DMX - Undisputed

Few musicians have had a career trajectory quite as extreme as DMX. A string of number one albums in the late 90's (including 2 in the same year) put X at the forefront of mainstream rap, a success story that stretched into the new millennium as the gruff New Yorker amassed over 20 million in sales. In addition to musical success, the rapper also branched out into acting, taking on a variety of well received roles.
Post 2003, however, everything went wrong. Frequent, well publicised legal woes were briefly staved off with 2006's disappointing Year of the Dog... Again, but the familiar personal problems seemingly overwhelmed him as the decade came to a close. Now, fresh from his latest stint in prison, DMX is at risk of being forgotten by the rap world. 6 years after his last album, Undisputed marks a return for one of hip hop's most perplexing, yet enduring figures.

Opener 'What They Don't Know' is an attempt to pick up where Year of the Dog... left off. Enlisting frequent collaborator Swizz Beatz finds the rapper in familiar guttural territory, flanked by the bombastic production Swizz is famed for. Fully embracing the 'if it 'aint broke' mantra, the track comes off sounding like a discarded effort from a previous LP. In trying to recapture the spirit of previous club bangers, however, 'I Don't Dance' is a slightly more successful effort. Obviously gunning for radio play, a surprisingly euro-pop looping beat is used to catch the ear of listeners. While some might find the syrupy backing a little offensive for an MC noted for his violent subject matter, X still manages to infuse the track with his signature menace with some darkly humorous wordplay:
"Y'all niggas whisper X is a crackhead../ Aight then, fuck it, Imma just crack heads!"
MGK is a smart guest addition, matching the veteran in the cartoonish intensity of the club friendly song.

Indeed, Undisputed is most successful when DMX brings his brash, rough edged schizophrenic flow to the fore. 'I'm Back' has infectious horns bouncing across a soulful backing, allowing X to utilise his harsh, barking delivery to its full potential. It is somewhat baffling that the track isn't used to introduce the album, both suiting the overarching theme of the LP and at the same time arguably the strongest offering to be found in the collection. In a similar vein, 'Get Your Money Up' and 'Already' effectively showcase the talents of a man who has been away from the spotlight for too long.

Trash talking and violence are not the only topics on X's mind, however. A large part of the album is devoted to introspection and recrimination over his criminal past. 'I Get Scared' finds the MC exploring a softer side to his public persona, even singing over the chorus while being assisted capably by Adreena Mills. 'Slippin Again' borrows a title from one of his classic tracks, and again features more singing. While this marks a surprising departure from what fans may be used to, the transition is a triumph, especially when combined with thoughtful, attention grabbing lines:
"You think having money is the answer?/ Money aint nothing but another form of cancer."

There are, however, a number of weak moments spread out through the album. The deeply misogynistic 'Sucka For Love' is unpleasant hip hop buffoonery of the highest order, the title misleading in the extreme as X describes his disgust for women who sleep around (presumably it is still perfectly alright for him to do the same). Some tracks, while much less offensive, struggle with either weak production or poor lyrics. While a loose, halting style has always been a hallmark of his flow, at times on the album the rapper seems to have lost confidence in his own ability. Certain songs simply become tiresome, 'Cold World', 'Have You Eva' and 'I Got Your Back' being particularly guilty of this trait.
As described earlier, some simple editing may have made Undisputed a more cohesive listen. Soulful, heartfelt tracks are followed by rambunctious, braggadocios efforts, the album then immediately switching back to another softer side of the rapper. Grouping the different tones together could have made an already confusing character that little bit easier to understand.

Track by Track:

1. Look Without Seein’ (Intro)
2. What They Don't Know (6/10)
3. Cold World (6/10)
4. I Don't Dance (7/10)
5. Sucka For Love (3/10)
6. I Get Scared (7/10)
7. Slippin' Again (8/10)
8. Prayer (Skit) 
9. I'm Back (8/10)
10. Have You Eva (6/10)
11. Get Your Money Up (7/10)
12. Head Up (6/10)
13. Frankenstein (6/10)
14. Ya'll Don't Really Know (7/10)
15. I Got Your Back (5/10)
16. No Love (6/10)
17. Already (7/10)

The Verdict:

The majority of Undisputed showcases an artist that is past his captivating best. While it is to be applauded that a seemingly more mature and focused rapper has returned to the mic, the album struggles at times to remind listeners why the world once fell in love with the Yonkers born MC. A welcome return, then, but one that needs to be built upon if DMX is to retain his spot at the hip hop table.

6/10

Nas - Life is Good

In August 2011, Nas released 'Nasty' as the lead single for his new project Life Is Good. The track showcased a veteran rapper still hungry to demonstrate his skills; the freewheeling, hook-less virtuoso performance reminding listeners of an artist still desperate to top the classic Illmatic. Then all went quiet. Fans had to wait until the following April for a second single, the rousing, Heavy D produced 'The Don' further whetting appetites for the main event. After numerous well received track leaks, July 17th has rolled around, Life Is Good finally held up to the scrutiny of the hip hop community.

