What's good ya'll, it's ya boy ATM and I'm back wit a new album review for that ass. The highly-anticipated third edition of the Blueprint series by Jay-Z doesn't hit stores 'till the 11th but you know the good people at Blue Vinyl Radio got your back when it comes to that EXCLUSIVE ish. Before we get into it, here's a look at the video for the second single off the album, "Run This Town (feat. Rihanna and Kanye West)."
With the way things have been goin' in the game, it seems as if everyone is either tryin' to turn Hip-Hop back into the direction that it came from (Slaughterhouse, Eminem, Busta Rhymes, etc.) or tryin' to just run on the course that it is currently on (Lil' Wayne, Diddy, Jim Jones, etc.). If anyone was goin' to give you his perceptions of the current state (and possible demise) of Rap music, it had to be none other than Jay-Z. Many doubters have already anticipated his next release, anxious to see what he still has to offer after coming out of retirement to drop two LP's (and now his third). The self-proclaimed "Best Rapper Ever" (and critically-acclaimed "Best Rapper Alive") may no longer have anything to prove, but the question still remains to be asked: What does Jay-Z stll have to offer?
The disk starts off proper as Jigga hits you with a good combination of flow, style, swag, and musical energy. But things eventually go south as guest appearances by Young Jeezy and Swizz Beatz just don't make the cut against Jay's artistry. Even as the middle tracks leave you wanting something better from the Marcy vet, he still manages to squeeze in standouts like "Already Home" and "Hate" (featuring Kid-Cudi and Kanye West respectively). The album ends with a somber collaboration from new-comer Mr. Hudson but as a whole doesn't make the remarkable impact some may expect.
While Jay's first post-retirement album "Kingdom Come" came off as a disappointment and the second ("American Gangster") as possibly one of his best, "Blueprint 3" fits right in the middle. Jigga's latest add to the resume doesn't seem to give you the best he can possibly give but does display brief points where Hov is clearly goin' hard and giving you a reason to place him as one of Rap's premiere MC's.
Individual Track Review:
1. What We Talkin’ About (Feat. Lake Steele of Empire of the Sun)- Jigga kicks things off in his highly anticipated addition to the “Blueprint” series with an unexpected mid-tempo Electronica selection many people may recognize (lyrically). If you kept up with Jay-Z news this past summer, you’ll recall a “beef” he possibly instigated with The Game by placing him in the same bar as the names Dame Dash and Jim Jones. While the aforementioned verse definitely sounds more sensible over the instrumental, the track isn’t something you’d expect to get too hyped over.
2. Thank You- Here’s the Jigga Man people have been waiting to hear from. On a laid back, horn-filled selection, Hova takes the time to express the state of Hip-Hop and his perception of it. Punchlines come aplenty and the beat is satisfactory as well. Why was this track not the intro?
3. D.O.A. (Death of Auto-Tune)- The lead single of Blueprint 3 continues to give you a taste of Jay-Z’s perception of the current stance rappers are taking in Hip-Hop. The horns and electric guitar give a ruthless, rugged appeal to Jay-Z’s flow but the lyrics just aren’t heavy enough to get his point fully across. While Hip-Hop nation undoubtedly took notice of Hov’s message (T-Pain, the Auto-Tune King, joined him on stage to perform this at Summer Jam), the release of such a single seemed to come at a coincidental time rather than acting as the reason why the use of Auto-Tune has actually declined.
4. Run This Town (Feat. Rihanna and Kanye West)- Here, Young Hov enlists the stardom of Rihanna and ‘Ye to gain a little more commercial attention for the LP. I found “Run This Town” a track that took getting used to; but the appeal of the cinematic snare and guitar in addition to the swagger Jay-Z applies with his flow makes it exceptional. Oh yeah, it just so happens Kanye delivers a knockout blow with his verse as well. The sequence of this second single fits perfectly into the tracklist.
