album review: notorious - ost (2009)

so i saw notorious and pretty much loved it. not the greatest movie, but i just love BIG way too much not to appreciate the movie. everything in the movie was solid, besides minor casting slip-ups likepapa doc playing tupac. dude was terrible, and portrayed tupac like some ignorant and irrational moron, which as we all know, he wasn't. angela bassett could've dropped on a heavier accent, because BIG's mom had a much thicker accent. other than that, i'd give it a solid B-.

did a column for my school paper, and my boy mike did the movie review, which you can read here. (note: anything about the movie was done by mike, the layout editors fucked that one up.) i took the responsibilities for the soundtrack. enjoy.

Artist: Various Artists
Album: OST - Notorious
Record Label: Atlantic
Release Date: January 13, 2008

The Notorious B.I.G. is a shoe-in for the list of the most influential hip-hop artists of our generation. If you’ve ever considered yourself a fan of The Notorious B.I.G., chances are you’ve already heard most of the material on the soundtrack for the biopic Notorious. However, if you happened to catch the movie and found yourself inspired to have a refresher course on his discography, then it’s a good starting place.

The soundtrack includes some of Biggie’s biggest hits, as well as underground classics like “What’s Beef,” “Juicy” and “Party and Bullshit.” The release also features a couple of new tracks, including Jadakiss’ “Letter to B.I.G.,” featuring Biggie’s infamous widow Faith Evans. The track is heartfelt and vulnerable, both emotions that many hip-hop artists may be afraid to express.

Also on the soundtrack is the incredibly disappointing “Brooklyn Go Hard,” which features Jay-Z, the most well known apprentice of Biggie, and Santogold, recent blog/hipster favorite. It seems unlikely that a song featuring this collaboration on a Kanye West beat would disappoint, but the three fail to deliver.

Perhaps the best things about this soundtrack are the three unreleased tracks from Biggie’s earlier years — “Microphone Murderer,” “Guaranteed Raw” and “Love No Hoe,” which stays true to the promiscuous and lighthearted Biggie that everyone has grown to love.

However, the soundtrack misses a few steps. It kicks off with “Notorious Thugs,” definitely a fan favorite, but not heard in the movie. Likewise, there is a slew of unreleased material that could have been surfaced through this release, but the team behind the release decided on only three tracks.

Notorious is probably not worth what you would have to shell out at the mall or Best Buy, but is an overall cohesive backdrop for the movie’s theme and serves its purpose well. For anyone who hasn’t been exposed to any of these influential and genre-defining tracks, it would be well worth your time.

Grade: B+

-the notorious grizzly

album review: kanye west - 808s and heartbreak (2008)

Artist: Kanye West
Album: 808s and Heartbreak
Record Label: Roc-a-Fella/Def-Jam
Release Date: November 24, 2008

If anyone in hip-hop was going to put out 808s and Heartbreak, it’s Kanye West. West has been known to meddle with hip-hop, manipulating sounds and styles that are out of the ordinary and giving it that mainstream appeal. He intertwined orchestral arrangements with hip-hop on Late Registration, soul samples on The College Dropout and electro and pop on Graduation. So when he premiered “Love Lockdown” at the MTV VMAs this year, everyone knew he was cooking up something different with 808s and Heartbreak.

It’s no secret that Kanye West’s lyrical ability has seemed to dwindle over the years, but is easily overlooked due to his immeasurable production talent and the fact that he knows how to put songs together. Using only the TR-808 drum machine, West has created some of his most ambitious songs to date, abandoning the standard hip-hop beat and rapping for singing and tribal drums, which might be his biggest antithesis’ to hip-hop yet.

On 808s and Heartbreak, Kanye West relies heavily on the auto-tune effect. This may easily push listeners away, as the T-Pains and Lil’ Waynes of the world have already saturated the mainstream with the effect. However, Kanye West hopes to achieve something completely different. He created a voice deemed “Heartbreak,” something West refers to as a “mixed drink with auto tune, distortion and a little bit of delay on it.” He uses this voice as a tool, not a crutch, to express the tribulations he’s faced within the past year, including the death of his mother and the break-up with his fiancée, who is the subject of the overall bulk of 808s and Heartbreak.

