Trey Songz | Passion, Pain & Pleasure

Trey Songz has to be one of the more intriguing artists when it comes to Male R&B. Not because he's only now just getting his just due, but more so because NONE of his albums have ever gone platinum.

Albeit his last effort, "Ready", was perfectly fine tuned for the radio, its moderate success on the Billboard charts would suggest a star that's still not ready to take that next step and it makes you wonder as to why the release of another album would be this rushed.

Which is a shame. It's never been a matter of talent when it comes to Trey because, clearly, his growth from album to album can be heard in his vocals. "Ready", by far, has been his most complete album to date and now more than ever, Trey Songz has become a household name.

But is that any reason enough to try and "strike while the iron is hot" so to speak. I say no and so does "Passion, Pain & Pleasure" as an album.

First thing's first, "Passion, Pain & Pleasure" is unlike anything Trey Songz has ever done. Gone is that perfect balance he's had on his last few albums and, instead, it's as if he stripped away everything except "sex". Don't get me wrong, I understand by the title of the album as to what it's supposed to be about; but to make a whole album about all the emotions that come along with "sex" shows a sign of immaturity if you ask me.

I've never been much of a fan of this TV show/album set up that BET has had a hand in, as well, but a critic will be a critic, I suppose, and the point I'm trying to make is that more could've been done with this album had Trey taken his time. Take, for instance, the set up.

The alcohol induced "Bottoms Up" featuring Nicki Minaj was the perfect choice to go with as the lead single but, sadly, nothing much else comes close to it on the album. Not even the Drake assisted "Unusual". The only thing of note are a few power ballads here and there ("Love Faces", "Can't Be Friends", "Please Return My Call", and "Made To Be Together"), but there are points on the album where the subject matter becomes repetitive and that's saying a lot coming from a Trey Songz album.

Those bright spots aside, this album will not do anything to help Trey progress as an artist. Weak subject matter and a poorly put together concept waters down "Passion, Pain & Pleasure" and only true fans of Trey will appreciate what he has to say here. Not that that's a bad thing; but for it to be his moment (as his television show on BET would suggest), he shies away from the limelight and, instead, fades into the background.

Rating: 6.0 headphones out of 10

Jeremih | Self-Titled

Newcomer Jeremih should ask fellow R&B crooner J. Holiday how important a second single is, because outside of "Birthday Sex" his self-titled debut has very little to offer. Sure, one could understand his label wanting to capitalize on the success that it was having [currently] on the radio; but maybe if they stopped to think for a minute or two, they would realize that [sometimes] rushing an album creates more one hit wonders than it does careers.

Still, even with that being the current climate of the music industry, it's hard to find a solid album worth buying nowadays; let alone any of substance, and I guess that's the biggest problem I have with Jeremih's debut. Not only is it typical but, for it to be self-titled, it never allows the listener to get to know Jeremih for who he is. Instead, the primary focus seemed to have been elsewhere and songs like "That Body", "Runaway", and "Jumpin" are unpolished enough to prove that point.

But not all is lost, however. A few stand out tracks such as "Hatin' On Me", "Imma Star (Everywhere We Are)" and "My Ride" will be enough to milk this album for all its worth; but I doubt it will be enough to garner any interest in a follow up project from Jeremih. A more balanced effort would've certainly ensured that to be a possibility, but that "one-hit wonder" label seems to be almost a given.

Which is sad when you think about it. A lot of unsigned artists would kill to be in the position that Jeremih is in and for him to put out such a lackluster piece of work is something I just can't understand. Especially when considering this is a new artist making his respective debut! If anything, the passion, drive, and motivation should still be present; but when it's not, it really makes you wonder how complacent the music industry has become. Have ringtone sales become that much more important than album sales? Unfortunately they have and what's even more glaring is that a lot of these artists are killing their careers before they even begin. Jeremih now being one of 'em.

Rating: 5.0 headphones out of 10

Keyshia Cole | A Different Me

Having a hit reality show on BET is quite the luxury but for Keyshia Cole, her success reflects solely in album sales. Her last album, Just Like You, was released concurrently with a new season of The Way It Is and, in doing so, the album went on to be certified platinum. Sticking with that same formula, Keyshia returns less than a year or so later and, this time around, Keyshia explores a more sensual side of her personality packaged as -- “A Different Me”.

Let’s be fair. From a guy’s point of view, Keyshia’s music isn’t necessarily supposed to gravitate towards me [as its intended audience] but where Keyshia excels is in the 18-24 demographic for younger females. A lot of issues Keyshia touches on are relevant in some, if not all, of these ladies lives and to have a strong, positive role model such as Keyshia is [somewhat] rare these days. Oftentimes female artists are stripped down of their essence and given a superficial, sexed up image in order to sell themselves and it really bothers me because it only adds to the popular notion that sex sells. Which it does. I’m just saying the alternative is much more meaningful and Keyshia is a clear representation of that.

Which brings me to this new album of hers, A Different Me. While a more sensual side is more than welcoming, Keyshia does so as eloquently as one would expect and nothing seems overtly out of place. Songs like “You Complete Me” , “Erotic”, and “Beautiful Music” are sure to stand out among fans but where Keyshia switches things up is in her unlikely collaborations. The lead single “Playa Cardz Right”, for example, featuring Tupac blends her soft, melodic voice with the “thugged” rhymes of Tupac and the collaboration feels more natural than forced. The same could be said for “Oh-Oh, Yeah - Yeah” featuring Nas. Here the Queens bridge rapper drops knowledge over a soft, Outsyders production but still comes all the way real with something of substance.

From there, A Different Me makes for a valiant effort overall but, still, Keyshia can’t manage to recapture the same magic she had from her debut. Although her last record, Just Like You, was financially a success, the same problem plagued that disc as well and it seems like her progression album to album is on a downward spiral.