5. Empire State of Mind (Feat. Alicia Keys)- “Let’s hear it for New York!” It’s been a while since an artist has provided his or her city with an anthem to stand by. Look no further; just when you thought the features couldn’t get significant on Jigga’s latest LP, he had the nerve to enlist the R&B prowess of Ms. Alicia Keys. And to top that off, Alicia acted as if she hadn’t gone anywhere from the game by giving an above average performance. Giving you the nostalgic feeling of being in downtown Manhattan, this joint is an exceptional addition to Hovito’s resume.
6. Real As It Gets (Feat. Young Jeezy)- Don’t be surprised by the name listed next to “Feat.” Although Jay-Z has lent his vocals to a Jeezy cut before [“Go Crazy (Remix)”], the Snowman unfortunately can’t adequately return the favor. Crooning the hook and making appearances in the first and third verses, Jeezy’s lyrics are about as “dull as it gets.” Hov attempts to salvage the song in the first half of the third verse, but outshining Jeezy doesn’t help in the overall quality of the track.
7. On to the Next One (Feat. Swizz Beatz)- As I peep the title of this song and look at who’s featured, I recall the days of when a Swizz Beatz track used to entail either a Ruff Ryder banger or a joint you’d want to highlight at the next house party. Nowadays, it’ll probably display a rapper with a lackluster flow thinking swagger can overpower lyricism (if Swizzy isn’t rapping over the instrumental himself). And this is pretty much what you get from this Blueprint selection. While some can make the case that the beat is hot, Jay-Z’s laziness forces me to suggest that you move “on to the next one” upon entering Track #7.
8. Off That (Feat. Drake)- Knowing Jay-Z’s style, you wouldn’t expect him to enlist Timbaland to bring you a track that sounds as if it came off of Madonna or Lil’ Mama’s previous albums (“4 Minutes,” “Shawty Get Loose”). While this club joint comes off as unexpected, it surprisingly works with Jigga’s flow and delivery as of late. Unfortunately, the track is heavily crippled by the fact that Drake does not land a verse on this album cut (and possible next single). As this track was projected to be Jay-Z’s second release (after “D.O.A.”), I can now understand why it was pulled back and why fans will be highly disappointed by the absence of Drizzy’s presence.
9. A Star Is Born (Feat. J. Cole)- And the up-tempo selections don’t stop. Jigga takes the time to elaborate upon various Hip-Hop acts that have become stars over the years. J. Cole gives a satisfactory appearance on the final verse but his request to become a star shouldn’t be taken metaphorically. As a Roc Nation signee, it can only be questioned whether or not we will see a highly advertised debut LP from “Simba” on behalf of Jigga Man and company. In the meantime, enjoy hearing the stories of how some go from rags to riches.
10. Venus Vs. Mars- When Jay-Z took the risks of discussing romantic endeavors on previous cuts such as “I Know,” “Bonnie and Clyde ’02,” and “Excuse Me Miss,” Hov definitely reaped what he sowed and came out of the mushroom cloud with some of his biggest hits. This track just comes off as awkward and uncomfortable as Jigga’s newly-found swag displays why it shouldn’t be used to holla at the ladies. With detailed descriptions of a particular encounter with the opposite sex, one comes to realize the limits of the self-proclaimed (and critically acclaimed) “best rapper alive.”
11. Already Home (Feat. Kid Cudi)- After dismantling an exceptional start to a highly-anticipated LP, Jay finally turns things around with possibly my favorite track on the album. This string-heavy, Kid Cudi assisted selection leaves no room for questions and wonderment as Jigga gives answers to the doubters. No further search for the “go hard” mentality of the Jigga Man is needed with lines like, “Now these niggas is mad/Oh they call me a camel/But I mastered the drought/What the fuck? I’m an animal/Half man, half mammal…”
12. Hate (Feat. Kanye West)- While Jay and ‘Ye do a distinct job of trading punchlines and displaying raw chemistry, one can’t ignore the fact that this track comes off as a “808’s and Heartbreak” throwaway and is far too short in time length. With a hook and more vocals from Yeezy, this could have been a Blueprint standout. Unfortunately, it’s not.