'No Introduction' opens the album, soft piano backing the Justice League produced track. Nas ranges over a variety of topics, cushioning gangsta trash talk between revolutionary plans and reminiscing about meetings with Biggie. The financially draining divorce that thematically shapes much of the LP is lightly brushed upon, revealing the motivation for the album: "I wrote this piece to get closure/ Some of you may know Kelis/ This goes to her with love, also goes to y'all to see/ The craziest things already happened to me/ Either you'll be laughing with me or be laughing at me."

Second track 'Loco-Motive' finds Nas on sparkling, vintage form. The listener is transported back to the grimy 90's, the train wheels providing the backdrop for the Queensbridge native to paint pictures of the dark New York underbelly. On a similar subject, 'A Queens Story' becomes a more personal ode to friends lost since his career blossomed.
Rick Ross drops in on 'Accident Murderers' for the only rap feature on the album. Rozay holds his own impressively against Nasty Nas, the two MC's trading bars menacingly in a musical relationship that seems to be flourishing. The album then changes tone as it moves into 'Daughters', an introspective, meditative discussion of the challenges raising his teenage daughter. The track reveals a matured father figure, a far cry from the occasional misogyny of previous releases.

The Anthony Hamilton assisted 'World's An Addiction' is arguably the best effort on an album filled with highlights. Over Hamilton's haunting hook, Nas documents a world of flagrant excess and damaging addiciton, despairing at the crumbling world he sees around him. The LP then moves into a soulful lull on 'Stay', the MC becoming conversational over the hazy, saxophone driven instrumental. Also included is 'Cherry Wine', a product of an unlikely friendship with Amy Winehouse.

Unfortunately, there is one misstep included in the track listing. 'Summer on Smash' features the schizophrenic, all or nothing approach that characterises the production of the increasingly redundant Swizz Beats. The blatant attempt at radio exposure hinders an album that is otherwise excellent.

Life Is Good ends with the emotional 'Bye Baby', in which the rapper tries to make sense of his failed marriage. Nas' rhymes neatly encompass the variety of emotions synonymous with the break down of an important relationship, bittersweet memories sprinkled over a bed of directionless anger. This provides a suitable ending for an album that features the artist cradling his wife's green wedding dress on the sleeve, the only item left by Kelis after she cleared her belongings from the martial home.

Track by Track:

01. No Introduction (Produced by J.U.S.T.I.C.E. League) 8/10
02. Loco-Motive (Feat. Large Professor) 9/10
03. A Queens Story 9/10
04. Accident Murderers (Feat. Rick Ross) 8/10
05. Daughters 8/10
06. Reach Out (Feat. Mary J. Blige) 8/10
07. World’s An Addiction (Feat. Anthony Hamilton) 9/10
08. Summer On Smash (Feat. Miguel & Swizz Beatz) 6/10
09. You Wouldn’t Understand (Feat. Victoria Monet) 7/10
10. Back When 7/10
11. The Don 8/10
12. Stay 9/10
13. Cherry Wine (Feat. Amy Winehouse) 8/10
14. Bye Baby 9/10

The Verdict:


After a run of consistent, if unspectacular projects, Nas has returned with an album of astounding quality, fully justifying the hype generated over the course of the year. With 10 solo albums under his belt, Nas appears likely to extend his astonishing longevity a little further yet.


9/10

Ja Rule: Pain Is Love 2

The original Pain Is Love was released in 2001, debuting at number one on the Billboard Chart. In addition, the album had two number one singles, and was eventually certified 3 times platinum in the US. Over ten years later, an incarcerated Ja Rule releases the sequel, Pain Is Love 2 to minimal fanfare. Having not had a charting album since 2004, it is fair to say that Rule has fallen so far off of the hip hop landscape that he is now practically invisible. Gone are the days where Muder Inc. ruled the charts, singles such as 'Always On Time', 'Between Me And You' and 'Livin' It Up' dominated airwaves both at home and abroad.


Reassessing former glories forms a central theme of the album. On 'Real Life Fantasy', Ja reminisces about his former label mates, lamenting the fact they never kept in touch and exploring his darker moods: 'None of that matters/ When the mirror shatters/ All I see are pieces of me/ Scattered'. Anita Louise provides a radio-friendly hook, representing just one of several singers on the album. 
The track listing features no additional rappers, but several unfamiliar R&B names appear. This can be taken as an indication of how far the stock of Ja Rule has fallen in the hip hop world, but it is not necessarily to the detriment of the album. The lack of rhyming support allows the listener to focus on what Rule has to offer, the relatively short 12 tracks providing a cohesive feel to the LP. The vocal talents assisting the album are admittedly not top quality, but there are some bright spots to be unearthed from the rough. Amina particularly shines on the haunting 'Spun A Web', while Leah Siegal is well suited to the rock stylings of 'Parachute' and 'Pray 4 The Day'.