Not to say that she doesn’t make good music. In fact, I respect her for being herself and not allowing label execs to market her any way they please; but I, personally, just feel like more could’ve been done with this project. When you strip away everything Keyshia has been through, she’s still a woman at the end of the day and the material she chooses should reflect that.

That being said, I think the comparisons between her and Mary J. Blige should be thrown out the window, or dismissed as false promise, but whatever the case Keyshia has a long way to go. Perhaps, over time, she will one day reach such high regards; however, that day is not here, nor now. Instead A Different Me stands alone as far as level of quality is concerned and, in my opinion, I would much rather prefer the old Keyshia. Wouldn’t you agree?

Rating: 5.0 headphones out of 10

Plies | Da Realist

Although over saturation can be a gift and a curse, Plies would probably prefer you view the releasing of his second album in less than a year as a product of pure genius. Having captivated audiences with such hits as “Bust It Baby (Part 2)” , “Please Excuse My Hands”, & “#1 Fan”, Definition of Real was only released a short while ago (it dropped the same day as Tha’ Carter III…if you can believe that) and, arguably, some would say that Plies is rushing things a little bit when it comes to this new album of his, Da REAList.

Personally, I could care less; but from a marketing standpoint, it makes all the sense in the world. A rapper’s visibility is his most important characteristic and unlike some artists who stay away for far too long, Plies makes for a worthy exception to the rule. Not only has he garnered much success via immense fanfare but, generally speaking, his music has had such a crossover appeal that it’s hard not to give credit where credit is due.

However, we are all subjective to constructive criticism and the biggest problem with Da REAList is that it seems too watered down even for Plies. Maybe it’s just me but, in my opinion, Plies seems to be following a formula. I’m all for the “if it ain’t broke, don’t fix it” approach but I’m [also] very limited in what that pertains to. In this case, Plies relies too heavily on these “ghetto love anthems” when really the heart of his subject matter is in his “realness”. For instance, “Family Straight” is open enough to be considered an emotional look inside the mind of a quote on quote “goon”; but where this track works is in that it’s coming straight from the heart. Regardless of who you are, everybody has problems and can relate and I think that’s why a lot of people gravitate towards Plies’ music.

On the other hand, tracks like “Me & My Goons” & “Fuck U Gon’ Do About It” are your typical Plies records and the simplistic production is enough to proclaim Hip-Hop as officially dead. Which, arguably, it is but Plies’ relentless hustle circumvents that notion. Ever since he exploded onto the scene with “Shawty”, his particular brand of sex induced, ghetto love anthems have gotten him much play with the ladies; and for further proof of that, look no further than his current lead single “Put It On Ya”. Featuring newcomer Chris J., Plies spits his sexual seduction over a No. I.D. produced track and the chemistry between him and Chris J. balances quite well.

The same could be said for “Want It, Need It”. Featuring Ashanti, Plies and The Princess of Hip-Hop and R&B deliver a solid collaboration over a J.R. Rotem production and is, by far, one of the few standout tracks on the entire album.

Not to be outdone, Plies holds his own throughout this 16-track opus but, ultimately, this album suffers from a lack of focus and [somewhat] feels rushed. If anything, it feels like a bunch of leftovers from The Real Testament and it’s a shame because I, myself, praised Definition of Real for being the album that served Plies his validation. Now, not so much. Not only is Da REAList a step back, but it also creates doubt in one’s mind of whether or not Plies is a one trick pony. Don’t get me wrong, I understand how important it is to be real; but, at the same time, I respect real music just as well and this is just not it.

Rating: 5.5 headphones out of 10

Jennifer Hudson

In a perfect world, Jennifer Hudson would appear to be the ideal artist. Not only has she captivated the hearts and minds of fans alike but, seemingly, her long road to validation has [finally] come full circle.

Now, with her debut album finally in stores, the only question that remains is whether or not it was worth the wait? While some will argue that it wasn't, the silver lining lies within it's [chart] performance; but, quite frankly, I think it will be well received. Allow me to explain.

Getting things started, the Ne-Yo written "Spotlight" makes for a solid opening track and really suits Hudson's vocal style well. From there, "If This Isn't Love" and "Giving Myself" are equally just as good, but it's the Ludacris featured "Pocketbook" that allows Jennifer to try something a little different. Backed by an unorthodox Timbaland production, Jennifer comes off real sassy on this track and Luda's rap is, by far, the icing on the cake.

Not to be outdone, T-Pain accompanies Jennifer on the ballad "What's Wrong (Go Away)" and, here, the two display really great chemistry. Save for that annoying auto-tune effect that T-Pain loves so much, this track is a standout among many and, surprisingly, this album delivers more where that came from.

Most notably, "I'm His Only Woman" featuring Fantasia and the Polow Da Don produced "My Heart" are prime examples of that, but songs like "We Gon' Fight" and "Invisible" deserve honorable mentions as well. Then again, the whole album is on point from start to finish and, in listening, you can really tell that Hudson took her time with this. None of the tracks seem out of place (except for the inclusion of "And I Am Telling You". Everybody and their momma has heard that song, so as to why it was included on the album is beyond me) and the production is solid all around.

Therefore, overall, Jennifer Hudson's debut is an exceptional piece of work and [most] fans will be pleased with the end result. I, for one, was more impressed than I was pleased; but that's only because I've been the biggest critic of Hudson's since her days of American Idol. I never really "got" her and was quick to dismiss her as nothing more than a product of hype. Needless to say, I was wrong; so as I close this review, I guess it's only right to end this with an apology. I'm sorry, Ms. Hudson. And that's with the utmost sincerity.