13. Reminder- Before I even jump into a description of this track, I just want to point out the fact that this fool had the nerve to say the only musical act better than him was The Beatles… not excluding Elvis Presley and Michael Jackson (although he was wise enough to not mention the late King of Pop’s name). With that said, Jay apparently wants to remind ya’ll he’s the best in Hip-Hop… period. Well, if that’s the case Hov, don’t do it over a beat that sounds like someone handed you a track they put together last night on Garage Band in the comfort of their two-bedroom apartment. The strings come off as irritating and the hook is just as unpleasant. While I will give Jay the benefit of some punchlines, the track is unfortunately not so original as you may recall cuts from “The Black Album” such as “Justify My Thug” and “Lucifer” upon listening to this song.
14. So Ambitious (Feat. Pharrell)- The choice of synthesized strings continues on this Neptunes cut. While Pharrell has provided for Jay-Z countless times before (anybody recall the guy singing the hook on “I Just Wanna Love U” from Blueprint 1?), this addition to the collabo resume comes off as passable. With no distinct, memorable lines from Jay except his constant refrains of “Fuck ya’ll” behind the entrance of the hook, fans might be disappointed by this lackluster approach from the constant Jigga/Pha-real duo.
15. Forever Young (Feat. Mr. Hudson)- With so many falters and stumbles throughout such a highly-anticipated album, I was very curious as to how this LP would close. Unfortunately, Blueprint 3 closes as unflatteringly as it opened. Mr. Hudson is a knockout with somber vocals that belong in the genre and class of Soft Rock; Jay-Z seems to completely disregard that, stumbling over the beat at times and failing to support his message lyrically of attaining a legacy.
Overall Rating: 3/5
-A.T.M.
Showing posts with label Album Review. Show all posts
Showing posts with label Album Review. Show all posts
Saturday, September 5, 2009
Monday, August 17, 2009
SLAUGHTERHOUSE ALBUM REVIEW
I'm sure ya'll know SLAUGHTERHOUSE, and if not watch the visuals provided for their first single 'THE ONE'
You likes? Good. Here's another album review for that ass...
The highly anticipated debut of rap supergroup Slaughterhouse may have gained too many expectations for the album to provide (at least for me). Overall, the album just seems to be a mixtape gone right without a host. While it is refreshing to hear each artist drop a verse on every song, it's hard for four distinguished MC's with lackluster careers to believe that this is the right step in terms of the aforementioned resume. The lack of chemistry allows the listener to be thankful that there are only 12 songs to listen to consecutively but fans should be happy that the album doesn't come off as a competition of "who's the best lyricist." A decent addition to each rapper's stat sheet but an unfortunate product for those who had high hopes for this being a potential turnaround piece of music in hip-hop.
Individual Track Review:
1. Sound Off- The “Slaughterhouse” conglomerate set things off well enough by “sounding off” in the roll call fashion of a lyrical exhibition. All four MC’s give verses that grow increasingly fast in speed as they give descriptions of their rolls in the group. A decent way to start things off and give people who haven’t heard these guys a chance to hear what they provide.
2. Lyrical Murderers (ft. Kay Young)- The lyrical quartet takes a laid back approach on this joint. Giving descriptions as to how they “murder” tracks, the four lyricists seem to lack chemistry in the midst of a hook that just doesn’t grab attention. Decent lines from everyone but not a standout track in all.
3. Microphone- Slaughterhouse goes hard on this one (with each verse getting more vicious, possibly intentionally). Providing straight lyricism is what they came here to do and they do not disappoint on this one. Definitely something to present in terms of what they were going for but yet another passable joint (no pun intended).
4. Not Tonight- The self-titled debut finally offers its first standout track with this upbeat display of raw energy. Each MC takes his turn to give you a reason as to why he can place hip-hop on his back and bring it back to the days when “niggas was rockin’ the mic.” Slaughterhouse doesn’t disappoint on this one.
