All Phat, No Filler [4.5 Stars]
350580
The Primeridian consists of Tree Tha Scarecrow and See-Me-On.  For the most part, their mission is to enlighten, educate, and empower.  The lyrics provoke thought and deal with poverty, the war in Iraq, and other topics of importance that are typically overlooked in hip hop.  The Primeridian also pull double duty by not only writing, but also producing all but four tracks on the album.  Their sound is a jazzy, melodic blend that is sure to keep heads nodding and fingers snapping.  Da Allnighta is a refreshing listen with its smooth beats and driven, poignant lyrics.  It's the kind of album that hip hop could definitely could use more of.
1267322
Lyrics, lyrics, lyrics. Phonte, Elzhi, pharoahe monch!!! What more could you want? The beats are well crafted and will keep your head nodding from beginning to end. The only complaint i have about the album is I don't really care for the tracks where Phonte sings. Singing is just not his strong point in my opinion. Stick to spitting bars dude! Other than that this album is a banger from start to finish.
4925884
Solid album from Guetta.  The emotion in many of the songs makes this album memorable.  No one track stands out above the rest, but many all shine.  Sia's contributions on "Bang my head" and "Whisperer" are solid additions.  "Whisperer" differs, being a piano ballad, but the heartfelt lyrics make it one of the best.  John Legend's voice on the title track is a fantastic mesh of so many strengths, while the Script's "Goodbye Friend" blends Guetta's production and the guest's vocals together perfectly.

Not as good as Nothing but the Beat, but a worthy try with some solid tracks that are worth a listen to.
2612925
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CD1 is superb overall.  "Nightvisions", "Sineweaver" and "Drop Beat" are tender morsels of funk.  Valentino's "Flyin" stands out from the rest -- really, really smooooth with deep bass.  Moony's "Doves" takes a little getting used to.  I found the vocal accompaniment a bit unusual, but a good choon nonetheless.
CD2 starts off with a bang.  "Way2tite" and "Time" are truly uplifting.  The CD levels out until Lowriders' "Part 1", a track bursting at the seams with drumbeats.  Maurice & Noble's "Hoochikoochi" is an unusual blend of rock and trance.  The disc continues to build up with "Break them Up" and gradually descends with Holden and Thompson's "Nothing", featuring a rather bizzarre vocal track.
This compilation leans toward the mellow side and is quite easy to listen to.  Thankfully, cheese vocals are kept to a minimum, and any that are present flow seamlessly with the melody.  An improvement over the Moscow compilation, it has everything one looks for in a *club* album; a deep, thumping bassline, plenty of funk and enough hooks to keep you listening to the set in its entirety.
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1620121
ok, kmez, don't bother insulting me here, thats reserved for toxicity. so shut up and go watch your DBZ while i review this.

Suite-Pea: 9/10 Tight intro, it kind of bashes Christianity though, but i don't care, cause im Jewish :P i think they were just screwing around with this one.

Know: 7/10 i really like the drums, but that's the only thing that stands out. unintelligable lyrics.

Sugar: 10/10 THE KOMBUCHA MUSHROOM PEOPLE! lol, as many other people has said, this song is totally unpredictable on the first listen, and it kinda grabs you into it in an inconspicuous kind of way. i really love this track.

Suggestions: 8/10 its ok. the high voice serj makes at the end cracks me and my buds up. something about ships attacking the coast O_o

Spiders: 9/10 Ah yes, the big, single-type song. i think that this is serj's most melodic vocal performance, with long note holdings and a beautiful solo in the middle.

Ddevil: 8/10 Too short to be a ten, very catchy though. Strong refrigerators?

Soil: 20/10 A heartfelt song about a friend who fell victim to suicide, with amazing lyrics and my favorite guitar solo fo all time. i'd give this album 5 stars just for this song.
My favorite on the album.

War?: 9/10 About the crusades, and how pointless war over religion is. I agree.

Mind: 15/10 My second favorite. It has an addictive stop-start layout, and its six minutes long. this is pretty sweet...mutually mentally molested. lol.

Peephole: 8/10 This is a heavy, circus-oriented song about how some people have a major dependance on drugs, and how bad it is for them.

CUBErt: 10/10 This is the only short song that i like on this album, about video games?