Rating: 8.0 headphones out of 10

Robin Thicke: Something Else

The Evolution of Robin Thicke could only be measured in album sales but, still, it’s impact at contemporary radio was widely felt. Spurred by the smooth, yet seductive, lead single “Lost Without You”, The Evolution not only established Thicke as a legitimate R&B crooner; but was even more instrumental in adding validation to his [already] burgeoning career.

Now, a seasoned veteran, Robin Thicke returns with Something Else and delivers that same familiar sound in the process. Nothing is overtly out of place and, in a sense, this album is more theatrical than its previous counterpart.

Which is a good thing. Songs like “Magic” and “Dreamworld” are harmonious to that fact, and Thicke’s ability to craft songs effortlessly is simply amazing.

Other standout tracks include “The Sweetest Love” and “You’re My Baby” but, overall, it’s the album as a whole that really sets things apart. While not as cohesive as The Evolution, Something Else still makes for a notable selection in Thicke’s catalog; but, arguably, there’s always room for improvement.

For one, Thicke tends to stay in his comfort zone and, in doing so, his growth as an artist is somewhat limited. Don’t get me wrong, it’s never been a question of whether or not the guy has talent because clearly he does; but I guess the way John Legend is stepping out from behind his piano, is exactly the same thing Robin Thicke needs to do as well. Besides, no [one] artist should be lamented, or typecast, as one that relies heavily on a “crutch”; and with this being Thicke’s third album, it’s due time for a shift towards "something else". Wouldn’t you agree?

If not, it’s not the end of the world as fans of Robin Thicke will enjoy this album just the same. I sure as hell did and could’ve cared less if it was “safe” so, by all means, I guess you could take this review as constructive criticism. Enough said.

Rating: 7.0 headphones out of 10

T.I.: Paper Trail

“Heavy is the head that wears the crown” and, for years, T.I. has proclaimed himself king. Albeit a self-proclamation, T.I. has endured countless bouts of savagery and, with Paper Trail, it would only seem fitting that his rule would, again, come into question. “Facing all kinds of time” T.I. knows what lies ahead of him, as far as his upcoming incarceration is concerned, so rather than going quietly into the night, this album serves [momentarily] as his will and testament. Will it fall on deaf ears? Only time will tell but, for now, sit back, relax, and follow the trail to find out.

While last year’s T.I. Vs. T.I.P. was a commercial success, it was also considered “safe” by many. Without question it was a step back from KING and it left a lot of people wondering if T.I. had gone Hollywood. Sadly, I think that is the case because, again, Paper Trail follows that same formula. Songs such as “Whatever You Like” and “Live Your Life” only further that notion, however, T.I.P. is in full effect and it’s refreshing to hear him breathe life into tracks such as “I’m Illy” and the album intro “56 Bars”. Clearly, T.I.’s alter ego, T.I.P., is his saving grace and as to why he caters more to the T.I. crowd is beyond me. Trap Muzik is still his best album to date and until he smartens up and realizes that fans respect his prowess on the mic [more] as T.I.P., he’ll never be mentioned among the elite. At least in my eyes anyway.

Switching gears, Paper Trail is another step back for T.I. and will do little for his career. You would think, considering his situation, that this would be his most important album to date; but, throughout the 16 track opus, you never really get the feeling that T.I. put everything he had into this. Songs like “Porno Star” are laughable and that’s only the half of it.

The entire middle portion of the CD is strictly for the radio, but things pick up ever so slightly on the Swizz Beatz produced “Swing Ya’ Rag”. Trying to recreate the same magic the two had with “Bring ‘Em Out”, Swiss and T.I. do a good job here and gives hope for the album yet. Following suit, “What Up, What’s Happening” bangs heavy in true T.I.P. form but it’s the Jay-Z, Kanye West, and Lil’ Wayne featured “Swagga Like Us” that steals the show. From there, the album drags once again but closes nicely with the Justin Timberlake featured “Dead and Gone”. I don’t know what it is about these two artists, but their chemistry together is undeniable. Justin’s vocals compliments T.I.’s rhymes well and it just makes for one hell of a track.

So, in conclusion, Paper Trail has a few bright spots here and there; but is nothing spectacular to say the least. If anything, this sub par effort can be attributed to a lack of time but, still, that’s no excuse for T.I. to put out anything of lesser quality. “In order to understand my train of thought, you would have to put yourself in my position. You can’t expect me to think like you, cuz my life ain’t like yours” T.I. states on “Ready for Whatever” and that’s exactly the kind of effort he should’ve put forth with Paper Trail. A few tracks here and there is not acceptable, so to support mediocrity would be hypocritical on my part. Therefore, to those that choose to follow this Paper Trail, be sure you know where it leads because it's not to a life behind bars. Think about it.

Rating: 6.0 headphones out of 10

Jazmine Sullivan: Fearless

Not too many protégés are successful in their efforts to establish themselves, but Jazmine Sullivan is a worthy exception. Not only has she captured the hearts [and minds] of fans alike with her debut single “Need U Bad”, but critical acclaim has praised her as the next Lauyrn Hill. Big shoes to fill, indeed; however, just like the title of her album suggests, Jazmine is unfazed. Besides, pressure is one thing. Acceptance is another.

Let’s be clear. To compare Jazmine Sullivan to Lauryn Hill is a little premature if you ask me but, still, the vocalisms are uncanny. The inflection in her voice is strikingly similar to that of Lauryn, but any and all comparisons stop there. Which is a good thing. Jazmine is a product of her own talent and Fearless not only showcases her range as a singer, but that of a songwriter as well.

Having penned the entire album, the highlights of her labor are clearly evident in songs such as “Bust Your Windows”, “Lions, Tigers & Bears” and “After The Hurricane”. I, myself, particularly enjoyed “In Love With Another Man” for it’s simple production and “testimonial” feel to it but, overall, this album has a lot of texture to it.

