Em. Tough dilemma to be in, but he pulls it off with flying colors. I believe him.

"Lion's Roar (featuring New Kingdom and Busta Rhymes)"
Decent Timbaland sounding pop track, horrible effin sequencing in that it follows "As I Em" which was a great transitional track for Roth to up the ante thematically/ lyrically for the rest of the album. The double time rap thingie is not for him. Busta comes in and does a great job though, carrying the track on his shoulder in order to assist Roth onto the next track. Great save on Busta's behalf.

"Bad Day (featuring Jazzy Pha)"
Bouncy laid back bounce. Pop rap story song about a plane ride gone terribly wrong, starting with Asher having forgotten to pack his i-pod. Same vein as classic 80's songs like "Parent's Just Don't Understand" or any Slick Rick rap tale of woe. Roth manages to come back into his lane after having swerved off a coupl'a too many times. I believe him on this one too.

"His Dream"
A song about his father. Very autobiographical in nature. Decent song. Felt it would have been better and that I would feel it more if this was on his next album as opposed to his first.

"Fallin'"
Great song with Asher reminiscing back to the 7th grade when he first started studying Jigga, how he fell in love with rap wordplay. Asher's doing Asher. I believe him.

"Perfectionist (featuring Beanie Sigel)"
Decent braggadocio joint. Until Beanie shows up to murder him on his own shit. Interesting to see these two team up, but not certain that the whole odd couple thing works.

"The Lounge"
Jazzy slinky joint about what a rapper looks like and how Asher doesn't fit the bill. "How I Em" kinda already tackled this issue.

Let me be clear, I really like Asher Roth when he's doing Asher, or at least what I think him doing Asher is. Not trying to pigeonhole his artistry, but Roth sounds more at home when he's rapping about shit that sounds like he's experienced or gone through first hand. "I Love College" was the perfect set up for that perfect college album based on issues and situations that most freshmen in college go through. As much as I wanted to love this record as a whole, it sounded like it was all over the place. Over ambitious even. Doesn't mean that there aren't a good deal of singles on "Asleep In The Bread Aisle", the album has plenty. This album will do very well for all the obvious reasons, and being what it is, I'm not mad at that. It just sounds like being the freshman that he is, Asher was way too eager to go from frosh to J.V. in sixty seconds, missing out on the perfect opportunity to drop that classic freshman album.

That being said, "Asleep In The Bread Aisle" gets 3 out of 5 Combat Jack Salutes.