5. The One (ft. The New Royales)- The lead single of the album provides one of the catchiest hooks I’ve heard in a while. The MC’s don’t fade from the mind easily either with lines like, “I’m the one who always cause an affair/So every time your bitch burps, you smell my balls in the air/Yeah…” Check out the video to get a glimpse of the rock star mentality they were aiming for.
7. Cuckoo- Apparently Slaughterhouse’s rhymes are so crazy, “they don’t need a hook for this one.” While the lines do come off as entertaining, the track as a whole comes off as a standout mixtape joint and the instrumental only forces you to give praise to the MC’s for staying on beat to something so sloppy.
9. Onslaught 2 (ft. Fatman Scoop)- Although the beat and rhymes provide a great addition to the tracklist, one can’t help but wonder where the hook is at or why Fatman Scoop is attempting to make an appearance by merely ad-libbbing behind every other line that is dropped. Fortunately, the energy that makes its way throughout the entire selection makes up for any mistakes that are made.
11. Salute (ft. Pharoahe Moonch)- Slaughterhouse attempts to give you reasons as to why you should salute them as lyricists and as street credible individuals. Unfortunately you would only do so half-heartedly as the beat is too soulful and the hook too dry to make this worth playing back. While the rhymes are decent as always (they are going for the lyrical approach), the lack of presence makes it hard for listeners to distinguish the artists at times even as the quartet lacks chemistry.
12. Pray (It’s A Shame)- The album takes an unexpectedly vulnerable turn as the MC’s share tales of growing up and living with hardships. While the rhymes come off as lighter (which isn’t necessarily a bad thing in the sense of balance), the track gives a thematic touch to an album that has come off as one without cohesion.
13. Cut You Loose- Possibly the best track on the album, Slaughterhouse goes hard lyrically and takes a thematic approach to discussing the current state of Hip-Hop music. Talking about rap in a metaphorical light, Hip-Hop is seen as a girl the MC’s just have to “cut loose.” The instrumental provides a nice touch to the energy and each artist gives a good portrayal of his love for rap music. And if anyone had any doubts about the Joe Budden/Method Man beef, no need to worry as Joey tells Method Man he can “have that bitch” (i.e. the current state of Hip-Hop) after describing it as a chick who’s been tricking… ouch.
14. Raindrops (ft. Novel)- Slaughterhouse sheds an even more vulnerable light on their experiences as they give share more stories about the difficulties of growing up in their lives. While this track is easy to separate from “Pray (It’s A Shame), it unfortunately doesn’t add that much of a new element to what is being discussed with the exception of the hook and instrumental.
15. Killas- Not a great way to end an album that came in with so much potential. The quartet describes its “killa” mentality but don’t seem too convincing on a beat that isn’t given enough justice. And while they are trying to bring rap back to its heyday, someone forgot to give them the memo on not throwing the most hood-sounding chick you can find on the hook anymore (if what was the chorus can be called a chorus).
Overall Rating: 2.5/5
If Slaughterhouse or anyone thinks they can bring rap to what it used to be just by dropping verses left and right, they're dead wrong. I don't know if people forgot but a lot artists were good lyricists and sold millions not too long ago because they were marketable. Without a second single (which I don't expect from this album), something that is profitable, and lyricism to back up the commerical success, you can expect to hear what you hearing on the radio and seeing what you see on TV for a long time... or until people get tired of it.
You likes? Good. Here's another album review for that ass...
The highly anticipated debut of rap supergroup Slaughterhouse may have gained too many expectations for the album to provide (at least for me). Overall, the album just seems to be a mixtape gone right without a host. While it is refreshing to hear each artist drop a verse on every song, it's hard for four distinguished MC's with lackluster careers to believe that this is the right step in terms of the aforementioned resume. The lack of chemistry allows the listener to be thankful that there are only 12 songs to listen to consecutively but fans should be happy that the album doesn't come off as a competition of "who's the best lyricist." A decent addition to each rapper's stat sheet but an unfortunate product for those who had high hopes for this being a potential turnaround piece of music in hip-hop.
