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

G.O.O.D. Music - Cruel Summer

Kanye Wests' G.O.O.D. Music label has been steadily gaining momentum over the past few years. Astute signings such as Kid Cudi, Big Sean and Pusha T, as well as forging close relationships with artists as diverse as Common and 2 Chainz has seen the Def Jam subsidiary appeal to a broad audience, chiefly through the 'G.O.O.D. Friday' scheme, a constant flow of new music that has effectively maintained the attention of fans. Though originally scheduled for a Spring 2012 release, West has just about managed to prevent his album title becoming redundant by releasing Cruel Summer just before the official close of the season.

Album opener 'To The World' is a bombastic, auto-tuned tour de force, R Kelly dominating the song as he screeches through a fantastically overwrought chorus, Kanye hardly needed as he offers a token verse towards the conclusion of the track. The collection kicks into gear properly on 'Clique', Jay Z dropping by to assist his protege with mature, sophisticated rhymes. Kanye strikes the characteristically confident pose that will carry him throughout the rest of the album, boldly proclaiming divine help for the second time in only two songs. The only negative is in the weak Big Sean-provided hook, his voice failing to command the beat in the same way as his two more experienced collaborators.

Perhaps unwisely, the same artist is immediately back in the fray, given the task of kicking off lead single 'Mercy'. Kanye is on top production form, the unsettling, ice cool beat overwhelming Sean as he spits some poorly thought out, corny punchlines. The track is saved by some intense work from Pusha T and finished off expertly by the charismatic 2 Chainz. The two rappers have received a similar career boost in aligning themselves with G.O.O.D. and both are utilised well in posse cut 'The Morning'. Enlisting Raekwon proves to be a masterstroke, his cinematic montage complemented with shorter, sharp vignettes from the other features, Cyhi The Prynce attempting to rectify his status as the forgotten man of the label with an entertaining appearance.

Second single 'Cold' becomes the crux on which the listener will decide how to respond to the album. West has always been known for his gargantuan ego, his meteoric career rise accompanied by an inflated sense of self worth he does little to hide. The song features a chorus jabbing at Kris Humphries:
"Want to talk about clothes I motherfuckin' embarrass you/ Want to talk about hoes I motherfuckin' embarrass you..." along with suggesting he will get "Jay to drop him from the team" (unlikely as Jay Z owns less than 1% of New York Nets). Catchy, offensive and braggadocios, the track encapsulates the best and worse of Kanye West. The listener can either accept it or deride the flamboyant eccentricities of a flawed genius.

Taking a break from West, the album then moves into smoother R&B territory. The Dream croons over relaxing production as 'Higher' slows the pace. A surprising verse from Mase captures the mood of the track perfectly, the slick, soothing rhymes becoming another entry in the incremental, steady career revival of the former Bad Boy. A triumphant, powerful hook from Marsha Ambrosius lifts 'The One' as Kanye recites his most hilarious lines on the LP:
"Everything around me got me underwhelmed/ Best way to describe my position is at the helm/ Best way to describe my new whip... NYAOOOOOW"

Kid Cudi is mystifyingly absent for much of the album, a tiny appearance on 'The Morning' and a whirling, dervish-like appearance on the 'Mercy' video being his only contributions to the project until the tenth track. His solo spot on 'Creepers', however, is worth waiting for. Evidently still in Wzrd mode, Cudi infuses catchy production with his trademark lonely, spaced out yearnings. John Legend and new signee Teyana Taylor collaborate less successfully on 'Bliss', the track seeming better suited to another collection.
'I Don't Like (Remix)' also seems out of place, a strange decision to use another's work for a figurehead usually noted for his individuality.

Track By Track:

01. Kanye West and R. Kelly - "To the World" (8/10)
02. Kanye West, Jay-Z and Big Sean - "Clique" (8/10)
03. Kanye West, Big Sean, Pusha-T and 2 Chainz - "Mercy" (8/10)
04. Kanye West, Pusha-T - "New God Flow" (8/10)
05. Raekwon, Pusha-T, Common, 2 Chainz, Cyhi the Prynce, Kid Cudi, D'Banj - "The Morning" (8/10)
06. DJ Khaled - "Cold" (8/10)
07. The-Dream, Pusha-T and Ma$e - "Higher" (8/10)
08. John Legend, Travi$ Scott, Teyana Taylor, Cyhi the Prynce and Malik Yusef - "Sin City" (7/10)
09. Kanye West, Big Sean, 2 Chainz and Marsha Ambrosius - "The One" (8/10)
10. Kid Cudi - "Creepers" (9/10)
11. John Legend and Teyana Taylor- "Bliss" (6/10)
12. Kanye West, Chief Keef, Pusha-T, Big Sean and Jadakiss - "Don't Like" (7/10)