Darts: 9/10 Strange, strange, strange. The change of pitch makes for a funny song.

P.L.U.C.K.: 10/10 About the Armenian genocide by the Turks. the guitars are catchy, the drums are pimpin, and serj is...well, serj. thats the only way i can describe how his vocals are in this song.

125/130 overall....is an A! i'd say this is the best SOAD album, nice, raw, and downright amazing. thank you for reading!
4110818
MC Paul Barman's EP It's Very Stimulating was a comedic rap masterpiece.  It was extremely funny with marvelous production by Prince Paul.  His full-length follow up is a step backwards when taken as a whole.  There are several excellent tracks but far too many cuts are easy to skip over.
The album starts off quite strong but regresses as it goes on.  "Paullelujah" is a fun track offering a variety of critiques, mostly focusing on the educational system.  The third cut "C*ck Mobster" is absurdly hilarious.  It has a string of rhyming one-liners about celebrity women ranging from Kirstie Alley ("Thirsty valley") to Winona Ryder ("Goin' inside her") that Paul fantasizes about, at least on the track or on-line.  "Old Paul" it kind of a send up of the Where-I-Came-From sub-genre of hip-hop.  "Bleeding Brain Grow" is a track reflecting Mr. Barman's frustration about several sects of society.  "N.O.W." brings another comedic track to the album.  It's a positively hilarious representation of the right-wing stereotype of male feminists as in, men who go to pro-choice protests to meet easy women.  It's a gem.  With the exceptions of "Anarchist Bookstore part 1" and the goofy "Burping & Farting", much of the rest of the album is filler track.  "Anarchist Bookstore part 1" offers a sharp take on the concept of "PC".  It's a brief and solid dissection of the idea of political correctness to reveal the absurd ideas behind it.
The production on the album is solid and often original but rarely struck me as something above par.  The beats are marginal but the overlay and fill is quite novel.  This album probably offers the first appearance of the word cuneiform in a hip-hop track but unfortunately it also offers a strong minority of weak tracks.  Still, it's worth getting.
3205794
Quality beats are for sure used here but to some it may be either hit or miss.

It starts out with a dragged out beat that is either addicting to some and annoying to others. I personally think it works nicely.

66th Street is a laid back uptempo vibe. Solid song. Slug rides with the beat nicely

My personal favorite of this short album is "They all get mad you". Fast uptempo drama-heavy beat. Like the concept as well.

Beautiful is a very boring beat (rare from ANT) and will probably get skipped often by listeners.

Ha, This one is about alocohol too is a nice vibing song that is calm but comes along nicely with the background bouncing sounds. May get boring after awhile, but it still nicely done.

I would give this EP 3.5 but I will round up and give them a 4 since the music is quality and lyrics are on point. it is just this one may be the least one played in the Season EP series.
4194397
This is a solid album from Skillet, and a much better follow-up to "Comatose" than "Awake" was. With this album, the band offers a good amount of variety by structuring the singles into a story. Many of the singles end with a prelude into the next song, rewarding the listener with more rich content, while also helping tie together a cohesive narrative. There is a nice amount of variety and atmosphere across the album, keeping the entire experience fresh and engaging throughout. My only complaint comes from the lack of consistency in the quality of each single. Some singles, like "Rise", "Circus of Psychos", and "Not Gonna Die" are certainly of higher quality than other singles in the album, such as "American Voice", "Good to be Alive", and "My Religion". After my first listen through, I often find myself skipping many songs in the album, which is a shame. Can't say this is the best album the band has released, but for what it is, it's definitely worth a full listen, for its movie-like presentation and many of its high quality singles. Also, if you have the funds, I'd recommend picking up the Deluxe Edition, as it comes with two singles that add to the experience.
378967
Pharoahe Monch has grasped the most elusive embodiment of hip-hop music: the crafting of a perfect album. The display of skill, material, production, and timing puts this long-awaited piece into another category altogether--and that is saying quite a lot! Our genres' roster over the previous three-years, at least, has seen some truly amazing and encouraging offerings from vets, budding talents, and rookies, many of which have damn-near reinvigorated the approach of us fellow artists. Even with positing that, I have to admit there is something very different about W.A.R.--something unlike not only Monch's priors, but also very different from the overwhelming majority of lyrical-aesthetician contributions: I am calling this a flawless victory.  Such high praise is usually avoided, as a rule--except for where it applies.