“Say You Will,” the albums opener, starts off slow and haunting, with a beat slightly resembling that of a heartbeat. It’s slow pace is somewhat of an awkward start to the album and would be better if placed as a closer or even somewhere in the middle. Despite the placement, it’s one of the highlights of the album. Carrying on this very consistent theme, “Amazing” and “Streetlights” are also slow burners, which will definitely be a change of pace for the standard West fan.

There’s very little rapping on the album. However, it’s still prevalent in songs like “Heartless” and “Welcome to Heartbreak,” the latter of which features up-and-coming Cleveland rapper Kid Cudi. Together, the two sing a handful of melodies that will undoubtedly be stuck in your head for weeks. Other highlights include the Chromeo-esque “Paranoid,” and “See You in My Nightmares,” which features Lil Wayne, who sings what might be one of the best hooks he’s ever worked on.

There’s a few problems with 808s and Heartbreak. Lil Wayne’s verse, much like his verse on “Barry Bonds” on Graduation, falls flat, complete with boring metaphors and trite writing, despite how good the hook is. Young Jeezy is the only other guest rapper on 808s and Heartbreak, and his verse on “Amazing” is completely out of place and awkward, shuffling up the overall theme of the album.

Minor gripes aside, 808s and Heartbreak is a fantastic album, and Kanye West has yet again proved that he is an artist with many talents. This is unquestionably his most polarizing release, and he will alienate a large part of his fan base. However, West doesn’t seem to care, and this further proves that he is in it for the music. His production continues to test the limits of hip-hop, transcending genres and breaking from the mold of your typical producer. This may not be his best album, but it is by far the most consistent and thought-provoking album he’s released. If worst comes to worst and you don’t enjoy the album, sit tight. He’ll be back with a hip-hop release in the summer of 2009.

Grade: A-

kanye west on myspace

-808s and grizzlies

album review: t-pain - thr33 ringz (2008)

Artist: T-Pain
Album: Thr33 Ringz
Record Label: Jive Records/Nappy Boy Entertainment
Release Date: November 11, 2008

You either love him or hate him, but chances are, you’ve heard at least one of his songs in the past few years. T-Pain has been hip-hop and r&b’s go-to guy for hooks and cameos since he released Rappa Ternt Sanga in 2005, which along with 2007’s Epiphany, have been subpar and underwhelming releases in the genre, save a few chart-toppers.

500 hooks and an inflated ego later, T-Pain is on a high from his third studio release, Thr33 Ringz, which has been highly anticipated for some time. The circus-esque concept of the record comes from T-Pain, who deems himself the “ringleader” of the current rap game.

Although T-Pain is commonly known as the guy who made the vocoder cool again, he shows off his emcee skills in lead track “Welcome to Thr33 Ringz,” which abrasively leads into melody-heavy “Ringleader Man,” which puts the album off to an awkward start.

T-Pain never fails to deliver songs that will undoubtedly see huge success on the radio. Aside from his lead single, “Can’t Believe It,” Pain teams up with Ludacris on the Texas-inspired “Chopped and Screwed,” and Chris Brown on “Freeze,” both of which are set to be singles and club staples.

He also maintains a subtle sense of humor in many songs, like the Kanye West assisted “Therapy,” where the both of them speak on failing relationships and having their couches returned. “It Ain’t Me” shoos away the gold diggers, as T.I. and Akon lend their talents to the track.

As is the case with many hip-hop releases nowadays, there is a lot of filler on Thr33 Ringz. Aside from the obnoxious skits that everyone hates or skips, songs like “Blowing Up” and “Long Lap Dance” are throwaways, and the latter of which has sentiments already expressed in 2006 single “I’m In Luv Wit a Stripper.”

T-Pain even branches out and takes a shot at diversity while attempting a ballad with “Keep Going,” a song complete with acoustic guitars and piano. Aside from “Keep Going,” the second half of Thr33 Ringz falls completely flat. Songs like “Superstar Lady” and “Digital” are hardly impressive and instantly forgettable.