As far as subject matter, Jazmine touches on a wide range of issues that include domestic violence and one night stands, but does it as elegantly as one could imagine. Nothing is overtly offensive/over the top and that’s a true testament to Jazmine as a songwriter. So many [female] artists nowadays resort to sex and violence to sell records but, trust me, true talent will always shine through. It just goes to show that hard work and dedication goes a long way and Jazmine Sullivan is living proof.

Rating: 6.5 headphones out of 10

Nelly: Brass Knuckles

It’s no secret that Nelly’s career is far from what it once was and I think he’s slowly starting to realize that. None of the singles leading up to this new album had the same impact of "Country Grammar" or even that of "Hot In Herre"; so maybe, just maybe, that glorious spotlight is beginning to fade. Still, Nelly seems unfazed of the matter and his response comes packaged as Brass Knuckles--A bona fide return to Hip-Hop, intended to hit listeners hard from start to finish. The only question is, just how much fight does Nelly have left? Unfortunately, the answer to that is very little.

I’ll be honest. Brass Knuckles, as a whole, is far from a bad album, but to call it good would be contrite on my part. Too many features drag this album down, for one, and, two, the lack of growth from Nelly is really starting to get old. Maybe it’s just me, but every album of his just sounds the same to me. I’m sick of his “down, down baby” flow and everything that is St. Louis, because that whole movement is dead. It died a long time ago and whether Nelly wants to believe it or not, it’s true. Just ask Chingy.

As harsh as that sounds, a part of me feels bad because I, too, was once a Nelly fan. I loved Country Grammar and Nellyville and keep both in heavy rotation on the ipod; but somewhere along the way, Nelly got comfortable. His whole demeanor changed when it came to music and the end result was the dreadfully awful Sweat/Suit album. From a business standpoint, it made sense so I can’t even front on that aspect; but if that’s not “commercialism” at its finest, then I don’t know what is. It just goes to show that everybody has a price. Even rappers.

As for Brass Knuckles, Nelly continues to be comfortable and songs like the Polow Da Don produced “Party People” and “Stepped on My J’z” are only proof of that. Neither of these records have any substance whatsoever and, dare I say, seemed kind of forced if you ask me. Not all is lost, however, “L.A.” featuring Snoop Dogg and Nate Dogg is a pure gem; while “Chill”, “Uced Getit”, and “Let It Go Lil’ Mama” are standout tracks as well.

Other than that, the album is too watered down by guest appearances to make it anything memorable; so, rather than writing in circles, I’ll get straight to the point. Brass Knuckles doesn’t pack much of a punch at all. Now, how’s that for journalism?

Rating: 5.5 headphones out of 10

Ne-Yo: Year of the Gentleman

When it comes to songwriting, Ne-Yo is in a class of his own. Having penned hits for the likes of Mario, Beyonce, and Rihanna, his debut album, In My Own Words, showcased his extraordinary gift and his second, Because of You, only served further proof of his talent. Now with his third, Year of the Gentleman, Ne-Yo sits as a well established singer/songwriter and just like his previous outings, the end result is damn near flawless.

It’s amazing how so much creativity can flow from a pen to a piece of paper; but for Ne-Yo, his talent is on par with only that of his own. Save for a couple songwriters here and there, Ne-Yo goes untouched when it comes to his penmanship and the fact that he stresses quality over quantity is what makes him a remarkable talent. For example, songs like “Fade into the Background” and “Why Does She Stay” are poetic ballads that paints things clearly for the listener; all the while, the vocal stylings of Ne-Yo is what pulls everything together nicely.

Maybe it’s just me, but every word seems precise when it comes to the way Ne-Yo writes. I’ll be honest. I couldn’t stand the lead single “Closer” at first but after listening to the words, I absolutely love it. His current single, however, “Miss Independent” is a nice mid-tempo track that suits him perfectly--especially when considering the track is kind of bubbly. Not that that’s a bad thing. Bubblegum music sells records you know and, at the end of the day, isn’t that what it’s all about? To sell records.

Shifting gears, Year of the Gentleman may not be as cohesive as his debut; but it more than makes up for the [highly] slept on, Because of You. Here, Ne-Yo’s pen is in full force (a’ la In My Own Words) and songs such as “Single”, “Mad”, and Lie To Me” are sure enough to be crowd pleasers. As a whole, this album reflects a more seasoned Ne-Yo and holds true to it’s “gentleman” theme and, honestly, I think this is a real good look for Ne-Yo. Not only does it set him apart and allow him space to push the envelope, but it opens up an endless world of possibilities.

Sure, he may be recognizable as a talented singer/songwriter; but if you really listen to his music, Ne-Yo would love nothing more than to be an entertainer sort of in the same likeness as Michael Jackson. His embodiment of Michael is uncanny and reflects not only in his voice, but his style as well. However, I for one, prefer Ne-Yo for who he is and what he represents. What’s that you ask? Simple. A distinguished gentleman.

Rating: 7.0 headphones out of 10

Solange: Sol-Angel and the Hadley St. Dream

There’s a fine line between creativity and artistic expression, but Solange [seemingly] fits somewhere in between. Unlike her sister Beyoncé, Solange refuses to cater to the mainstream and, in not doing so, her music is generally not accepted by that of “commercial” audiences. Still, unfazed by that fact, Solange has returned with her new album Sol-Angel and the Hadley St. Dreams; and trust me, this is one dream that should not be deferred.

Let’s face it. Gone are the days of 70’s soul and Motown but, through artists like Solange, that era continues to live on. Without question, that particular era of music was the inspiration for Sol-Angel and the Hadley St. Dreams; and you know what? It really works well for Solange.