Some of the other reviewers have pointed out that production is a slight liability on this one, considering the titular implications. We disagree sharply! Nothing is more boring than an album full of beats, however 'hard', all sounding exactly the same, without range or creativity! Pharoahe actually has soul, folks--and that is why production goes through the moods experienced on W.A.R. (i.e., 'Black Hand Side'). Here we have an album where the emcee has balanced all of the necessary elements: confidence and strength, subtlety and nuance, melody and message, persona and depth, pathos and inspiration, vision and timing, `self'-expression and community/audience involvement (guests and supporters). Are those not attributes of what we hope to find in new releases? I can name a number of recent projects that seem to have a connection to each other, a common-thread running through them; yet W.A.R. sounds like a distillation of all those perspectives, a `Calculated Amalgamation' if you will--minus any weaknesses. Much of the style and wordplay on here, including cameos who are punching above their weight, is exhilaratingly intimidating: consider your first `WOW!'-moment in hip-hop to fully understand what I mean (i.e., 'Assassins' with Jean Grae & Royce da 5'9'').

So, while looking forward to reaching for the bar raised, I write these words not as fawning flattery or out of sugary sentimentality, but rather as salute to a legend of the culture.
3812372
**Originally posted on "#1 Hits From Another Planet" - 8/10/09**

I didn't think this group would be around this long, let alone make their catchiest album three years from their inception. A surprising triumph.

1. Nice Guys Finish Last - Borrowing from Adam Ant (woohoo!) and big band, this is probably the most unique track on the record and my choice for second single. The chanting is utterly addictive, and it's easily among the poppiest things the band has recorded. 10/10

2. Pete Wentz Is The Only Reason We're Famous - I hate these long "clever" titles that have little to do with the song, but luckily the track is actually very good. It opens aggressively, but soon segues into a calmer verse and a funny, catchy chorus. 8/10

3. Good Girls Go Bad - If ever a track would propel them into superstardom, this would be it. The first single, and an excellent choice, sounds like it's produced by RedOne, though it's not. Leighton Meester adds some much-appreciated spunk to the primarily dance track. Sinfully catchy. 10/10

4. Fold Your Hands Child - This starts as straight-up synthpop before chugging into a rockier chorus. I'm especially fond of the verses here, which have an accomplished subtlety to them that's missing on some of the other tracks. 9/10

5. You're Not In On The Joke - Another possible single choice, there's an almost Michael Jackson feel to the verses--very funky. The chorus is a total singalong. If only they would have cut the odd shouty bits at the end, it would be perfect. 9/10

6. Hot Mess - The verses, again, are very interesting, with some nice vocals, but the chorus isn't quite up to snuff in my opinion. It's a little silly and can verge on annoying. Certainly not bad, but not a favorite either. 7/10

7. Living In The Sky With Diamonds - This has a very brisk, soft disco feel to it compared to the other tracks. Gone are the jokey elements in favor of more accomplished dance-rock songwriting. 8/10

8. Wet Hot American Summer - The verses on this song are flawless, with my favorite synth bits of the entire album. The chorus doesn't really meld as well with them as I would like. It almost feels like a different song. Good, certainly, but a little odd. 8/10

9. The Scene Is Dead; Long Live The Scene - One of the mellowest tracks on the album, but still uptempo. This is an absolute masterpiece. The vocals and harmonies are brilliant and the melody super-catchy. 10/10

10. Move Like You Gonna Die - Probably my least favorite track. It's one of the rockiest, and closest to classic "emo" music. 6/10

11. The World Will Never Do - Another one that's not really a favorite. It's got a laid back reggae feel to it and doesn't necessarily blend well with the rest of the album. 6/10

12. I May Be Rude But I'm The Truth - I love this track! It's a b-side on the deluxe version, but is better than most of the tracks on the album. The "Sha-na-na-na" parts in the chorus are addictive and the synth is full-on. 10/10

13. Cobras Never Say Die - A nice, synth-led track, but nothing overly special. A theme song of a sort, I guess. 7/10

Album Grade: 8.3/10
4226129
The Streets (Mike Skinner) is one of my favorite artists around.  He's very original, hard-to-categorize, and doesn't sound like a lot of other hiphop acts.