The Verdict:

Kanye West has thrown the gaudy excesses of hip hop into sharp relief, embodying the urgent, captivating style that is missing from much of mainstream chart rap music. Much critical response to Cruel Summer will focus on personal opinion of the figure of West, but this would be to miss the point of the LP. At different times raucous, boastful, sophisticated and sultry, Cruel Summer ranks as one of the year's best albums.

8/10

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

2 Chainz - Based On A T.R.U Story

It has been a good year for 2 Chainz. Musically active since the mid 90's, his previous 'Tity Boi' stage name proved to be a hindrance as his Playaz Circle group attained middling success through the early 2000's. A quick change of moniker and Tauheed Epps has suddenly become one of the most prolific featured artists of 2012. Mixtape acclaim has been followed by feverish anticipation for his debut solo album. It's all going so well that, if his frequent boasts are to be believed, Chainz is now charging $100,000 for each guest verse. With the backing of veteran label Def Jam, fans are now able to see for themselves whether Based On A T.R.U Story is able to maintain his stratospheric rise to the top.

Things do not get off to a great start. Album opener 'Yuck' is patchy, with an unpleasant, entirely unnecessary chorus from Lil Wayne. Thankfully, following efforts 'Crack' and 'Dope Peddler' find the Georgia resident in comfortingly familiar territory. The simplistic, bouncy rhyme schemes that have brought Chainz such success are present and correct, with bombastic production from Southside and Bangladesh respectively. 'Money Machine' and 'Wut We Doin' follow the same pattern, not exactly reinventing the wheel but sure to delight fans looking thumping, raucous beats.

Lead single 'No Lie' is next up. The Drake assisted track is well chosen, becoming easily the strongest cut on the project. It is important to note that the song belongs entirely to Drake, bringing the energy and charisma that has been sorely lacking since his mixtape days. 2 Chainz effectively becomes a featured artist on his own song, but it is no less enjoyable because of it. A second high profile guest follows immediately after, Kanye West handling production duties on 'Birthday Song' while also dropping by to spit a verse. The track is fun, if a little repetitive, the two artists failing to recreate the chemistry found on recent collaborations such as 'Mercy'. The slinky 'I'm Different' is perhaps the most ironically titled song in hip hop history, but has catchy, subversive piano keys for the MC to push forward his shit talking agenda.

To his credit, Chainz does risk breaking from the formula that has reaped so many rewards. 'Extremely Blessed' featuring The Dream is a nice change of pace, though including R&B tracks catering for females seems slightly absurd for an album that constantly extols the virtues of strippers and hoes. 'In Town' is similarly relaxing, but the Chris Brown featured 'Countdown' becomes a little turgid.

'I Luve Dem Strippers' is by far the poorest offering on the LP. Derivative to the point of inertia, the repetitive, misogynistic content is hardly enlightened by an irritating verse from Nicki Minaj. Though a more serious approach can be found on 'Ghetto Dreams', there are still some severe limitations on show.  The track is predominantly an examination of the problems facing the poor neighborhoods the rapper grew up in, but he simply cannot resist throwing in some trite rhymes:
"Used to dream about a bigger couch, woke up in a bigger house/ Commas in my bank account/ So much money, I had to let the banker count."
The refusal to take the subject seriously comes off poorly when compared to an earnest Scarface guest spot. The track demonstrates how, by pushing himself out of his comfort zone, Chainz often comes up short.

Track By Track:

01. Yuck! (feat. Lil Wayne) (6/10)
02. Crack (7/10)
03. Dope Peddler (7/10)
04. No Lie (feat. Drake) (8/10)
05. Birthday Song (feat. Kanye West) (7/10)
06. I’m Different (8/10)
07. Extremely Blessed (feat. The-Dream) (7/10)
08. I Luv Dem Strippers (feat. Nicki Minaj) (4/10)
09. Stop Me Now (feat. Dolla Boy) (610)
10. Money Machine (7/10)
11. In Town (feat. Mike Posner) (6/10)
12. Ghetto Dreams (feat. Scarface & John Legend) (6/10)
13. Wut We Doin? (feat. Cap1) (7/10)
14. Countdown (feat. Chris Brown) (5/10)

The Verdict:

2 Chainz isn't going to win any new fans with Based on a T.R.U Story. This is not necessarily a bad thing, the former Playaz Circle member providing a fun, trunk rattling album for the late summer. Though he has charisma in abundance, his limitations as an MC come to the fore a little too often for his solo debut album to be recommended to those who are yet to be convinced.