Getting things started, “God Given Name” is a brief introduction for the album and only furthers the fact that Solange is nothing like her sister. Hell, she even addresses that notion on this track but you have to listen closely to see what I mean. Up next, “T.O.N.Y” is a nice, catchy tune that can be taken as one way, but is intended as another. Confused? Yeah, I was too but once you figure it out, you’ll love this song as much as I do.

As far as stand out tracks are concerned, quite a few come to mind as I write this. I absolutely dug “Sandcastle Disco” for it’s futuristic instrumentation. Not to mention, Solange just sounds so refreshed and energized that the song is hard not to love. Anyway, other songs of note include: “Dancing in the Dark”, “Would’ve Been The One”, “Cosmic Journey”, and last but not least, the lead single “I Decided”. All these tracks make this album a winner in my book and although some people will be afraid to admit it, I’m starting to think that maybe Beyoncé isn’t the most talented Knowles. It’s ludicrous to even think that, huh? Yeah, I know but to each his own. I standby my statements, so feel free to attack my point of view. I could care less.

Overall, Sol-Angel and the Hadley St. Dreams is really put together well and succeeds in establishing Solange as a legitimate artist. The only bad thing is, as good as this album is, a lot of people will overlook it and be content with all that bubblegum music we hear all the time on the radio. Eventually, all that b.s. gets repetitive; so instead, do yourself a favor and wake up.

Rating: 7.5 headphones out of 10

Gym Class Heroes: The Quilt

Although the success of Gym Class Heroes came as no surprise, logic would suggest that their new album, The Quilt, will be key in determining their longevity. Their last album, As Cruel As School Children, was released to moderate fanfare; however, due to the crossover appeal of songs such as “Cupid’s Chokehold” and “Clothes Off”, the album not only showcased Gym Class Heroes at their finest, but may have just established them as legit. Now, with their new album The Quilt, the spotlight has never been as bright. The only question is, will that same success be their undoing.

In all my years of listening to music, I’ve noticed a common trend. Whenever an artist/band becomes “commercial”, complacency seems to follow. The idea of playing it safe, in my mind, is a big risk when compared to those that don’t conform; but then again, who am I to judge? My job as a blogger is to provide you with a fair and unbiased opinion and, for the most part, I think I’m pretty thorough. That being said, The Quilt is a step back for Gym Class Heroes. Not only does it fail to expand on the creativity that critics have praised them for but, more importantly, it fails to deliver anything [relatively] new. Allow me to explain.

The growth of an artist/band can only [really] be measured by how much work is put into an album; and with Gym Class Heroes, you pretty much know what you’re going to get. Their music, which reflects a melting pot of genres, speaks for itself; however, in my opinion, the spark that made these guys interesting is no longer there. Songs like “Cookie Jar” come off as feeble attempts to recapture commercial success, and while catchy, it’s going to take more than an assist from The Dream to be considered mainstream. All hope is not lost, however. The Estelle featured “Guilty As Charged” is a stand out track that blends the rhymes of Travis McCoy and the vocals of Estelle together nicely. Elsewhere, the Cool and Dre produced “Peace Sign/Index Down” is a buzz worthy selection and is it just me or does Busta Rhymes not get enough recognition? His guest spot here is [somewhat] lackluster than normal but, still, this song is pretty dope.

From there, the album mostly drags and it’s a shame because I had such high hopes. A little bit more could’ve been done, I guess; but with Gym Class Heroes being such an abstract group, it’s hard to be subjective towards their music. Sill, maybe The Quilt will grow on me with time but, for now, it has far too many holes and not enough patches.

Rating: 5.5 headphones out of 10

Young Jeezy: The Recession

Let’s Get It: Thug Motivation 101 was instrumental in the success of Young Jeezy but, still, critics have never really given him his just due. Whether it’s his simplistic rap style or his limited subject matter, Jeezy has been much maligned in his career; however, the hood has embraced him with open arms. Not only have his albums been well received, embraced, and supported; but real recognizes real, and it’s clear that the hood endorses Young Jeezy.

Now, in the midst of economic decline/peril, the streets are struggling harder than ever and who better than Mr. 17.5 to speak the truth when it matters most. The Recession. Point. Blank. Period. Is the hardest album out right now (in case you haven’t heard) and, oh yeah, it more than lives up to its billing as “Thug Motivation 101 on steroids”. Seriously, it’s that official.

Getting things started, “The Recession (Intro)” and “Welcome Back” serve nicely as introductions; but things don’t really pick up until the Terry “TA” Allen produced “By The Way”. Here, Jeezy reminds those who may have thought his run was over and in true Jeezy form, he [absolutely] bodies his verses with ease. Up next, “Crazy World” is another political jab at the current state of the economy; while “What They Want”, “Amazin”, and “Hustlaz Ambition” reminds fans why they fell in love with Jeezy in the first place.

Without question, the production on some of these tracks are raw as hell and because of that, Jeezy shines even brighter over such stellar production. For instance, the Don Cannon produced “Circulate” is not your typical Jeezy record; but to hear Jeezy switch his style up is refreshing. Not to mention, it’s a pretty hot song as well; however, other standout tracks include “Everything” featuring Lil’ Boosie and Anthony Hamilton, “Don’t Do It”, “Wordplay” and last, but not least, “My President” featuring Nas. The latter finds the two trading verses in support of Barack Obama and although Nas outshines Jeezy on his own song, surprisingly it was only by the slimmest of margins.

