Snoop Lion - Reincarnated

You can pinpoint the exact moment Snoop Dogg stopped being dangerous. In November 2006, Tha Blue Carpet Treatment was released, with lead single 'Vato' being an unquestionable standout (run motherfucka run!). Then, it all stopped. Snoop decided to become a family man, with reality shows and a string of other endorsements turning him into an 'Uncle Snoopy' figure, unrecognisable from the menacing, whip-smart youth that dominated the hip hop world through the 1990's.
As one of hip hop's elder statesmen he did, however, continue to release music. Ego Trippin' was a slightly bizarre, if ultimately disappointing follow up while, the less said about Malice n Wonderland the better. If these were poor, it was nothing compared to the disastrous Doggumentary. Snoop even had the nerve to bill it as the sequel to first classic album Doggystyle, an appalling comparison that did the project no favours at all. Somehow, the magic had gone.
In July 2012, Snoop Dogg threw a curveball. Announcing he was changing his stage name to 'Snoop Lion', and was embracing the Rastafarian faith, the eccentric rapper declared his next album would be an exclusively reggae affair. Assuaging all doubts about the validity and even existence of the project, Snoop Lion has delivered Reincarnated on schedule to a fan base he has yet to convince about his change of direction.

Early signs were not good. Lead single 'La La La' did nothing to soothe fears the Doggfather had finally lost his marbles. It was with trepidation that I downloaded and began to listen to album, bracing myself for a car crash in musical form. It wasn't the first time I have done this with a new Snoop Dogg LP...

My fears were almost instantly dissipated. Opener 'Rebel Way' has Mr Lion crooning over a relaxed Major Lazer beat. The first surprise is the fact that Snoop can actually sing a little. Not especially well, but it isn't painful in the same way as listening to some of his peers (I'm looking at Diddy especially). He's Kid Cudi good if you're looking for a point of reference.
With his mildly weak vocals seemingly in mind, Snoop enlists a variety of reggae singers to assist with many of the hooks. Angela Hunte assists on the ludicrously catchy 'Here Comes the King', and pops up again on 'So Long'. Both tracks are perfect reggae-pop, as deep as a puddle but suitably party-ready. Backed up by the aforementioned Major Lazer production team, Reinarnated is rarely allowed to slide into boring territory. Just when it appears certain tracks are about to sag, Diplo throws in a random horn section or thumping bass line to keep things ticking over. The project works better if you don't think about it too hard and allow the music to wash over you, Major Lazer working effectively to give the album a sense of continuity.

The technique of not taking things too seriously is useful when exposed to some of Snoop's unorthodox subject matter. While it is refreshing to hear him avoid profanity and explicit material, the fact he chooses to replace it with lyrics about fruit juice and the healing powers of nature do raise the eyebrows slightly. It is his sketchy grip on the Rastafarian religion that amuses most, something forgivable if you regard the album as the oddity that it is.

There is, however, the odd note of sincerity. 'No Guns Allowed' is particularly resonant given the recent tragedies that have occurred in the USA recently, while Drake provides an affecting verse about the problems across the border in Canada. In a similar vein, 'Tired of Running' finds Snoop ruminating on the impact his music may have had on relations between the public and the police.

The perceived vocal weakness occasionally gives way to unnecessary guest spots. Akon drops by for absolutely no reason on the aforementioned 'Tired of Running', adding nothing to a song Snoop is quite able to handle on his own, while the decision to allow Chris Brown to appear on 'Remedy' is baffling on an album exclusively about peace and love. The track is, however, notable for a fired up, Jamaican-mode Busta Rhymes (WADADANG, WADADADANGDANG?) The featured artists seem to reflect an anxious Snoop Lion, needlessly worried about being unable to carry his own album and instead flooding the project with needless guests.