7/10

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

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

Nas - HMV Picture House, Edinburgh 26/06/12

Stepping onto the stage, hip hop godfather Nas was greeted by the enthusiastic, sweltering crowd packed into the HMV Picture House. Wrapped in a jumper promoting yet unreleased new album Life Is Good, the rapper opened with a raucous rendition of 'Hip Hop Is Dead', the track brought to life by the live band accompanying the MC in an attention grabbing opening gambit. 
"Lets go back to where it all started," he then proclaimed, launching into a medley of tracks from classic debut album Illmatic and tipping the crowd into a frenzy. 'N.Y. State Of Mind', 'Life's a Bitch' and 'It 'Aint Hard To Tell' were all given an airing. Nas is well known and admired for his complex lyricism over a multitude of projects, so it was perhaps inevitable that the MC would fluff his lines at some point. A slippage occurred during 'The World Is Yours', the rapper briefly forgetting his words in a delivery that was otherwise technically flawless.

The song selection ranged widely over Nas' decorated career. Popular singles 'Hate Me Now', 'Get Down' and 'If I Ruled the World' were brought to life with gusto, tracks linking seamlessly in a breathless performance. Guitar and rapper were merged to strong effect on Fox News baiting 'Sly Fox', while the tempo was mercifully slowed by the bluesy 'Bridging the Gap', a collaboration with his father Olu Dara.
The aforementioned forthcoming Life Is Good featured heavily on the set list. The reflective 'Daughters' was contrasted with the freewheeling 'Nasty', in which the rapper demonstrated exactly why he is considered one of the most talented MC's to ever pic up the mic. New single 'The Don' rose the atmosphere to a crescendo, a rousing way to end the show.


75 minutes after he first appeared, the Queensbridge native left the stage. Though there was no encore, the crowd were left satisfied by a breathless, honest performance from a true hip hop legend.
With 6 million dollars worth of backdated taxes to pay, it's fair to say Nas will be doing many more tours and adding to the discography that already stretches into double figures (including collaborative projects, upcoming LP Life Is Good will be his 12th official release) for some time to come. On this evidence, he will always be welcome back.  

Waka Flocka Flame: Triple F Life

In October 2010, Waka Flocka Flame exploded into the Billboard Charts with his debut album Flockaveli. The album was heavily praised for stripping gangsta rap back to it's roots, Lex Luger's hard hitting beats complemented by Flocka's brash, violence soaked simplistic delivery. After an eventful, mixtape filled 2 years, the Riverdale representative returns with his sophomore effort Triple F Life. 


Opener 'Let Dem Guns Blam' sees Waka paired with MMG member Meek Mill. The first few lines of the track give listeners a taste of what to expect:
'I'm too drunk, I'm to high to hear that fuck shit/ Came to the club, yeah I'm on that fuck shit/ Let them things blam/ Let them things blam/ Let them things blam'.
The repetitive, menacing delivery is an example of where the rapper excels, eschewing complex lyricism to batter the listener into submission over loud, compelling instrumentals. This theme is continued with bangers such as ''Cash' and 'Lurkin', featuring Piles. The guest spot proves to be a masterstroke, the raspy Floridian sounding like he's auditioning for a late spot on Flockaveli. 
Also present is a healthy amount of experimentation, Ludacris and Bun B providing a nice change of pace on the Southern soaked 'Candy Paint and Gold Teeth'. Personal travails are revealed on 'Power Of My Pen', a welcome change of subject towards the end of the tracklist.


Unfortunately, the promising tracks are let down by a baffling array of guest stars in the early stages of the LP. Drake just about holds his own over the unusually subdued Lex Luger produced 'Round of Applause', but Waka and Trey Songz are mismatched on 'I Don't Really Care'. 'Get Low' features Nicki Minaj, Tyga and Flo Rida on a syrupy, shameless assault on the singles charts. It is not that the track is particularly unlistenable, but Flocka's legions of fans buy his material precisely to avoid this watered down, radio friendly rap. If this represents a misstep, the B.O.B assisted 'Fist Pump' is simply lamentable, the pop leaning of Bobby Ray proving to be too jarring with the style of Waka's music. It is not until the 3 bonus tracks that Triple F Life fully returns to the formula that made Flockaveli so successful, 'Inky' being the particular highlight.