Ok, maybe I’m hyping this album up to be bigger than what it really is, but Jeezy really came with it this time. There’s no denying that. He may not be the most lyrical, nor ever be mentioned in the top 5; but his impact and commercial appeal is far reaching than some will ever come close to. I mean, hell, even Michael Phelps listens to this guy. Obviously Jeezy is doing something right so regardless of what critics, bloggers, and people of that nature may think, Jeezy is better off doing Jeezy. It’s worked thus far and if it ain’t broke, I’ve always said don’t fix it. That being said, The Recession is a solid 3rd offering of sorts and reflects the growth of “The Snowman”. No longer in grind mode; instead, it’s politics as usual.

Rating: 8.0 headphones out of 10

The Game: L.A.X.

Amidst all the controversy and constant rumors of retirement, The Game has been consistent since day one. His debut album, The Documentary, was an instant classic and it's follow up, Doctor's Advocate, was equally impressive as well. Now with his third solo offering L.A.X, The Game is out to prove his place in Hip-Hop [before things fade to black]; however, I'm thinking maybe he should reconsider.

For what it's worth, L.A.X. is far from a bad album; but to define it as the "be all to end all" album for Game would be inaccurate. If anything, Game took a step back [in my opinion] and has plenty of work ahead of him to be labeled "great"; but the thing is, the framework for success has already been laid. Without question, The Game is one of the most lyrical MC's in the game right now and not many rappers can hold a torch to 'em; but I think it was exactly that kind of thinking that influenced Game's approach to L.A.X. because L.A.X. is far from being anything remotely classic. Instead, L.A.X. stands as a typical melting pot of sorts in that it relies heavily on guest appearances and is even more watered down by Game's "lyrical crutch" that is name dropping.

Don't get me wrong, a few lyrical gems of note shine bright on this album and "Bulletproof Diaries" featuring Raekwon and "Angel" featuring Common are perfect examples of that. Not to be outdone, the somber "Never Can Say Goodbye" is solid as well as Game [lyrically] recaptures the final moments in the lives of Tupac, Biggie, and Easy-E; fittingly, giving poetic justice to each. As for the guest appearances, most are hit or miss here with "Letter To The King" featuring Nas and "Gentleman's Affair" featuring Ne-Yo representing both ends of that spectrum. Other standout tracks include the Lil' Wayne assisted "My Life", "Dope Boys" featuring the drums of Travis Barker, "Let Us Live" featuring Chrisette Michelle and, of course, the Keyshia Cole assisted lead single "Game's Pain".

As a whole, however, L.A.X. may leave a lot to be desired but is solid nonetheless. Production wise, the album is on point and vibes well lyrically; but, never does L.A.X. come close to re-creating the magic Game captured on The Documentary. Maybe it's just wishful thinking on my part, I don't know; it's just that, The Game is superbly talented and has all the necessarry components to be "great", but that potential can only go so far. With a little time (and effort), The Game will seal his place in Hip-Hop; but for now, his life and times are far from front page news.

Rating: 7.5 headphones out of 10

Karina Pasian: First Love

I wouldn't necessarily say the comparisons to Alicia Keys were unfair but, rather, premature [if anything] when it comes to 17-year old songstress, Karina Pasian. Blessed with a soulful voice and raw talent, Karina possesses all the makings of a star. Her true talent shines bright, unlike many, and with her debut album, First Love, Karina not only accomplishes a worthy debut; but establishes her place in R&B as well.

As overly saturated as R&B has become, Karina represents hope for the future. Too many artists nowadays are the product of what image their label sets forth and, in doing so, their music seems forced. It's hard for an artist to stand out with so many other carbon copies, but talent and originality is the key. Fortunately, Karina encompasses both and First Love is poetically solid in what a debut album should be.

Anchored by the Tricky Stewart produced lead single "16 @ War", First Love plays to Karina's strengths and does not allow her raw talent to be the primary focus. To have done so would've been a mistake, but songs such as "Can't Find The Words", "Winner", and "Can't Bring Me Down" are that much better because of it. Yet and still, Karina sings softly in her comfort zone and [legitimately] pours everything she has into this album. Songs like "Slow Motion" and even the title track itself exemplifies the passion and persistence that went into this effort; while, at the same time, allowing the listener to fall in love with music all over again. --So, just like your first love, this album is memorable in that it will be something you won't soon forget.

Rating: 6.0 headphones out of 10

Nas: Untitled

The term "shock value" would be an understatement when describing the approach Nas took with his latest album, but not without reason. The issue of race has long since been swept under the rung, however, quietly racism remains a prevalent problem in this country of ours. Racism STILL exists and while not a open as it once was, it is still something that needs to be addressed. Far be it from me to suggest a solution to the problem, but to ignore it would only make matters worse. Therefore, any idea, thought, or conviction could only help [not harm] and with the release of Untitled (formerly titled Nigger), Nas' voice not only reflects the feelings of a generation, but the animosities of it as well.

The unbridled truth of the matter is that Nas is on a whole 'nother level when it comes to rappers and politics. Not since Dead Prez has an artist poured so much emotion into a piece of work and with Untitled, Nas makes his message quite clear. His views, thoughts, and/or opinions are that of his own and instead of trying to get the listener to conform; instead, his purpose is only to inform.

Getting things started, Nas drops knowledge over the Jay Electronica produced "Queens Get The Money" and achieves lyrical perfection in the process. From there, "You Can't Stop Us Now", "Breathe", and "Make The World Go Round" featuring Chris Brown and The Game revert nicely back to the concept of the album, but it's the lead single "Hero" that stands out. Produced by Polow Da Don, the drum heavy production serves as the perfect backdrop for Nas as he viciously attacks the beat in pure veteran form. Not to mention, the smooth vocals of Keri Hilson make for the icing on the cake. Up next, "America", "Sly Fox", and "Testify" examine the issue of race and the media, while "N.I.G.G.E.R", "Untitled", and "Fried Chicken" featuring Busta Rhymes shifts the [proverbial] mirror back at African-Americans as a whole.