Overall, Thr33 Ringz is an entertaining release that bridges the gap between hip-hop and pop, and will surely be saturating your local radio station in no time. T-Pain is not necessarily as legendary as he claims to be. However, the man has an obvious gift and with his work ethic, he will remain relevant. None of this matters, though. In the time it took to complete this review, T-Pain just wrote the hooks to five more Billboard top 100 tracks.

Grade: C-

t-pain on myspace

p.s. related/unrelated note: who the hell said dj khaled could drop N bombs all over t-pain's albums? ridiculous.

-g-pain

album review: senses fail - life is not a waiting room (2008)

Artist: Senses Fail
Album: Life is Not a Waiting Room
Record Label: Vagrant Records
Release Date: Oct 7, 2008



It's completely understandable that Senses Fail follows the formula that garnered it recognition and praise in the past two years. Regardless of preference, it's hard to deny the progression the group made from its debut LP Let in Enfold You to Still Searching. However, if the formula wasn't that extraordinary to begin with, there will continue to be detractors, and for a band as contrived and generic as Senses Fail, it's no surprise that Still Searching sold more than 750,000 albums.

Life is Not a Waiting Room is the New Jersey quintet's third full-length album and second on Vagrant Records. Like every band that is on the brink of releasing a new album, this is the group's "best music to date." Singer Buddy Nielson described the songs as "having a real sense of urgency" and having a lot of "grit and power." Guess you could say most of us are still searching for that. Bad puns aside, on to the album.

Waiting Room kicks off with "Fireworks at Dawn," which is more or less the album's best song. The drumming intro sets a cadence that is hard to ignore, but the band fails to follow through after this. The rest of the album is uninspired and cliché, as it is song after song of dark and haunting themes over melodic and moderately heavy music.

The main strengths in Senses Fail are the musicians, namely the guitarists. Heath Saraceno and Garrett Zablocki do a pristine job at handling the guitar duties, with tip-top solos in "Lungs Like Gallows" and "Wolves at the Door." The drummer, Dan Trapp, is talented as well, albeit generic. The group even teamed up with producer Brian McTernan, whose work behind the boards is definitely something to write home about, and the production on Waiting Room is equally glossy.

Since the release of its 2002 EP From the Depths of Dreams Senses Fail has yet to progress lyrically. Nielson still writes with the same childish metaphors and imagery that has graced every past release in Senses Fail's discography. In "Garden State," the lyrics "There will be a riot in my heart soon / It wants to beat beneath the open sky" seem to be derived from a 15-year-old's LiveJournal.

Vocally, Nielson is proof that anyone can become a singer. As a 24-year-old, his vocals lack the depth and range that would validate a good singer. Because talent is generally lost with Nielson, it would be in the group's best interest to find a frontman who doesn't hold the band back from reaching its potential.

In short, if you can manage to make it through Life is Not a Waiting Room without a cringe or even mild to heavy laughter, then this is the album for you. Senses Fail brings absolutely nothing new to the table. Yes, they managed to progress once in their career, but the end product is still contrived and lacks any real substance. Overall, Senses Fail epitomizes what you should not be listening to.


Grade: F

yeaaaah. only reason a review for this exists is because of school.

-grizzly

album review: the game - l.a.x. (2008)

Artist: The Game
Album: L.A.X.
Record Label: Geffen/Interscope
Release Date: August 26, 2008

Since the release of his first mixtape in 2002, Jayceon Taylor, better known as The Game, has made it his life’s calling to resurrect west coast rap and force feed it to the masses. Even during his stint with G-Unit, the 28-year-old rapper represented and remained loyal to Compton, like the greats Dr. Dre and Eazy-E.

Now, six years later, after months of being pushed back, The Game unleashes his third and supposed final album, L.A.X. In any case, if an artist is releasing their last album, his or her A-game needs to be brought (no pun intended). With L.A.X., The Game decided to pull out all the stops, reeling in some of the biggest artists and producers in hip-hop and R&B to collaborate on what ended up being one of the most ambitious projects in quite some time.