Individual Track Review:
1. Sound Off- The “Slaughterhouse” conglomerate set things off well enough by “sounding off” in the roll call fashion of a lyrical exhibition. All four MC’s give verses that grow increasingly fast in speed as they give descriptions of their rolls in the group. A decent way to start things off and give people who haven’t heard these guys a chance to hear what they provide.
2. Lyrical Murderers (ft. Kay Young)- The lyrical quartet takes a laid back approach on this joint. Giving descriptions as to how they “murder” tracks, the four lyricists seem to lack chemistry in the midst of a hook that just doesn’t grab attention. Decent lines from everyone but not a standout track in all.
3. Microphone- Slaughterhouse goes hard on this one (with each verse getting more vicious, possibly intentionally). Providing straight lyricism is what they came here to do and they do not disappoint on this one. Definitely something to present in terms of what they were going for but yet another passable joint (no pun intended).
4. Not Tonight- The self-titled debut finally offers its first standout track with this upbeat display of raw energy. Each MC takes his turn to give you a reason as to why he can place hip-hop on his back and bring it back to the days when “niggas was rockin’ the mic.” Slaughterhouse doesn’t disappoint on this one.
5. The One (ft. The New Royales)- The lead single of the album provides one of the catchiest hooks I’ve heard in a while. The MC’s don’t fade from the mind easily either with lines like, “I’m the one who always cause an affair/So every time your bitch burps, you smell my balls in the air/Yeah…” Check out the video to get a glimpse of the rock star mentality they were aiming for.
7. Cuckoo- Apparently Slaughterhouse’s rhymes are so crazy, “they don’t need a hook for this one.” While the lines do come off as entertaining, the track as a whole comes off as a standout mixtape joint and the instrumental only forces you to give praise to the MC’s for staying on beat to something so sloppy.
9. Onslaught 2 (ft. Fatman Scoop)- Although the beat and rhymes provide a great addition to the tracklist, one can’t help but wonder where the hook is at or why Fatman Scoop is attempting to make an appearance by merely ad-libbbing behind every other line that is dropped. Fortunately, the energy that makes its way throughout the entire selection makes up for any mistakes that are made.
11. Salute (ft. Pharoahe Moonch)- Slaughterhouse attempts to give you reasons as to why you should salute them as lyricists and as street credible individuals. Unfortunately you would only do so half-heartedly as the beat is too soulful and the hook too dry to make this worth playing back. While the rhymes are decent as always (they are going for the lyrical approach), the lack of presence makes it hard for listeners to distinguish the artists at times even as the quartet lacks chemistry.
12. Pray (It’s A Shame)- The album takes an unexpectedly vulnerable turn as the MC’s share tales of growing up and living with hardships. While the rhymes come off as lighter (which isn’t necessarily a bad thing in the sense of balance), the track gives a thematic touch to an album that has come off as one without cohesion.
13. Cut You Loose- Possibly the best track on the album, Slaughterhouse goes hard lyrically and takes a thematic approach to discussing the current state of Hip-Hop music. Talking about rap in a metaphorical light, Hip-Hop is seen as a girl the MC’s just have to “cut loose.” The instrumental provides a nice touch to the energy and each artist gives a good portrayal of his love for rap music. And if anyone had any doubts about the Joe Budden/Method Man beef, no need to worry as Joey tells Method Man he can “have that bitch” (i.e. the current state of Hip-Hop) after describing it as a chick who’s been tricking… ouch.
14. Raindrops (ft. Novel)- Slaughterhouse sheds an even more vulnerable light on their experiences as they give share more stories about the difficulties of growing up in their lives. While this track is easy to separate from “Pray (It’s A Shame), it unfortunately doesn’t add that much of a new element to what is being discussed with the exception of the hook and instrumental.