The aforementioned rock influence works well throughout the album. It is clear that Ja Rule regards himself as akin to a fallen rock idol, alternating between bitterness and quiet acceptance that the musical landscape has changed. The electric guitars driving 'Parachute' suit Rule's signature gravelly voice, while 'Pray 4 The Day' finds the rapper in a reflective mood over softer strings.


For the main part it is clear that Rule understands his former glory has all but dispelled, and with that the nature of his music must adjust is he is to continue recording. A recourse to the old formula is evident, however, on 'Black Vodka'. The sultry track is sure to appease those nostalgic for the smooth R&B hooks that initially propelled the rapper to the forefront of early 2000 era hip hop. The track is a timely reminder that when he is on form, there are few who can produce the rap/R&B hybrid better. The harder edge to his music, reminiscent of the rambunctious Murder Inc. swagger can be found on 'Believe', Ja growling his way menacingly over the fast paced beat.


There are a few notable flaws that bring the quality of the album down, however. If there is an archetypal example of a rapper who shouldn't use auto tune, then it is surely Ja Rule. Unfortunately, he employs this technique liberally on 'Strange Days', the song a struggle from start to finish. A promising instrumental on 'Superstar' is ruined by a lethargic chorus, while 'Drown' has difficulty getting off the ground with a slow, ponderous beat that Ja cannot lift alone. The sagging middle section of the album brings down the quality markedly.


Track By Track

1) Intro “Fuck Fame” ( feat Leah Siegal)
2) Real Life Fantasy ( feat Anita Louise) 8/10
3) Parachute ( feat Leah Siegal) 8/10
4) Super Star 6/10
5) Black Vodka 7/10
6) Drown (feat Somong and Kenny Dark) 6/10
7) Never Had Time (feat John Doe) 6/10
8) Strange days 5/10
9) To The Top ( feat Kalina of Dirty Money) 7/10
10) Pray 4 The Day (feat Leah Siegal) 7/10
11) Believe (bonus) 8/10
12) Spun A Web ( fear Amina) 8/10

The Verdict


This album was never going to be a classic. The composition and recording process were fragmented and subject to various pressures, which shows in the final quality of the finished product. Pain Is Love 2, however, is a refreshingly authentic Ja Rule release, the listener under the impression that only he could have recorded an album such as this. Fans looking for a nostalgia trip will be somewhat satisfied, but may also find something to surprise them.


7/10

Vado and A$AP Rocky: Putting New York Back On The Map?

It has long been lamented that New York has fallen from the position of dominance that it once held over the rap industry. Gone are the days where the city spawned multi-platinum singles and albums by the bucketload as other regions have begun to assert their dominance. If we look at some of the top selling rappers in the game (excluding Jay Z), there is a distinct lack of New York artistry:

Eminem - Detroit

Lil Wayne - New Orleans

Drake - Toronto 

Rick Ross - Miami
Kanye West - Chicago

Similarly, New York is conspicuously absent in the birthplaces of new artists breaking through:

Wiz Khalifa and Mac Miller - Pittsburgh

Wale - Washington

J Cole - North Carolina

Yelawolf - Alabama

Though it is an obvious cause for celebration that hip hop now has a range of diverse talent, it is an alarming state of affairs that the self proclaimed birthplace of rap has no obvious standard bearers to carry forward the new generation. 

In 2009 Harlem rapper Vado released his debut mixtape Boss Of All Bosses alongside mentor Cam'ron. Slime Flu followed as his first release as a solo artist, the project being well received in rap circles. Closely associated with the Dipset movement, Vado is similar in style to group leader Cam'ron. Though not quite blessed with the same charisma on the mic, the rapper is more lyrical than the majority of his Dipset brethren, comparisons can be made with New York stalwart Fabolous. Retail album Gunz n' Butta was released in April 2011, again with Cam'ron. The project was both a commercial and critical failure, attracting very little attention in terms of acclaim or sales. Perhaps with this is mind, Vado brought out sequel mixtape Slime Flu 2 without a single verse from his frequent collaborator. As he explained in an interview with HipHopDX: “Shout out to Cam but a lot of people always say ‘Yo, all your songs is with Cam. You do everything with Cam.’ So I’m branching off doing my thing. So he letting me fly. It was something we both said ‘Yo, it’s time to do.’ Once I got signed it was time to start showing I’m my own man.”