This CD is yet another solid album beginning to end.  It's not quite as good as A Grand..., which was a great day-in-the-life-of concept album, but this one's still great.  I could see if you were a die-hard rap fan who only listened to rap, you might not like this guy.

The Streets always covers diverse topics (ie, missing his dead dad); he's one of the 'realest' rappers out there, not afraid to reveal his emotions and personal life.

The beats are actually decent, with more electro influences.  The beats are still simple.  The Streets is definitely not all about great beats; it's always been about Mike's rapping/talking.  Luckily that format hasn't changed at all.

This is a very solid album.  My biggest complaint is that it's too short at 11 songs 37 minutes long.  Recommended to fans of his previous work.
3579796
Brand Nubian shocked heads from the jump. White, black, asian, and latinos all have at one time or another been exposed to this group of self-aware New York talent.  "Everything is Everything" is one of those joints that many hip-hop peeps may have just straight up missed.  This LP has it's fresh and not-so-fresh moments. Fortunately, editing on this piece is proper, scattering the gems throughout the album.  Nubian was at a strange time in 1994.  Puba went off on his own little solo venture, and Alamo, well, Alamo must have been doin' his own thing as well. DJ Sincere is on the decks this time. This gives Dottie-X and Jamar a chance to shine on their own and express themselves without the quite possibly overbearing prescence of Puba. Dope undergound talent is exposed here in a major way.  Check out track 6 "Step into the Cipher" for proof of this. Overall though, "Everything is Everything" will leave you feeling the way you did after watching "The Empire Strikes Back", unsettled and eager for the next episode.  Peace.
1117337
Even though I like "Quality Control" a lot more, their follow-up, "Power In Numbers", is still a great rap album that you definitely ought to check out. It follows relatively the same formula as their debut, although the songs don't seem as inspired or creative as they did on "Quality Control". However, there are 17 tracks here, and all of them are good-if-not-great. Rappers Akil, Zaakir, Marc 7even and Chali 2na are a tad worse than they were on "Quality Control" (they feel less natural), but they're still great and extremely appealing. They still have that oldschool flow and delivery that is severaly missed in today's rap scene. Lyrically the songs are always a lot of fun to listen to, and some of the songs are even quotable. The lyrics are definitely fun to memorize and sing. Musically it's a little different sounding than "Quality Control", but the producer here still has a good eye for great hooks and beats. Though every song here is good, there are definitely several stand-out songs here which I would argue bump the album's rating up - "Sum Of Us", "High Fidelity", "Remember His Name" and "A Day At The Races", for example, are GREAT rap songs that are very very memorable. I'm pretty sure that within one or two listens that you'll either have these stuck in your head or that you'll remember them forever. Basically folks, if you like rap or Jurassic 5 then "Power In Numbers" is another classic album by this classic group. Absolutely recommended!

Highlights include:
"Sum Of Us"
"Remember His Name"
"A Day At The Races"
"High Fidelity"
"Break"
"If You Only Knew"
"What's Golden"
the rest are good or decent
1097034
Devin returns a year after his last album with a nice mixtape, though I like his 4 solo albums better, this is still high quality.  There is no way that Devin could ever disappoint whether it be an album, mixtape, or just a verse.  The man is hilarious and has a style unlike no other.  On this one you get 12 songs and a few hilarious skits.  4 of the songs are Devin solo's and 2 he isn't on, so the guests are heavy, but still it's always a treat hearing form the Dude.  I'd say about 4 of the songs are average, the rest being good or great.  As always alot of songs about smoking, drinking, and of course, Women.  A must have album from one of my favorites.