15. Killas- Not a great way to end an album that came in with so much potential. The quartet describes its “killa” mentality but don’t seem too convincing on a beat that isn’t given enough justice. And while they are trying to bring rap back to its heyday, someone forgot to give them the memo on not throwing the most hood-sounding chick you can find on the hook anymore (if what was the chorus can be called a chorus).
Overall Rating: 2.5/5
If Slaughterhouse or anyone thinks they can bring rap to what it used to be just by dropping verses left and right, they're dead wrong. I don't know if people forgot but a lot artists were good lyricists and sold millions not too long ago because they were marketable. Without a second single (which I don't expect from this album), something that is profitable, and lyricism to back up the commerical success, you can expect to hear what you hearing on the radio and seeing what you see on TV for a long time... or until people get tired of it.
Friday, July 24, 2009
Fabolous-"Loso's Way" Album Review
Although "Loso's Way" doesn't officially drop until Tuesday, July 28th, Blue Vinyl has got an album review to let you know what you're dealin' wit!
Overall, "Loso's Way" is a good disk and a great indication of Fabolous' growth as an MC (and maybe as a man, see Track 15). While the album as a whole slips a little after the middle, it's overall above average presentation cannot be overlooked. No matter which "way" Loso's headed, it doesn't look like he's going anywhere by the looks of this content.
Individual Track Evaluation:
1) The Way (Intro)- Loso sets things off right by avoiding the typical intro chit-chat and going hard, addressing issues like why people have under-rated him and the general meaning of what “his way” really is. A great track for fans of “go hard,” mixtape-type verses.
2) My Time (feat. Jeremih)- Fabolous keeps things moving with the up-beat, Runners-produced “My Time” featuring R&B new-comer Jeremih. While the track displays the great blend of Rap and R&B that is typical of Fabolous, the real highlight of the song is Jeremih’s surprisingly fitting appearance on the third verse. Reminiscent of R. Kelly’s “singing rap” style, Jeremih doesn’t fail to make a presence for himself.
3) Imma Do It (feat. Kobe)- No, this song doesn’t feature the Kobe you thinking of; but you eventually get over this as Fabolous kills the second and third verses of yet another “go hard”, Rap and R&B affair.
4) Feel Like I’m Back- If you’re a fan of Drake, this laid-back selection won’t sound too unfamiliar as Loso takes up the singing duties on the chorus. This track can easily be overlooked with the exception of the last verse.
5) Everything, Everday, Everywhere (feat. Keri Hilson)- Fabolous redeems himself from the last track with this potential single. While the chorus is not as catchy as the beat would call for, Ryan Leslie is by far satisfactory on production. One of my personal favorites and another track Loso can add to his thick resume of rap/sung collaborations.
6) Throw It In The Bag (feat. The-Dream)- With another big-name guest appearance, “Loso’s Way” provides a great opening half to an album. This Pop-listener pleaser adds a balancing element to the rougher side of Fabolous’s flow.
7) Money Goes, Honey Stay (When The Money Goes Remix) (feat. Jay-Z)- Continuing his brand of a lighter flow, Loso lets Jigga Man handle the vocals on the hook. Although Jay-Z doesn’t lend his flow on any verses, this beat ultimately makes up for any mistakes that appear on the track (which are few).
8) Salute (feat. Lil’ Wayne)- Just when you thought Keri Hilson, The-Dream, and Jay-Z made for a hefty list of collaborations, Lil’ Wayne comes through to show you that he’s not done making his presence felt everywhere possible. The blaring trumpets on this track have the regal effect of actually making you wanna salute or be saluted. A decent addition to Wayne’s resume and another pleaser for any fans of Weezy.
9) There He Go (feat. Paul Cain, Red Café, and Freck Billionaire)- This album had to falter at some point. Four MCs lend disposable verses on this typical, egotistical, “look at me” track. All this song did was force me to ask, “Where He Go?”