The Game has a known ear for beats, and the production on L.A.X. is close enough to some of the best production heard this year for mainstream releases. With beats from Cool & Dre, Kanye West, Nottz and Hi-Tek, it’s hard to notice that Dr. Dre doesn’t produce for The Game anymore. Furthermore, the cameos on this album are endless. Interscope must’ve spent a large sum on his behalf, bringing in Lil’ Wayne, Common, Ice Cube, Nas, and Ludacris, just to name a few. Almost every song that features any of this all-star line-up is a prospective hit, considering the singles he’s released thus far have already done well.

Lyrically, you won’t see much progression from The Game in comparison to previous albums. He continues to rhyme about his troubled past, which includes but is not limited to sex, drugs and violence, and the name-dropping still runs most of his songs. However, The Game has always had a certain way with words to keep the songs fresh. The name drops may turn some people away, but he manages to create new metaphors and similes that are both entertaining and clever, while managing to pay homage to those who have influenced his own style.

There are very few lulls when listening to the album, which is an impressive feat considering its 76 minute runtime. Aside from the abrasive Intro and Outro, both prayers by hip-hop hostile DMX, the only skip-worthy track is “Touchdown,” which might as well be one of the Game’s most trite tracks to date. L.A.X. has a very wide-range of sounds aside from the West Coast. From soulful jams like “Let Us Live” to club-bangers such as “Money” to the bedroom influenced faux balladry of “Gentleman’s Affair,” there are songs on L.A.X. that will reach a wide array of people.

Considering the state of the music industry, there is very little chance that this album will be as commercially successful as its predecessors The Documentary and Doctor’s Advocate. Despite the sales difference, L.A.X. will go down as The Game’s crowning achievement, and will hopefully stand the test of time. If this is indeed his last album, Jayceon Taylor will be content with the fact that he dropped out of the game while he was still shining.

Grade: B+

the game on myspace.

-grizzly

album review: lloyd - lessons in love (2008)

Artist: Lloyd
Album: Lessons in Love
Record Label: Universal Records
Release Date: August 5, 2008

Although it hasn’t been very long since we had our last offering from Lloyd, one of the South’s more well-known crooners hopped back into the studio after his platinum selling sophomore album, Street Love, to release his latest collection of clichéd anthem of sex and love balladry, Lessons in Love.

Following the album’s title as a loose concept, Lloyd jumps into “Sex Education,” a light-hearted and upbeat number with live instrumentation. Very literally, he turns this song into the step-by-step program about sex, making it known that he “wants to make an A,” and will show you his if you show him yours.

The biggest problem with this album is the monotony in subject matter. The realization of this being Lloyd’s style and the genre he’s pinned himself to comes to mind, but it wouldn’t hurt to switch it up. It also wouldn’t hurt if he attempted to write better lyrics than “Please have my baby/Yeah, I’m talking to you/If you wanna have my baby/Here’s what you do/Take your clothes off,” found on “Please Have My Baby.”

There are a couple of enjoyable songs on Lessons in Love. “Girls Around The World,” the album’s first single, samples Eric B and Rakim and features a Lil’ Wayne cameo, and “Love Making 101” features a guitar solo, easily one of the album’s highlights. However, taking these songs at face value is recommended, as the subject matter remains cliché and continues to fall flat.

The production on Lessons in Love is another one of the few things keeping this album afloat. With the aid from Big Reese, Jasper Cameron and Polow da Don, Lloyd manages to have an album full of probable hits. The live instrumentation in “Sex Education” and “Love Making 101” switches up the vibe, while Polow’s synth-heavy production on “Party All Over Your Body” is just well-produced.

With Lessons in Love, Lloyd makes a valiant effort at attempting to join the ranks of the Ushers and Babyfaces of contemporary R&B, but pales in comparison. Considering all of the underrated talent that lies within hip-hop’s borders, the fact that Lloyd has a record deal and the amenities to be able to hire top shelf producers to make him sound good is a mind-bender. But the fact of the matter remains; the man sells records, and is obviously doing something right. I’m just not signing off on it.

Grade: F

lloyd on myspace.

note: this review was for allhiphop.com, but they haven't gotten around to posting it, so i'm posting it here.

-grizzly

album review: norma jean - the anti mother (2008)

Artist: Norma Jean
Album: The Anti Mother
Record Label: Solid State Records
Release Date: August 5, 2008

Norma Jean have been a front runner of the metalcore movement, creating urgent, passionate and heavy music for over eight years. The latest offering from the Georgia quintet, titled The Anti Mother, is a fresh sound for the group, who have spent the last two years touring in support of their 2006 release, Redeemer.