#1 9.5 (J-Blaze -- no Devin but very tight over a tight beat)
#2 (absolutely hilarious skit from Devin)
#3 - 8 (f/ Jugg Mugg & Rob Quest)
#4 - 7.5
#5 - 6.5 (f/ Drissola)
#6 - (another short funny skit from Devin)
#7 - 8.5 (f/ Baby Girl)
#8 - 7.5
#9 - 8.5
#10 (another funny skit)
#11 - 9 (f/ Jugg Mugg & Rob Quest -- nice beat)
#12 - 6 (14 K -- no Devin)
#13 - 8 (f/ SK, Dudi Mac, Daraja, 1-3, Preach, Rob Quest, Jugg Mugg)
#14 - 9
#15 - 8 (f/ Jugg Mugg, K.B., Warren Lee)
#16 (outro with Devin singing)

Devin Copeland -- b. 1974 -- b.  St Petersburg, FL, moved to Houston, TX
Check all my reviews
3822175
About 3 years since his debut album, Soulja Slim finally comes back on the nearly dead No Limit records label (and his last album under P) and I'd say it's barely a 4 star album.  I still like "Give it 2 em Raw" a little better and this is better than "Years Later...A Few Months After", I don't have "Years Later" (and can't find it for under $50).  Another longer album (as No Limit always had), Slim gives us what he always did, some ghetto lyrics and a few dirtier songs about the ladies.  With 20 songs on here, 1 I skip, 10 are good, 9 are ok.  Guests are minimal (oddly for a No Limit album) on only 6 of the 19 songs, and he introduces his Cutthroat Comitty.  production is decent.  XL does 7 songs, Suga Bear, Ke'noe, and Ezell Seang each do 3 sogns, and Carlos Stephens and Bass Heavy each do 2.  A nice album to have for his fans or fans of southern rap.

#1 - 9 (nice beat)
#2 - 8 (f/ Black Felon)
#3 - 7
#4 - 8.5 (nice beat)
#5 - 8
#6 - 8
#7 - 7.5 (f/ Krazy)
#8 - 8 (good beat)
#9 - 7
#10 - 6
#11 - 7.5
#12 - 7 (f/ Peaches)
#13 - 6.5
#15 - 6
#16 - 8 (f/ 12 O' Clock & Tre Nitty -- nice beat)
#17 - 5
#18 - 7.5 (f/ 12 O' Clock & Tre Nitty)
#19 - 7
#20 - 6.5
#21 - 7 (f/ Master P, Silkk the Shocker, Slay Sean, Afficial, Krazy)

James Trapp -- b. 9/9/77 - d.  11/26/03 -- New Orleans, LA
check all my reviews
2311195
True hip hop heads have always known that Talib Kweli is a nice emcee. Still, for most of his career Kweli has been overshadowed by his long-time partner, Mos Def. On thier joint project, "Black Star", Mos Def came off nicer than Kweli, and Mos Def released his solo album a full year before Kweli did the same. However, after listening to "Train of Thought", any doubts about Kweli's ability will be eliminated.
The 21 tracks on this album (including skits) are diverse, ranging from up-tempo bangers to quiet and introspective. The album starts off with a bang with "Move Somethin'", a straight-up bumping horn-influenced track which Kweli absolutely kills. The momentum is kept up with the nice "Some Kind of Wonderful". Subsequently the album mellows out a bit, as Mos Def makes an appearance on the jumpy "This Means You," a feel good track with absolutely unforgettable violin chords. The album abruptly ends the mellow vibe with the funky "Down For The Count" in which Xzibit and Rah Diggah drop some of thier nicest verses to date. Highlights from the second half of the album include "Ghetto Afterlife," (featuring Kool G Rap), "Love Language," and the hidden track "For Women."
DJ Hi-Tek produces the entire album (a rarity in hip hop these days) and doesn't make one wack track. He chooses from a variety of instruments, and gives each track its own unique feel. For example, a tranquil saxaphone plays during the thoughtful "Love Language" whereas bold horns scream on the battle-track "Move Somethin.'" The fact that Hi-Tek is in on every track gives the album a continuity, as no track sounds out of place. From start to finish the album is on a nice organic vibe, and while some tracks are fast and some tracks are slow they all have the same soulful feel to them.
Just as Hi Tek brings the beats, Kweli brings the lyrics. There are jaw dropping punchlines like:
"Your wack set is faker than a bomb threat By a nervous terrorist who's so scared that his palms sweat"
from "Down For The Count." There are also poetic, thoughtful lines such as:
"She lived from n***** to colored to negro to black To afro then african-american and right back to n***** You figure she'd be bitter in the twilight But she alright, cuz she done seen the circle of life yo"
from "For Women" that will continue to resound in your mind long after you've stopped listening.
Overall this album shows us what hip hop can be. Although there are up-tempo battle tracks, there's no mindlessly materialistic braggadocio to be found here. Rather, this is music which analyzes life and gives us Kweli's unique take on things. It's almost like a one-sided conversation in which Kweli talks to us and tells us about himself and about what he thinks. He often proves insightful and provokative. For instance, on "Too Late" he ponders:
Nowadays rap artists coming halfhearted Commercial like pop, or underground like black markets Where were you when hiphop died? Is it too early to mourn? Is it too late to ride?
A thoughtful collection tracks such as "Train of Thought" is rarely found in hip hop these days and Kweli rightfully assumes his place among this era's top emcees with this release. This album is easily one of the best of the year and should be purchased by anyone who likes to think hip hop, or simply anyone who likes to think.
3729197
To call The Cool a complete triumph is a bit of an overstatement.  Conversely, to call the album a downgrade from Lupe's critically acclaimed 2006 debut, Lupe Fiasco's Food & Liquor is also an overstatement.  The Cool lies somewhere between these two extremes; there are triumphs that overshadow (or at least come close) his debut and yet also a larger amount of "filler" material that wasn't present on the debut.  Then, choice of words when describing "filler" in this case has to be considered - is it really filler or is it just the fact that Lupe's messages come across clearer on more exciting, more accessible tracks?  Either way, The Cool is perfect for hardcore Lupe fans (like myself), but it somewhat segregates those who fell in love with Lupe's amazing "Kick, Push" or "Daydreamin'" from Food & Liquor.  The "progressive" aspect of the album is often a bit over-indulgent, particularly with more than ample enough guest spots from Sarah Green, Matthew Santos, and the Gem Stones. There is also a more rock "oriented" edge about the productions which sometimes will grate on the listener. Overall, despite its flaws, it remains one of 2007/08's best rap affairs.  And Lupe should definitely NOT dumb anything down.