10) The Fabolous Life (feat. Ryan Leslie)- Not many MCs can appeal to the ladies as well as the gold-diggers, but Loso shows them how it’s done on this laid back Next Selection. Capable of being overlooked due to its location on the disc.
11) Makin’ Love (feat. Ne-Yo)- Ladies, turn the lights down low and put the kids to bed… Loso and Ne-Yo are here to make love. But unfortunately Fabolous doesn’t know what that is… (peep the end of the song) which brings about the cliché uber masculine stereotype of “beatin’ it up” rather than fully sharing some type of bond in bed. While the track is decent at best, it doesn’t do much to redeem the second half of the album.
12) Last Time (feat. Trey Songz)- Yes, Trey Songz had a single with the same title. And yes, this song has the same theme as Trey Songz’s interpretation of temptation with the opposite sex. Fortunately, Fabolous does an adequate job of elaborating on his relationship with “that chick on the side” and lets his flow expand over the beat well. Too bad the MC doesn’t sound too apologetic about being with this Girlfriend #2.
13) Pachanga- Maybe I spoke to soon on the apologetic tip in the last track. Here, Fabolous discusses his emotions related to that girlfriend who switches up on her man. The 1970s R&B/Soul sample gives a great sobering effect to the theme and allows Loso to do his thing with the flow that’s made him one of Rap’s premier MCs. Forgive me for the extensive compliment… this track is hot.
14) Lullaby- With a beat this slow and a track this late in the album, maybe Fab really was trying to put his listeners to sleep. The punch lines grow weary and Loso just doesn’t seem interested in letting you know how to do things his way anymore. This track could have had more potential as an earlier album cut.
15) Stay (feat. Marsha Ambrosius)- Fab saves all vulnerability for this touching ode to the father-figure (present or not). Marsha Ambrosius gives the best vocal performance of any R&B guest star on this album and solidifies the sensitivity of this great listen. Don’t get it twisted, Loso ain’t gone soft… he’s just providing what some need to hear.
16) I Miss My Love- Fabolous displays surprising storytelling abilities on the “Loso’s Way” finale. While the story’s content is extensive, Fab adequately balances a good flow with a story that’s able to be followed. While this track may have worked well as the second to last cut (before “Stay”), but it’s visible vulnerability at song’s end would undoubtedly work against an MC who intentionally goes hard throughout the LP.
Overall Rating: 3/5
If you were interested in coppin' this, hopefully this helped you out. Until next time...
-A.T.M.
Overall, "Loso's Way" is a good disk and a great indication of Fabolous' growth as an MC (and maybe as a man, see Track 15). While the album as a whole slips a little after the middle, it's overall above average presentation cannot be overlooked. No matter which "way" Loso's headed, it doesn't look like he's going anywhere by the looks of this content.
Individual Track Evaluation:
1) The Way (Intro)- Loso sets things off right by avoiding the typical intro chit-chat and going hard, addressing issues like why people have under-rated him and the general meaning of what “his way” really is. A great track for fans of “go hard,” mixtape-type verses.
2) My Time (feat. Jeremih)- Fabolous keeps things moving with the up-beat, Runners-produced “My Time” featuring R&B new-comer Jeremih. While the track displays the great blend of Rap and R&B that is typical of Fabolous, the real highlight of the song is Jeremih’s surprisingly fitting appearance on the third verse. Reminiscent of R. Kelly’s “singing rap” style, Jeremih doesn’t fail to make a presence for himself.
3) Imma Do It (feat. Kobe)- No, this song doesn’t feature the Kobe you thinking of; but you eventually get over this as Fabolous kills the second and third verses of yet another “go hard”, Rap and R&B affair.
4) Feel Like I’m Back- If you’re a fan of Drake, this laid-back selection won’t sound too unfamiliar as Loso takes up the singing duties on the chorus. This track can easily be overlooked with the exception of the last verse.