Track by Track:

1. Rebel Way (7/10)
2. Here Comes the King (Feat. Angela Hunte) (7/10)
3. Lighters Up (Feat. Mavado & Popcaan) (7/10)
4. So Long (Feat. Angela Hunte) (8/10)
5. Get Away (Feat. Angela Hunte) (7/10)
6. No Guns Allowed (Feat Drake & Cori B) (7/10)
7. Fruit Juice (Feat. Mr. Vegas) (7/10)
8. Smoke the Weed (Feat. Collie Budz) (5/10)
9. Tired of Running (Feat. Akon) (7/10)
10. The Good Good (Feat. Iza) (7/10)
11. Torn Apart (Feat. Rita Ora) (7/10)
12. Ashtrays & Heartbreaks (Feat. Miley Cyrus) (6/10)
13. Boulevard (Feat. Jahdan Blakkamoore) (6/10)
14. Remedy (Feat. Busta Rhymes & Chris Brown) (6/10)
15. La La La (5/10)
16. Harder Times (Feat. Jahdan Blakkamoore) (7/10)

The Verdict

A pleasant surprise, Snoop Lion has delivered an album full of charm and personality, albeit with a skewed Rastafarian vision and a loose grip on what reggae music actually entails. Enlisting the services of Major Lazer for the majority of the production proves to be a masterstroke, giving Reincarnated a pleasingly cohesive feel. Against all expectations, Snoop Dogg has delivered his best album since 2006.

7/10

Pick of the XXLFreshman '13 Class

Thank God for the Freshman editions of XXL magazine. The last time I ventured on to Hip Hop DX, the most popular single was a new Tyga track featuring 2Pac. It was so bad that I had to clean my teeth afterwards. Lil Wayne has a new album out. The lead single is charmingly titled 'Rich as Fuck' and it is simply lamentable, as has been virtually all of Wayne's output since   Tha Carter III. Mainstream hip hop is currently in a terrible state, with an ever expanding pool of mediocrity and copy-cat content destroying all semblance of originality.
It is a desperate situation, but then the Freshman awards come and make everything bearable again. Though there are often missteps (Future?), the list always provides a decent selection of new artists to explore. Here are my top 3 picks of this year's contestants:

1. Action Bronson

A New York native of Albanian descent, Action Bronson has been steadily gaining a mixtape buzz over the last few years. His voice and flow is eerily similar to Ghostface Killah, something Bronson both acknowledges and embraces. Scratch below the surface, however, and clear differences can be found between the two artists. Influenced by the fact he is a professional chef, his rhymes frequently feature metaphors and imagery based around food, utilising soulful and melodious instrumentals to lull the eardrums. Conversely  the relaxing backdrop frequently gives way to dark and perverse imagery, a grimy contrast that creates a unique impression on the listener.

With a steady catalogue of releases behind him, it is unlikely that Action Bronson will remain a hidden gem for much longer.

Download: Action Bronson - Blue Chips

2. Angel Haze

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In a hip hop world sorely lacking female talent, Angel Haze stands out as an entirely different proposition to the pop drenched output of Nikki Minaj and her contemporaries. An abusive, extremely religious upbringing gives Haze's music an entirely different perspective, her brutally frank remix of Eminem's 'Cleanin' Out My Closet' being a case in point. Mixtape Reservation showcases a range of styles and subject matter; close introspection often giving way to an unflinching, ferocious flow.
Gracing the XXL cover as the 'People's Choice' Freshman is a timely award, giving the young MC the exposure that she clearly deserves.

Download: Angel Haze - Reservation

3. Joey Bada$$

Acclaimed mixtape 1999 has meant Joey has had a meteoric year. The project is notable for introducing both the confident rhymesmith and his Pro Era rap crew, founder member Capital Steez tragically committing suicide in December 2012. Trading complex, thought provoking bars over intricate instrumentals, 1999 is reminiscent in parts of Illmatic, heady praise for an artist finding his voice in the turbulent arena of modern hip hop. Taking listeners back to the golden era, Bada$$ has stated that his debut album is almost finished for release. With his music picking up critical and commercial attention, Joey is a decent bet to be the most successful of this year's freshmen.