One must get past a number of introductory tracks and past Lupe's limber, but average track "Go Go Gadget Flow".  One thing that can be said here is that as a MC, Lupe has tightened his game.  Also with that, he's a bit cockier and more self-righteous on this album, which could either be a blessing or a curse.  This is only heightened more on the excellent, "The Coolest" in which Lupe asserts the fact that he is and I quote, "the coolest n#$*! what/ the coolest n#$*! what".  Say what you will, but the melodramatic production and Lupe's killer hook and rhymes make this track one of the top of The Cool.  "Superstar" rocks right along and is the very best Matthew Santos featured track on the album. The hook is made for commercial radio, where other tracks on The Cool might just isolate fans.  "Paris, Tokyo" isn't bad, though "Hi Definition" featuring Snoop Dogg and Pooh Bear will cater more to commercial listeners.  Commercial aside, Lupe is on his game. Snoop stands out as always, though he doesn't trump Lupe in the least.  While Pooh Bear's appearance does signify a more limited budget  that Lupe works with on this album, Pooh Bear's vocals are perfect here (Note: Pooh Bear is a vocal producer/songwriter as opposed to a "true" solo artist).

"Gold Watch" is killer with an old-soul/hip-hop feel.  Lupe is at his best, as he is on the follow-up track, "Hip-Hop Saved My Life" which features Nikki Jean.  "Hip Hop Saved My Life" is awesome because of it references Dr. Dre's success within the rap game and how "hip-hop saved his life".  No would 50 Cent have really thought of that? (It's a rhetorical question.)  "Intruder Alert" isn't bad, while "Streets On Fire" and "Little Weapon" are weaker than the best of this album.  "Gotta Eat" revives things, while no Lupe fan can miss the strongest track of The Cool, "Dumb It Down", which doubles as a "f!@# you" to commercial rappers and an assertion that Lupe himself is "trill" (aka true and real).  Either way, "Dumb it Down" which features Gemstones and Graham Burris is a Grammy winning performance on the part of Lupe.  The rest of The Cool isn't as strong as the forefront; "The Die" is comparable "Go Go Gadget Flow" while "Fighters" is definitely not the best Matthew Santos feature.  Again, there is nothing downright bad, but there is material that stands up better than the rest.

3  stars is my final rating after all is said and done.