So, in a sense, both sides of the fence are being displayed and the way Nas is able to balance the two is remarkable. His flow comes off as effortless as ever and the subject matter is on some real knowledgeable shit. Self-conscience or not, people need to know the truth for what it is and I'm glad that an artist as respected as Nas, is not afraid of the backlash he may receive from speaking out on politics. This, in no way, is about selling records to Nas; but, rather an attempt to open the eyes of those who have been walking blindly. Besides, as much as the truth can be stretched out and manipulated, the more naive we become. It's up to us to see things for what they really are. Therefore, which one are you. The slave or the master?

Rating: 9.5 headphones out of 10

Lloyd: Lessons In Love

Consistency goes unnoticed, in my opinion, but Lloyd has quietly put out two solid albums thus far. While he may not be as mainstream as say an Usher or Chris Brown, his music is equally on par with such heavyweights and I truly feel that he deserves more recognition then what he's been given. Plain and simple, a lot of people don't like Lloyd. For whatever reason, I don't know. However, with this new album Lessons In Love, Lloyd comes correct and whether you're a fan of his or not, it'll be hard pressed to deny that.

Getting things started, "Sex Education" sets the mood and not only serves as the perfect precursor for the album; but transitions smoothly into the Lil' Wayne assisted "Girls Around The World". I'll admit. At first, I hated this song with a passion, but it became one of those that grows on you after awhile. Maybe it's the fact that Lloyd and Lil' Wayne just have great chemistry together or whatever but, regardless, this song is the shit! Up next, "Treat U Good" finds Lloyd in his comfort zone and you can really tell that he's having fun with this, however, it's the smooth and melodic "Year of the Lover" that takes things to an even higher level. By far, THE standout track of note, Lloyd really connects with this song and I hope he goes with this as his next single. Words can't even begin to describe how much I love this song; besides, I doubt words would even do it justice.

From there, "I Can Change Your Life" and "Lose Your Love" have there moments but I vibed instantly with "Love Making 101" and "Have My Baby". Each song, as a representation of itself, is good in its own right--and again, telling you about them just won't do it justice.

Plain and simple, this album [as a whole] is on point from start to finish ("I'm Wit It" and "Heart Attack" close the album perfectly) and save for "Touched by an Angel" and "Party All Over Your Body" serving mostly as album filler; this album is absolutely incredible. Lloyd really stepped his game up and delivers a timeless piece of work while, in the process, validating his career as well. No longer will he be cast into the shadows and forced idly by, reduced to the background; Instead, Lloyd shines brighter than ever and if Lessons In Love is any indication, I'm sure Lloyd has plenty more tricks left up his sleeve. Therefore, class is in session. I suggest you pay attention.

Rating: 7.5 headphones out of 10

Yung Berg: Look What You Made Me

If the old adage of "controversy sells" rings true, then Yung Berg should prove to be quite successful with his new album Look What You Made Me. Well, at least in theory anyway. In actuality, the album will most likely flop by commercial standards but, still, it's no secret that Yung Berg has made quite a name for himself. Since exploding on the scene with the radio friendly "Sexy Lady" and shortly thereafter with the Ray J. assisted "Sexy Can I", Yung Berg has typecast himself as this "gangster and a gentleman". The only thing is, while it may come off well in small doses, it doesn't really work for an entire album; and therein lies one of the many problems for Yung Berg.

As much as this notion of Hip-Hop being "dead" is concerned, I honestly feel that the concept of this statement has been run into the ground. I'm so sick of people saying what is Hip-Hop and what isn't; but with Yung Berg, I think he fits somewhere in between. It's no question that the guy can make hits because his current single "The Business" featuring label mate Casha is burning up urban radio but, still, it's all about substance. Nothing about Yung Berg stands out in the least bit, but in spite of my reservations I decided to give his album a listen anyway.

Not surprisingly, the album was pretty much what I had expected and had its moments, but those came few and far between. "Where Do We Go" featuring Twista and "Do That There" are guaranteed to bang heavy on the block, but street cred is not exactly Berg's M.O. Instead, Berg sticks to the winning formula he found success with from songs such as "Sexy Lady" and the aforementioned; and pretty much the album remains mostly R&B oriented. Not that there's anything wrong with that, but to each his own.

All I'm saying is, Yung Berg [still] has time to grow as an artist and I honestly feel that he has the potential to do so. Whether or not he ever maximizes that potential remains to be seen, but in the meantime Look What You Made Me is solid in it's attempt to introduce the world to Yung Berg. Sure, it may fall [way] short of anything "classic" or "memorable", but Yung Berg will have more to say before his limelight fades. Until then, I guess this will have to do for now.

Rating: 5.0 headphones out of 10

Lil' Wayne: Tha' Carter III

If absence makes the heart grow fonder, Dwyane "Lil' Wayne" Carter must've missed that memo years ago. It's no secret that since releasing Tha' Carter II, Wayne's unrelentless work ethic has not only spawned countless guest appearances/mixtapes but a collection's worth of quality material as well; but, all eyes/ears were seemingly waiting on one of the most anticipated albums in recent memory, Tha' Carter III. As expected, Tha' Carter III falls short of "classic" expectations but to call this album a disappointment would be a complete fallacy on my part. Instead, Tha' Carter III is [indeed] a step in the right direction for Wayne and while it's still premature to crown him as the "heir" to the Hip-Hop throne, it's quite clear that his coronation will come sooner rather than later.