Download: Joey Bada$$ - 1999

Rick Ross - God Forgives, I Don't

There are few more polarising figures in the world of hip hop than Rick Ross. Some see him as a fraudulent, pathological liar occupying a false position at the head of the hip hop table while others admire his quality output, unafraid to praise the self proclaimed 'Bawse' of the rap world. Whichever opinion the listener possesses, it is clear that God Forgives, I Don't is one of the most anticipated rap releases of the year. Delayed from the intended December release date, Ross has kept his fans waiting. Instead, his Maybach Music Group label has released several well received projects, both solo and compilation based. Now it is finally time for the label head to step out on his own, ready to further capitalise on an already successful year.

Opener 'Pirates' finds Rick Ross in subdued, relaxed mode. The topics are the same; drugs, money and women, but the execution is different to previous releases. Rather than the bombastic production favoured in the MMG umbrella releases, Ross chooses to soothe the listener as he waxes lyrical about his luxurious lifestyle. The technique places the Miami native firmly in the tradition of the Mafioso sub genre of rap, a rebuttal to the familiar criticism that Ross profits from the fantasy life imagined in his rhymes. Rozay is showing the listener that he is fully aware he is not what he says he is, rather he is a performer and entertainer first and foremost.
This theme is explored further in the conciliatory 'Ashamed', Cool and Dre providing a soulful backdrop for the MC to explain why he took to selling drugs:
"I needed some change, Momma needed a raise/ She stayed in a rage, hated minimum wage/ I'm feeling the same, all these criminals paid/ Wearing Bally's and gold, I'm selling dope shameless to say."
A critical listener may point out that a rapper that has based an entire career on glorifying drug dealing is coming in a little late apologising on his fifth album, but it is clear from the outset that God Forgives, I Don't is the account of Rick Ross the MC and entertainer, not William Roberts the man. The latest entry in the 'Maybach Music' series of track included on every studio album since Trilla is similarly a triumph, stripping the guest spots and leaving a soulful Neyo hook to lull the listener over signature J.U.S.T.I.C.E League instrumental.

Less successful, however, is the bloated, star studded '3 Kings'. Featuring a Dr Dre verse but not his production proves to be a mistake as the legendary beat maker struggles through his Jay Z ghost written rhymes. Hova himself makes an appearance, sleep walking through his bars and going back on his promise to no longer use the word 'bitch' in his songs. The album picks up on the Andre 3000 featured 'Sixteen'. Lamenting the fact 16 bars is sometimes not enough to express an idea adequately, Ross designates a full 8 minutes to explore his notion. 3000 continues his recent trend of scene stealing guest appearances with a simply astonishing virtuoso demonstration of free association rhyming.

If there is one thing about Rick Ross that is impossible to deny, it is his consistency. The Floridian reverts to type in the middle section of his album, returning to the thumping, trunk rattling beats that characterise the Dirty South. 'Hold Me Back' is catchy, if a little repetitive, while '911' is too lengthy for its threadbare subject matter. 'So Sophisticated', however, places Ross firmly in his comfort zone. Enlisting MMG stalwart Meek Mill, the track is a perfect example of why the group currently occupies such a lofty position in mainstream rap.
The LP soon moves into R&B territory, with mixed results. 'Ice Cold' is lifted above the ordinary by an impassioned hook from a rejuvenated Omarion, but the Usher assisted 'Touch 'N You' is a disaster from start to finish. Uninspired production fails to mask a lamentable chorus, in which the legendary R&B crooner is reduced to whispering "fucking you, fucking you" over and over. Firmly between the two in terms of quality is the curious 'Diced Pineapples'. Wale treats the listener to a spot of spoken word poetry about oral sex before the song begins proper. The track makes utilises the often neglected singing voice of Drake to good effect, but it is hard to find a use for the song outside of the bedroom.