5) Everything, Everday, Everywhere (feat. Keri Hilson)- Fabolous redeems himself from the last track with this potential single. While the chorus is not as catchy as the beat would call for, Ryan Leslie is by far satisfactory on production. One of my personal favorites and another track Loso can add to his thick resume of rap/sung collaborations.
6) Throw It In The Bag (feat. The-Dream)- With another big-name guest appearance, “Loso’s Way” provides a great opening half to an album. This Pop-listener pleaser adds a balancing element to the rougher side of Fabolous’s flow.
7) Money Goes, Honey Stay (When The Money Goes Remix) (feat. Jay-Z)- Continuing his brand of a lighter flow, Loso lets Jigga Man handle the vocals on the hook. Although Jay-Z doesn’t lend his flow on any verses, this beat ultimately makes up for any mistakes that appear on the track (which are few).
8) Salute (feat. Lil’ Wayne)- Just when you thought Keri Hilson, The-Dream, and Jay-Z made for a hefty list of collaborations, Lil’ Wayne comes through to show you that he’s not done making his presence felt everywhere possible. The blaring trumpets on this track have the regal effect of actually making you wanna salute or be saluted. A decent addition to Wayne’s resume and another pleaser for any fans of Weezy.
9) There He Go (feat. Paul Cain, Red Café, and Freck Billionaire)- This album had to falter at some point. Four MCs lend disposable verses on this typical, egotistical, “look at me” track. All this song did was force me to ask, “Where He Go?”
10) The Fabolous Life (feat. Ryan Leslie)- Not many MCs can appeal to the ladies as well as the gold-diggers, but Loso shows them how it’s done on this laid back Next Selection. Capable of being overlooked due to its location on the disc.
11) Makin’ Love (feat. Ne-Yo)- Ladies, turn the lights down low and put the kids to bed… Loso and Ne-Yo are here to make love. But unfortunately Fabolous doesn’t know what that is… (peep the end of the song) which brings about the cliché uber masculine stereotype of “beatin’ it up” rather than fully sharing some type of bond in bed. While the track is decent at best, it doesn’t do much to redeem the second half of the album.
12) Last Time (feat. Trey Songz)- Yes, Trey Songz had a single with the same title. And yes, this song has the same theme as Trey Songz’s interpretation of temptation with the opposite sex. Fortunately, Fabolous does an adequate job of elaborating on his relationship with “that chick on the side” and lets his flow expand over the beat well. Too bad the MC doesn’t sound too apologetic about being with this Girlfriend #2.
13) Pachanga- Maybe I spoke to soon on the apologetic tip in the last track. Here, Fabolous discusses his emotions related to that girlfriend who switches up on her man. The 1970s R&B/Soul sample gives a great sobering effect to the theme and allows Loso to do his thing with the flow that’s made him one of Rap’s premier MCs. Forgive me for the extensive compliment… this track is hot.
14) Lullaby- With a beat this slow and a track this late in the album, maybe Fab really was trying to put his listeners to sleep. The punch lines grow weary and Loso just doesn’t seem interested in letting you know how to do things his way anymore. This track could have had more potential as an earlier album cut.
15) Stay (feat. Marsha Ambrosius)- Fab saves all vulnerability for this touching ode to the father-figure (present or not). Marsha Ambrosius gives the best vocal performance of any R&B guest star on this album and solidifies the sensitivity of this great listen. Don’t get it twisted, Loso ain’t gone soft… he’s just providing what some need to hear.
16) I Miss My Love- Fabolous displays surprising storytelling abilities on the “Loso’s Way” finale. While the story’s content is extensive, Fab adequately balances a good flow with a story that’s able to be followed. While this track may have worked well as the second to last cut (before “Stay”), but it’s visible vulnerability at song’s end would undoubtedly work against an MC who intentionally goes hard throughout the LP.
Overall Rating: 3/5
If you were interested in coppin' this, hopefully this helped you out. Until next time...
-A.T.M.
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