I'll be honest. The expectations I had for this album were relatively high and on some levels, I kind of feel disappointed but slightly. Songs like "A Milli" and the Jay-Z featured "Mr. Carter" bring value to the album and sets it apart from anything else Weezy has done [album wise] but the counterbalance would be his commercial monstrosity "Lollipop" and the equally awful "Mrs Officer". Both songs are bad in their own way but from a outsider's perspective, Wayne chose wisely in putting "Lollipop" out as the 1st single. Since it's release, Wayne has earned himself his 1st number one single at Billboard and as I write this, Tha' Carter III is expected to be the number one album in the country with over a million copies sold. Overall, it would seem as though Wayne can do no wrong, however, Tha Carter III [as a whole] is a completely different story.

Getting the album started, "3 Peat" finds Wayne with a very uninspired flow but segues nicely into the Jay-Z featured "Mr. Carter". Though the two were long thought to be at odds with one another, the two come together quite nicely here and more than make up for the "Hello Brooklyn 2.0" collab from Jay's American Gangster album. I'll admit, this song is not the picture perfect collaboration you would expect and the two leave a lot to be desired but, hopefully it only adds fuel to the fire that the best is yet to come. Following suit, "A Milli" finds Wayne in full beast mode and, without question, Wayne eats this track alive. From start to finish, Wayne is a straight beast and it's really something to marvel at. Besides, very few M.C.'s could accomplish such a feat but Wayne...Wayne is NOT your typical M.C. now, is he?

Up next, Wayne recruits T-Pain for "Got Money" and from there the album starts to drag. While not the best song, "Got Money" comes off more annoying than anything but is equally better than the Kanye West produced "Comfortable". Featuring Babyface on the hook, Wayne kicks it to the ladies about not being "safe" in their own but, if anything, this track is safe in that it seems as a desperate attempt to appeal to the ladies. Don't get me wrong, I don't feel like it's a unfair criticism on my part because those who have heard the album would more than likely agree. If not, to each his own but "Dr. Carter" would gain an overwhelming consensus hands down. Over production from Swizz Beatz [no less], Wayne raps as the doctor of Hip-Hop and attends to three patients throughout the song. By far, this track stands out as a highlight and will become an instant classic [nonetheless], only adding validity to Wayne's claim as one of the elite.

Switching gears, Robin Thicke lends his smooth vocals to the politically charged "Tie My Hands" and Wayne delivers a heartfelt and emotional eulogy that addresses issues surrounding his hometown of New Orleans in the aftermath of Hurricane Katrina. As a fan, I enjoy seeing all sides of Wayne so, for his depth to be on display is a sight to be heard. Besides, so many artists shy away from politics and things of that nature in fear of backlash, but Wayne's approach is almost commanding, if you will. In relation, I share the same sentiments about "Shoot Me Down" and "Playing With Fire" but it's the Kanye West concoction "Let The Beat Build" that makes the latter half of the album worth it. Save for the 9 minute invite into Wayne's World entitled "Don't Get It", the latter half of the album has it's ups and downs but, overall, this album remains fairly consistent. Unlike it's predecessor, every track has it's own intrinsic value; and while, critically, it may not be as acclaimed as one would have hoped, the end result is damn near perfect.

Rating: 8.0 headphones out of 10

Plies: Definition of Real

I'll be honest. Plies has never really appealed to me as an artist but my level of respect for the guy has grown, especially in the last few months. Not often does an artist drop albums so close together but with, Definition of Real, Plies seems poised to capitalize on the success he had with last year's The Real Testament.

Featuring the ghetto love induced hood anthem "Shawty", Plies --with the help of hook maestro T-Pain--had the clubs in a frenzy; and, seemingly, Plies is sticking with that same formula. This time around, however, Ne-Yo croons about his "shawty"but unlike last year, Plies has a different name for that special lady of his. As you've all heard by now, "Bust It Baby Pt. 2" has been a monster at urban radio and even I, too, can't deny the impact that Plies has as an artist. His brand of ghetto love songs makes for a winning formula and you know what? In spite of the fact that he's very limited as a rapper, his "definition of real" is not only something his fans will enjoy but, something that Webster's dictionary should [arguably] look into adding.

Again, I'll be honest. As much as I hated The Real Testament and criticized it for it's lack of content, I was weary in listening to the Definition of Real. Like I said, I'm not much of a fan of Plies to begin with anyway but, imagine my surprise in realizing that I actually enjoyed this new album. For what it's worth, I never really gave The Real Testament a chance so with D.O.R., I decided to be a little more optimistic and focus more on what Plies had to say. Surprisingly, Plies comes off hungrier than before; and although a majority of his music comes off as a foul mouthed, profanity laced commentary, it's [again] proven that surface value overshadows content any day.

Point blank. Plies may be hard to swallow for some but his music is not intended for the general public. His music [as a whole] speaks directly to the streets and likewise, those same streets have embraced him back. Songs like "Who's Hotter Than Me" and "Watch Dis" are surefire anthems for the summer but it's Plies versatility that allows him to, also, pull off songs like "1 Day" and "Somebody (Love's You)". From that standpoint, I respect Plies for being able to connect emotionally with his fans and, in doing so, I feel like a legitimate level of realness is achieved in the process. Plain and simple, real recognizes real and Plies is the epitome of real.

Unfortunately, this album is not the epitome of a classic, however, but Plies should be commended for a well-rounded effort. Save for "Bust It Baby pt. 2" and the Jamie Foxx and Dream assisted "Please Excuse My Hands", this album has very little [clean] material for radio play and that could be it's undoing. Also, aside from the fact that subject matter is still a problem, Plies has shown limited growth but you can tell that he still hasn't quite grasped the importance of concepts when it comes to song structure.

Overall, the Definition of Real is solid for what it is but can only really be appreciated by those who can fully relate. I, for one, was not able to associate myself with any of the material but, it's not like that's a bad thing. Besides, the way I look at it, we all have our own definitions of real, so to speak; the only question is, which one means more? An opinion or, what we hold true as our own belief?

Rating: 6.5 headphones out of 10