Track by Track:

1. Pray For Us (Intro) 
2. Pirates 7/10
3. 3 Kings feat. Dr. Dre & Jay-Z 6/10
4. Ashamed 7/10
5. Maybach Music IV feat. Ne-Yo 8/10
6. Sixteen feat. André 3000 8/10
7. Amsterdam 6/10
8. Hold Me Back 7/10
9. 911 5/10
10. So Sophisticated feat. Meek Mill 8/10
11. Presidential feat. Elijah Blake 7/10
12. Ice Cold feat. Omarion 8/10
13. Touch ‘N You feat. Usher 4/10
14. Diced Pineapples feat. Wale & Drake 6/10
15. Ten Jesus Pieces feat. Stalley 6/10

The Verdict:

By delving deeper into the mafioso sub genre, Rick Ross has produced arguably the most solid album of his career. Tentative experimentation generally comes off well, without forgetting the foundations that have made him one of the most consistent and popular rappers in the game. Despite the negative opinions that typically colour discussions of his work, the music itself continues to defy his critics. 

7/10

Young Jeezy - TM:103 - Hustlerz Ambition

After a ludicrous amount of album delays, rivalling that of even The R.E.D Album, Young Jeezy finally released TM:103 on December 20th. Anticipation went into overdrive with the multitude of leaks, official and unofficial, but is the finished project up to standard?

The album begins with 'Waiting'. Anyone familiar with the Atlanta rapper's previous work will find themselves in standard territory as Jeezy rhymes about his come up from the struggle while also finding time to brag about his success. The project really kicks into gear, however, with second track 'What I Do (Just Like That)'. Drumma Boy produces a bass rattling comfort zone in which the rapper is able to provide the type of club banger that he is known for. Similar in tone are the catchy 'Supafreak', featuring a charismatic 2 Chainz verse, and 'Lose My Mind', in which a surprisingly listenable Plies cameo blows Jeezy out of the water. The best beat on the album, however, is reserved for the speaker-destroying 'Ballin'. It is virtually impossible to listen to the track at low volume as Jeezy spazzes out over the dark, incessant instrumental. Unfortunately, some of the good work is ruined by a depressingly average appearance from Lil Wayne, who even pauses the beat before launching into one of the most forgettable verses of his career.

Unlike previous albums, however, Jeezy does not restrict himself solely to his own brand of 'trap music'. On the silky 'Leave You Alone', the rapper links up with Neyo to rhyme about the pitfalls of a relationship with a hustler. 'F.A.M.E' with T.I is a welcome change of pace into deeper subject matter, as the two Atlanta natives describe the drawbacks of their fame: "Tell me, for running my big mouth/ That I can chill here in this big penthouse?/ All elevatored up, black hardwood floors/ Just to sit around and feel it aint yours...". The track heralds a more mature approach for an artist not noted for his deep introspection. Equally successful is the star studded 'I Do', in which Jeezy, Jay Z and Andre 3000 wax lyrical about their perfect women and how they imagine they would marry them. Jill Scott drops by unexpectedly for 'Trapped', providing a spoken word hook for Jeezy to to recount his grim childhood.

Unfortunately, not all of TM:103 is quite as compelling. 'Higher Learning' is dull weed rap that the world has heard a thousand times. Snoop Dogg continues his descent into mediocrity on the type of song in which he used to shine, while bringing Devin the Dude into the fray underlines his irrelevance. 'All We Do' is one of only 5 cuts in which Jeezy is unaided by another artist, but the rapper wastes his opportunity with a long, repetitive track about how he does nothing but smoke weed and fuck his girlfriend. It is just as interesting as it sounds. Having both Jadakiss and Fabolous on 'OJ' means Jeezy compares unfavourably in the lyricism department. The beat, however, is uninspiring, resulting in none of the artists finding the space to really shine.