Important to note is that the Georgian rapper has improved his flow measurably since his debut LP. Often employing double time, a slicker delivery is detectable throughout Triple F Life. Though this is commendable, it is conversely a drawback to the project as a whole. The new rapping style allows him to fit in more comfortably with the more mainstream oriented acts on his guest list, but this in turn reveals a transparent attempt to crossover to a wider audience. Flocka has built a career and garnered acclaim by deliberately ignoring the demands of lyricism in favour of outlandish violence over thumping beats. This heavy metal-like approach is what sets him apart from his peers, and losing this causes the album to struggle at times.      


Track by Track:


1. "Triple F Life Intro" 
2. "Let Dem Guns Blam" feat. Meek Mill (7/10)
3. "Round of Applause" feat. Drake (6/10)
4. "I Don't Really Care" feat. Trey Songz (4/10)
5. "Rooster in My Rari" (5/10)
6. "Get Low" feat. Nicki Minaj, Tyga, & Flo Rida (5/10)
7. "Fist Pump" feat. B.o.B. (4/10)
8. "Candy Paint & Gold Teeth" feat. Bun B & Ludacris (7/10)
9. "Cash" feat. Wooh Da Kid (7/10)
10. "Lurkin'" (8/10)
11. "Clap" (5/10)
12. "U Ain't Bout That Life" feat. Alley Boy & Slim Thug (6/10)
13. "Power of My Pen" (7/10)
14. "Flex" feat. Travis Porter, Slim Dunkin & D-Bo (5/10)
15. "Triple F Outro"
16. "Inky" feat. Slim Dunkin & Wooh Da Kid (7/10)
17. "Chin Up" feat. Slim Dunkin (7/10)
18. "Everything I Love" feat. Future & Trouble (6/10)

The Verdict:

In aiming for mainstream acceptance, Waka Flocka Flame has shot himself in the foot. With an admittedly small, but committed fan base, Waka is risking losing those who put him in his position by dabbling in pop rap. Though some tracks retain his trademark sound, the lukewarm filler may see some listeners lose faith.

6/10 

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

Tyga - Careless World: Rise Of The Last King

Perhaps taking advantage of the dearth of big name hip hop releases thus far in 2012, Tyga delivers Careless World as the latest member of YMCMB to go it alone. The album had suffered numerous delays, before the popularity of single 'Rack City' undoubtedly pushed the release date forward. Does Tyga forge his own identity at the helm of a full length album, or does he conform to the increasingly low standards the YMCMB camp has become synonymous with?

The listener may be forgiven for expecting the rest of Careless World to feature the simple lyricism present on 'Rack City'. The track is certainly catchy, a perfect club anthem, but the misogynistic content delivered in a repetitive drone is obviously open to various criticisms. It is surprising, however, to note that Tyga has more in his arsenal. It becomes obvious as the album progresses that Lil Wayne hasn't unearthed the new Nas, but the young rapper proves he can hold his own against more accomplished rhymers such as J Cole, Wale and even Wayne himself.

After uneven opener 'Careless World', things pick up markedly with the Pharrell assisted 'Lil Homie'. The track is a laid back affair, with the Neptunes producer crooning his way through a highly listenable hook. The standard is maintained on 'Muthafucka Up', a dark and dirty beat accentuated by a scene stealing Nicki Minaj. Inevitably, this cannot last. 'Do It All' becomes the album's first misstep, a dull trawl through Tyga's teenage heartbreak. At over 5 minutes long, the track soon becomes stale, outstaying its welcome quickly.

'For The Fame' is an obvious choice for a second single. The song is a perfect example of the pitch perfect pop the Young Money group specialise in , complete with the sticky feeling one receives when they catch themselves enjoying a Chris Brown track. In a similar vein, 'Far Away' has the syrupy chorus required to be a hit, Chris Richardson doing all the legwork to allow Tyga to drawl through his bars. 'Faded' appropriately follows 'Rack City' in the listing as another infectious, sexy track. Unfortunately, Lil Wayne continues his recent trend of spectacularly ruining songs with more lazy, uninspired rhymes.
On a more positive note, 'King and Queens' and 'Let It Show' represent an increasingly grown up approach. The former is an opportunity for Tyga to test himself against MMG flavour of the month Wale and veteran rhymer Nas. Though it seems an odd teaming on paper, the track just about comes off. The latter addresses keeping composure in the face of increasing fame, J Cole providing an accomplished verse.

