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Thursday September 18, 2014
RapReviews.com

The (W)rap Up - Week of February 23, 2010
Posted by Emanuel Wallace at Tuesday, March 2nd, 2010 at 10:30AM :: Email this article :: Print this article



Freeway & Jake One :: Stimulus Package
Rhymesayers Entertainment
Author: John-Michael Bond

"In 2003 Freeway dropped his Roc-A-Fella debut and cemented his position as an artistic powerhouse who fit in with his crew about as fluidly as MC chris at a Mobb Deep show. It wasn't that Free wasn't grimy enough, outside of Beanie Sigel the Roc didn't have anyone grimier, but rather he was an artist who was never destined to make the radio say "play that shit again!" After years of battle rapping his voice and flow had a coarse grain that stripped away any sense of radio friendly melody that might sneak into the passionately terse speed that also came from a background in microphone warfare. It felt more natural to see him side by side with such backpack friendly rappers as Mos Def and Kanye West on "The College Dropout"s "Two Words" than he ever did the Mariah Carey, the all time go-to siren for giving gangster rappers a heart of gold, so it wasn't really shocking to see how well Freeway faired after the Roc exploded. Dude had been on his own since joining and no Jay Z co-sign was going to change the fact that his grind got him further than his label affiliations ever did.  "

http://www.rapreviews.com/archive/2010_02F_stimuluspackage.html

various artists :: Covers for Reggae Lovers :: VP Records
as reviewed by Steve 'Flash' Juon

"It's hard to resist an album with a title like "Covers for Reggae Lovers," but in truth the title was a little misleading. As I first cracked open this album from the famous VP Records imprint, I was under the impression that reggae stars from this century would be covering famous reggae songs from the last century. In other words, "reggae lovers" would be pleased to hear new interpretations of the classics by Bob Marley, Peter Tosh, Burning Spear, Steel Pulse, so on and so forth. As it turns out the "covers" in question aren't of reggae classics, and the artists BEING covered aren't known as reggae artists, but the end result is still easily recognizable as music reggae lovers will appreciate."

http://www.rapreviews.com/archive/2010_02_coversforreggaelovers.html

Dillon :: Cupid's Revenge: The Ain't Shit Suite :: {self-released}
as reviewed by Patrick Taylor 

"The songs are short and sweet, rapidly going through the thrill of first love, the agony of heartache, and the peace of mind that comes from realizing that you were meant to date aliens. "New Love" sees Dillon excited about a woman he meets at a restaurant: "I'm not a catch/but I caught you/Mama even thought that you were the dopest chick I brought through." All is not well in the house of Dillon, however, because by the end of the song, she's disappeared. "

http://www.rapreviews.com/archive/2010_02_theaintshitsuite.html

DJ KaySlay :: More Than Just a DJ :: Koch/E1 Music
as reviewed by Emanuel Wallace

"Just like his prior releases, KaySlay shows how much clout he has in the industry by pairing the hottest artists in hip-hop with the dopest producers. This time around, the Drama King enlists the services of artists like Tony Yayo, Papoose, Lloyd Banks, Jim Jones, Yo Gotti, Bun-B, Twista, Cam'ron, Raekwon, Ghostface Killah, Joell Ortiz, Sheek Louch, Styles P, Rick Ross and many others. The production is handed by The Dream Team, The Alchemist, Ty Fyffe, Amadeus, Street Radio, Arab Music, Tie Stick, GQ Beats, Green Lantern, E-Dubb (not me, btw), and Money Always."

http://www.rapreviews.com/archive/2010_02_morethanjustadj.html

Mac Mall :: Mac to the Future :: Thizzlamic Records/Thizz Entertainment
as reviewed by Matt Jost

"The musical difference between Mac Mall's latest and its predecessor manifests itself also in the artwork. While both play on classic Hollywood blockbusters, the cover for "
Thizziana Stoned and the Temple of Shrooms" was as realistic as it was absurd, our hero swinging Indy-style through a fungus-infested stone arch, the Temple of Doom, pardon, Shrooms looming in the background. "Mac to the Future" pictures him as Marty McFly getting out of the DeLorean, having just crossed the Bay Bridge, not so much checking his watch in surprise as posing for the artist. It's still an eye-catcher, but from a visual viewpoint the somewhat crude illustration lacks the touch of class I've come to associate with Mac Mall."

http://www.rapreviews.com/archive/2010_02_mactothefuture.html

Mr. Freeze :: Righteous Path :: Mercy Counts/Long Range Distribution
as reviewed by Susan 'susiQ' Kim