Track by Track:

1. Waiting - 7/10

2. What I Do (Just Like That) - 8/10

3. OJ - 6/10

4. Nothing - 7/10

5. Way Too Gone - 6/10

6. SupaFreak - 8/10

7. All We Do - 4/10

8. Leave You Alone - 7/10

9. Everythang - 7/10

10. Trapped - 7/10

11. F.A.M.E. - 8/10

12. I Do - 8/10

13. Higher Learning - 5/10

14. This One's For You -  6/10 15. .38 - 7/10 16. Ballin' - 8/10 (one point off for the dreadful Lil Wayne verse) 17. Lose My Mind - 8/10 18. Never Be The Same - 7/10 The Verdict: Young Jeezy has put together a slick selection of thugged out trap music in the way only he can. Despite some low points, TM: 103 represents the highlight of the Jeezy catalogue, and is sure to satisfy the legion of fans who have waited so patiently for the release of the album 8/10.

Wale - Ambition

Washington born MC Wale has had an interesting year. Removed from the Interscope roster after poor sales of debut Attention Deficit, the rapper was offered a second chance in the form of a place on Rick Ross' Maybach Music Group label. The compilation album of the same name found Wale rhyming with fellow XXL Freshmen alumni Meek Mill and Pill, as well as Ross himself. Though the LP was generally well received, Wale was criticised for seemingly changing his content and flow to fit in with his new label mates. 6 months later, the MC returns with his first MMG solo release: Ambition.


The first notable feature of the tracklist is the lack of MMG support. Meek Mill appears once, while Rick Ross guests twice. In theory, this allows Wale to stretch his wings, affording him an opportunity to experiment. The first four tracks, however, find the rapper stuck in familiar territory. 
Album opener 'Don't Hold Your Applause' finds a laid back Wale taking the MMG trademark boastful approach to his wordplay: "Tired of making money/ I'm more than making history/ Fuck how they feel I keep it realer than a documentary". 'Double M Genius' and 'Miami Nights' take on a similar theme, but it is the sombre 'Legendary' that properly kicks off the album as the MC wearily dissects the price of fame: "Fuck fame/ Fuck money/ Fuck anything anyone can take from me/ It aint hard/ To make money/ We young niggas just tryna' be legendary".


The LP has a prominent R&B streak running through the track list. The best of these are the Miguel assisted 'Lotus Flower' and 'Sabotage', featuring Lloyd. The former is an exercise in smooth seduction, while the latter is a smart examination of destructive relationship behaviours. 'White Linen', with Neyo on the hook, fares less well, the song tipping the balance of the album over to blatant attempts to expand the female fan base. The rapper starts 'Illest Bitch' by proclaiming that "I was going to write you a poem today/ But fuck it, I was feeling myself...". He should have stuck with the poem.


The stronger tracks on the album are where Wale takes himself out of his comfort zone. 'Focused' utilises the left-field  stylings of Kid Cudi to great effect over a synth heavy, spaced out beat. Similarly experimental is the Diplo produced 'Slight Work'. Sirens wail in and out of a looping drum beat as Wale and Big Sean showcase their quick time flows. Title track 'Ambition' is a subdued, poignant collaboration between MMG stalwarts Mill and Ross, the song demonstrating that there is more to the group than money, bitches and cars.


Track by Track:

1.	"Don't Hold Your Applause" (6/10)
2.	"Double M Genius"  (7/10)
3.	"Miami Nights"  (6/10)
4.	"Legendary"  (7/10)
5.	"Lotus Flower Bomb"  (7/10)
6.	"Chain Music"  (6/10)
7.	"Focused" (8/10)
8.	"Sabotage" (7/10)
9.	"White Linen (Coolin')" (5/10)
10.	"Slight Work" (9/10)
11.	"Ambition" (7/10)
12.	"Illest Bitch"  (5/10)
13.	"No Days Off"  (5/10)
14.	"DC or Nothing" (6/10)
15.	"That Way" (6/10) The Verdict: When listening to Ambition, it is hard to shake the feeling that Wale is out of his comfort zone on his new label. The album lacks the consciousness, emotion and razor sharp wordplay found in both the mixtapes that brought him to national attention and his debut effort Attention Deficit. Signing with MMG has become both a blessing and a curse. 6/10