At 21 tracks, the project unsurprisingly has its fair share of filler. 'Black Crowns' has lavish production, yet never seems to get off the ground. 'Potty Mouth' does not come off as the sum of its parts, Busta Rhymes deploying his rapid fire party trick to subdued effect. A strange dubstep interlude breaks into the 7 minute 'Love Game'. While the experimentation is commendable, the effort really doesn't work in the context of the rest of the album. T Pain is featured in the irrelevant 'Celebration', YMCMB inexplicably keeping the singer in work despite his lamentable recent output.

Track By Track:

1. Careless World (5/10)
2. Lil Homie Feat. Pharrell (7/10)
3. Mutha*****Up Feat. Nicki Minaj (7/10)
4. Echoes Interlude
5. Do it All (5/10)
6. I'm Gone Feat Big Sean (6/10)
7. For The Fame Feat. Chris Brown and Wynter Gordon (7/10)
8. Birdman Interlude
9. Potty Mouth Feat Busta Rhymes (6/10)
10. Faded Feat. Lil' Wayne (7/10)
11. Rack City (7/10)
12. Black Crowns (4/10)
13. Celebrations Feat. T-Pain (5/10)
14. Far Away Feat. Chris Richardson (7/10)
15. Mystic AKA Modo Kara
16. This is like Feat Robin Thicke (6/10)
17. King & Queens Feat. Wale and Nas (7/10)
18. Let it Show Feat. J. Cole (7/10)
19. Love Game (6/10)
20. Lay You Down Feat. Lil' Wayne (6/10)
21. Light Dreams Feat. Marsha Ambrosias (5/10)

The Verdict:

It is fair to say that Careless World is part of the recent movement towards bland, pop oriented hip hop. It is not wholly terrible, however, with some unexpected quality running through selected tracks. Cutting the track list down would have been beneficial, making the album sharper and more cohesive. Tyga isn't going to make a lasting stamp on the hip hop world with this LP, but with YMCMB behind him, is sure to remain popular.


6/10

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.

Yelawolf - Radioactive

Seeing Yelawolf supporting Wiz Khalifa earlier this month pushed my anticipation for his debut into overdrive. Now the fateful day is upon us, I have been feverishly listening to Radioactive in order to find out whether the Shady Records signee is worth the hype.


'Radioactive Introduction' kicks off proceedings, the subdued beat allowing the listener to focus on the Alabama MC's complicated rhyme patterns. 'Get Away' follows, the track settling into a standard Southern banger with a welcome guest verse from new Cash Money Records member Mystical. In general, the features on the album are a surprise. There is no appearance from any Slaughterhouse members, Yela relying mainly on newcomers such as Shawty Fatt and Rittz to assist his project. This is not necessarily a drawback of the album, the effect achieved is that of a rough and ready Southern collection of songs. Rittz in particular shines on the blaring 'Growin' Up In The Gutter', the track used as an opportunity for the two MC's to explore darker, experimental themes. That is not to say that all the guests are as obscure. Eminem (as well as Gangsta Boo) drops by on 'Throw It Up'. The catchy, piano driven beat compliments the two white MC's, though the Gangsta Boo verse and chorus seems slightly out of place. Eminem's effort doesn't rank among his best work, though as expected there are plenty of quotable lines. The best collaboration is undoubtedly with Killer Mike on 'Slumerican Shitizen'. Here Yelawolf engages with deeper subject matter, discussing the political alienation he feels from the state. Less successful, but with similar themes, is 'Made in the U.S.A'. Yela laments the materialistic nature of modern America, but his serious message is undercut by a poppy hook. A drawback of the project is that it occasionally seems tailored towards radio exposure, sometimes at the expense of musical quality. Better examples of this are the Diplo produced 'Animal' and Kid Rock assisted 'Let's Roll'. Both of these tracks would not be out of place in a club or on the radio, but neither feel like cynical cash ins.


Lead single 'Hard White' is a tribute to the heyday of crunk, with Lil Jon producing his most compelling beat in years. The best track on the album, however, is 'The Last Song'. Over a mellow instrumental, Yela laments the fact he cannot celebrate his success with his absent father. The song also contains some touching reflections on his relationship with his mother, similar in tone to J Cole's 'Breakdown'.