"Through emotion and life experiences, artists are compelled to express without limits. It is no different for Connecticut's Mr. Freeze. After the death of his sister, music was an outlet for his passion as he sought out underground and hardcore rap. He gradually learned to shape his writing and rap skills while forming rap group Code Orange in 2002. With the group not progressing, Freeze pursued a solo career and released his debut album "The Red Snow," full of aggression and hardcore elements.
With the birth of his daughter in 2008, Freeze decided to take a turn in his music with a sense of self-reflection and sharing the struggles of being a rap artist. Compiling all of his sentiment and morale, Freeze releases his sophomore album "The Righteous Path." "

http://www.rapreviews.com/archive/2010_02_righteouspath.html

Obie Trice :: Special Reserve :: MoSS Appeal Music
as reviewed by Joe Howard

"On a rainy summer night back in 2006 there were six twenty-something year olds sitting around a small, circular kitchen table playing Texas Hold 'Em while passing around a bottle of Jose Cuervo. I don't remember that night all that well. From what I've been told not only did I lose about thirty dollars and everything I had eaten in the twelve hours previous to the gathering, I also blacked out in the middle of the street on my way home. However, one thing I remember from that night in sufficient enough detail to talk about it was during the intermission from our poker game, we turned the television on and got to see a quick glance of Obie Trice and Akon on CSI: Miami, performing "Snitch" from Obie's sophomore release "Second Round's On Me." I proclaimed: "oh shit! That's Obie Trice!", but my enthusiasm was not quite understood."

http://www.rapreviews.com/archive/2010_02_specialreserve.html

Pete Rock & C.L. Smooth :: All Souled Out :: Elektra Records
** RapReviews "Back to the Lab" series **
as reviewed by Pete T.

"The beats on "All Souled Out" are technically impeccable, but they also contain that inimitable element of soulfulness and expressiveness that makes Pete Rock arguably the world's best producer. Hip hop's detractors have always pointed to sampling as a lazy, thieving practice of creating new music, and although Pete's a heavy sampler, it's hard to imagine those critics having a problem with his methods. For one thing, his knowledge of soul and funk music is so vast and deep that many of his samples are beyond obscure. For those samples that are a little more well-known, he flips them on his trusty SP-1200 in such a manner that they're hardly recognizable, not so much disguising them as breathing new life into them and finding expressive potential that the original artist probably didn't even intend."

http://www.rapreviews.com/archive/BTTL_allsouledout.html

Rasheeda :: Certified Hot Chick :: DLO Music/Tommy Boy Entertainment
as reviewed by Matt Jost

"That's 2 failure's and 6 unsuccessful's, including 1 incredibly unsuccessful and 1 very unsuccessful. That almost qualifies as defamation. These entries were either written by someone holding a very personal professional grudge or a particularly dedicated hater. And still, malice aside, the comments are not all that wrong since they are, perhaps unwittingly, based on the underlying premise that Rasheeda is supposed to perform better on the sales front. Why? Because she's from the usually successful south, makes typical, usually successful southern rap and doesn't lack in the looks department. Ironically, the title of her latest album, "Certified Hot Chick" inherently makes the same argument: 'The hotness of this chick is certified, what other reason do you need to pick up this album?!' "

http://www.rapreviews.com/archive/2010_02_certifiedhotchick.html

Ricca Razor Sharp :: Causeways & C-Trains :: Neferiu Records
as reviewed by Steve 'Flash' Juon

"From the land of the Hart Family Dungeon and the Calgary Flames comes Ricca Razor Sharp, who also goes by the government name Jonathan Stoddart. Stoddart owns 50% of Neferiu Records, which not coincidentally is the label releasing his album "Causeways & C-Trains." Skeptics among the readership will have already written Ricca off at this point, but those who know about the Canadian rap scene realize many of its best artists are self-produced or distributed. In Ricca's case only the latter is true as he has called in outside artists to put his album together musically - Calgary's own SoLeo and Vancouver Island's producer du jour Mantrakid."

http://www.rapreviews.com/archive/2010_02_causewaysand.html

Run-D.M.C. :: Down with the King :: Profile/Arista Records
** RapReviews "Back to the Lab" series **
as reviewed by Pete T.

"Coming off 1990's slow-selling "Back From Hell," the Hollis Crew saw need for a change in order to keep up with a hip hop world that no doubt appeared to be hurtling forward faster than the speed of sound. But by 1993, the cards seemed to be stacked against them. The first years of the 1990s were filled with legal troubles, health issues, car accidents, and alcohol abuse for the group. Run and D soon became vocal Christians, and Jam Master Jay founded his own record imprint and struck gold producing Onyx. Fearing the worst, Arista even put out the group's first greatest hits collection. Having cemented legacies as founding fathers and invaluable contributors to a worldwide cultural phenomenon, it looked as if the time had come for Run-D.M.C. to gracefully bow. "

http://www.rapreviews.com/archive/BTTL_rundownwiththeking.html



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