The new mixtape has received a largely positive response, the rapper branching out into non-Dipset features with Fabolous on 'Ok Y'all' and Raekwon on 'Bed Piss'. The journey to success is by no means over for the Harlem born MC, but his progress is being watched closely in New York rap circles.

Hailing from the same area of New York, overnight success A$AP Rocky was recently the subject of a rumoured $3 million deal with Sony/RCA. As he explained to Billboard Magazine: "I don't have a $3 million dollar balance in my account but the record deal was $3 million though. I got a deal with RCA/Polo Grounds for A$AP Worldwide and I got a deal with them for my solo project, my solo deal; if you combine both deals it amounts to a three million dollar deal." The A$AP Worldwide group referred to concerns the ASAP (Always Strive And Prosper) crew the rapper is currently a member of. Comprising of rappers, producers and designers such as ASAP Dee Ferg, ASAP Ty, ASAP Nast, and ASAP Twelvyy. The movement is similar to Odd Future in that the charismatic front man opens doors for the rest of the team. 

Youtube hits 'Peso' and 'Purple Swag' showcase why the rapper has garnered so much attention for his mixtape Live.Love.ASAP. Contrary to the traditional New York hip hop, the collection of tracks is much more Southern oriented in terms of sound. The beats are dripping, promethazine laced and bass heavy while the lyrics use simple, spaced out rhyme schemes much closer to the Dirty South template. In addition to success with his new label, the rapper has been nominated for the BBC's Sound of 2012 poll, demonstrating how he is also receiving attention from across the pond.

It remains to be seen if Vado and A$AP have the staying power to become fixtures in the legendary New York rap lexicon. 2012 is a huge year for both.

Vado - Slime Flu 2

A$AP Rocky - Live.Love.A$AP

Styles P - Master Of Ceremonies

As a member of The LOX, Styles P had already enjoyed much success before the first of his solo albums, 2002's A Gangster and a Gentleman. Two more albums followed in 2006 and 2007 respectively, before the New York MC's output slowed dramatically. Five years after his last LP, Styles has released Master of Ceremonies, a short, guest laden 12 track album.

The project kicks off with 'How I Fly', the hook provided by forgotten singer Avery Storm. The track serves as a laid back introduction, but fails to fit with the rest of the album. Things move into more comfortable territory with the gritty 'We Don't Play', featuring both a chorus and verse from an invigorated Lloyd Banks. P and Banks feel liberated on the track, the burden of big label expectation being removed from their shoulders as they swap aggressive street tales.

'Ryde on the Regular' is one of only two solo offerings on the LP, the other being 'Feelings Gone'. Both tracks are moody, reflective narratives, providing the listener with a disquieting insight into street culture. The theme is continued on 'Keep the Faith', supported by a soulful hook from newcomer Aja.
The abundance of guest appearances suggest that Styles is at his best when he feels challenged. Fellow LOX alumni Sheek Louch and Jadakiss appear on separate tracks 'Street Shit' and 'It's OK' respectively. Sheek is ferocious over the piano driven beat, but the outstanding chemistry is reserved for the latter song. Jada and Styles trade bars in the now familiar fashion over a schizophrenic beat: "Styles: Tryna' renovate the West wing of the mansion/ Jada: I aint thinking recession, I'm thinking expansion/ S: I be in the malls, I aint be in the Hamptons/ J: And I'm playing the wall, but my chain is dancing..."

The highlight of the LP is the Busta Rhymes and Rick Ross assisted 'Harsh'. The star billing lives up to expectation as Busta provides snarling, violent bars, the rapper seemingly enjoying being freed from the shackles of a label.  

Not all tracks are this successful, however.The pairing of Styles and Pharrell seems unnatural on 'Don't Turn Away', while the second Sheek Louch appearance closing out the album on 'Uh-Ohh' seems an unnecessary rehash of the earlier collaboration.


Track by Track:


1. How I Fly (Feat. Avery Storm) 6/10
2. We Don’t Play (Feat. Lloyd Banks) 8/10
3. I’m A Gee (Feat. Rell) 5/10
4. Ryde On Da Regular 7/10
5. Keep The Faith (Feat. Aja) 8/10
6. Children (Feat. Pharoahe Monch) 7/10
7. Street Sh*t (Feat. Sheek Louch) 7/10
8. Feelings Gone 6/10
9. Harsh (Feat. Rick Ross & Busta Rhymes) 8/10
10. It’s OK (Feat. Jadakiss) 8/10
11. Don’t Turn Away (Feat. Pharrell) 5/10
12. Uh-Ohh (Feat. Sheek Louch) 6/10


The Verdict:


Styles P does not stray very far out of his comfort zone on his fourth solo album, but for the most part this does not matter. The vast array of guests often enhances the quality of the work rather than detracting from it, and the chemistry with members of the LOX will surely whet appetites for their rumoured third outing. The Ghost is still on form.


7/10