Track by Track:


1. Radioactive (Intro) 7/10
2. Get Away (Feat. Shawty Fatt & Mystikal) 7/10
3. Let's Roll (Feat. Kid Rock) 8/10
4. Hard White (Up In The Club) (Feat. Lil Jon) 8/10
5. Growin’ Up In The Gutter (Feat. Rittz) 8/10
6. Throw It Up (Feat. Gangsta Boo & Eminem) 7/10
7. Good Girl 7/10
8. Made In The U.S.A. 6/10
9. Animal (Feat. Fefe Dobson) 7/10
10. The Hardest Love Song In The World 7/10
11. Write Your Name 7/10
12. Everything I Love The Most 8/10
13. Radio 6/10
14. Slumerican Shitizen (Feat. Killer Mike) 8/10
15. The Last Song 9/10


The Verdict:


Despite some ill advised pop leanings, Yelawolf has created perhaps the standout debut of the year. The album showcases the enormous potential of the Alabama born MC, while also displaying a surprisingly mature approach on certain tracks. The future certainly looks bright.


8/10

Drake - Take Care

Drake has been dividing opinion since his mixtape So Far Gone took the hip hop world by storm in 2009. Some see him as a multi-talented messianic figure at the forefront of popular rap, while others regard him as a pretty boy making R&B that can barely be classed as hip hop. Whatever your opinion on the Canadian entertainer, this album is unlikely to change your mind either way. 


Album opener 'Over My Dead Body' takes over from where Thank Me Later left off, with mellow piano keys providing the backdrop for Drake to wax lyrical about his accomplishments while Chantal Kreviazuk provides a soulful hook. This sets the tone for the chilled out mood that pervades the album, up tempo tracks proving to be thin on the ground. 'Shot For Me' allows the rapper to test the limits of his actual singing voice, rather than the irritating half singing half rapping that contributed to the lukewarm reception for his last album.  The trend is followed through into 'Doing It Wrong' with great success, a welcome, more emotional side to the rapper shining through. There is a tendency in Drake's music towards moody bitterness, and this runs through both of the songs as he arrogantly dismisses the women of his past. Other examples include 'Look What You've Done' and 'Marvin's Room', Drake using the downbeat tracks to uncomfortably bare his soul. 


There are, however, more upbeat tracks on the album. 'Make Me Proud' features assistance from rumoured wife Nicki Minaj, the chemistry between the two artists becomes undeniable over a pulsing beat. Lead single 'Headlines' is a catchy, boastful toast to everything the rapper has achieved in his short career. 'HYFR', with mentor Lil Wayne, is an opportunity for Drake to showcase an improved, speedier flow, suggesting the MC has used the time since Thank Me Later wisely. Another highlight is the sensual 'Practice', Drake demonstrating why his female fan base is so widespread.

Guests on the album are largely expected, with two notable exceptions. Canadian newcomer The Weeknd shines on 'Crew Love', eclipsing his fellow countryman on his own track. More importantly, Drake is finally awarded his dream collaboration with Andre 3000. The ATLien drops by for 'The Real Her', the song also featuring Lil Wayne. Unfortunately, the track fails to match the sum of its parts, the ponderous beat hard to distinguish from the instrumentals that have proceeded it. As always, 3000 drops witty, playful rhymes, but the project does not stand up to repeat listening.


Track By Track


1. “Over My Dead Body” 7/10
2. “Shot for Me” 7/10
3. “Headlines” 8/10
4. “Crew Love” feat. The Weekend 7/10
5. “Take Care” feat. Rihanna 6/10
6. “Marvin’s Room” / “Buried Alive Interlude” 6/10
7. “Under Ground Kings” 6/10
8. “We’ll Be Fine” 6/10
9. “Make Me Proud” feat. Nicki Minaj 8/10
10. “Lord Knows” feat. Rick Ross 6/10
11. “Cameras” / “Good Ones Go Interlude” 7/10
12. “Doing It Wrong” 8/10
13. “The Real Her” feat. Lil Wayne & André 3000 6/10
14. “HYFR (Hell Ya Fu**in’ Right)” feat. Lil Wayne 7/10
15. “Look What You’ve Done” 6/10
16. “Practice” 8/10
17. “The Ride” 6/10


The Verdict:


Drake is unlikely to win any new fans with Take Care, his sophomore album following the pattern established by Thank Me Later. There is, however, evidence of artistic progression, making the album a definite improvement on his disappointing debut. Supporters of Drake will be delighted with this new collection, whereas his detractors will find plenty to support their opinions.


7/10