The Anti Mother is a concept of a character drawn up by the band to represent something that is outwardly beautiful, but possesses deceptive traits. Lead vocalist Cory Brandan has stated that this is both Norma Jean’s most melodic, as well as heavy record to date. Ironically, the concept bodes well with the album itself, as the music is very deceptive of what fans have come to know and embrace as Norma Jean.

What you won’t find on The Anti Mother are the double bass breakdowns and drop-D tuned riffs of their blistering debut Bless the Martyr, Kiss the Child or the sporadic time signatures and Botch-like song structures of O’ God the Aftermath. But what you will find is the more straight-forward hard-rock approach similar to much of Redeemer.

One thing immediately noticeable about The Anti Mother is the drastic change in Brandan’s vocals. The guttural screams and growls found on previous albums have now transitioned into more melodic screams. Songs like “Self Employed Chemist” and “Robots 3, Humans 0” seem to be showcases of Norma Jean’s take on radio nu-metal, as Brandan puts in his best effort to use his singing voice, but gives a lackluster performance.

Norma Jean has soaked up influences from many bands, and in many cases, do their best to mimic their peers, which isn’t necessarily a bad thing. In the past year, Norma Jean has constantly toured with southern-rock enthusiasts Every Time I Die, and the influence is apparent on songs like “Birth of the Anti Mother.” The group also does their best Deftones impression on “Surrender Your Sons,” and managed to recruit the Deftones’ lead singer Chino Moreno, who aided in the songwriting, creating the standout track on the album. Another guest spot comes from Page Hamilton, lead singer of Helmet, whose obnoxious vocal melodies on “Opposite of Left and Wrong” sear through your eardrums, forcing you to find the ‘next’ button immediately.

Despite its shortcomings, The Anti Mother has its share of impressive tracks. Along with “Birth of the Anti Mother” and “Death of the Anti Mother,” Norma Jean scrounges up all of their collective talent, resulting in “And There Will Be a Swarm of Hornets,” easily one of the band’s best works to date. The song is as beautiful as it is relentless, and proves to be a grand closer on an underwhelming album.

Throughout the years, Norma Jean has managed to create great albums that push the boundaries of metal and rock. However, The Anti Mother is uninspiring, and will be filed away onto the large shelf of mediocrity that exists within this genre.

Grade: D+

norma jean on myspace.

-grizzly

album review: eye alaska - yellow and elephant ep (2008)

Artist: Eye Alaska
Album: Yellow and Elephant EP
Record Label: Fearless Records
Release Date: July 22, 2008

There are several record labels that take risks by signing artists that will stick out as sore thumbs. In this case, we have Fearless Records, who are notorious for signing generic rock bands by the boatload, and their signing of Orange, California’s Eye Alaska. Eye Alaska are undoubtedly the black sheep of Fearless, straying away from run-of-the-mill pop-rock and infusing it with soul, rhythm and blues and jazz, and recently released Yellow

The quartet recently released Yellow and Elephant, their debut 6-song genre-bending EP. “I Knew You’d Never Fly” immediately hooks the listener in with the soaring croon of lead singer Brandon Wronski.

Eye Alaska’s best asset is easily the vocal dynamic between Wronski and back-up singing from bassist Chris Osegueda, and guitarists Cameron Trowbridge and Chase Kensrue, the latter of which is the younger brother of Dustin Kensrue, lead singer of Thrice. The quartet finds a safe place between soul and R&B, and makes the vocals the center force behind each song.

Musically, the band isn’t spectacular by any means, but considering that they just released their debut EP, one would assume that they’re on the right track. Songs like “Stop Me Now…I’m Not Ready” and “Through the Willows and Streams” are outstanding examples of their musicianship. The songs blend several layers of programming and electronics, incorporating orchestral arrangements and the use of brass instruments along the way, opting for a very cinematic and eclectic listen.

The highlight of the EP is “Roll Right Over,” which one could pin down as a contemporary hit straight from the radio during the 90s. All four vocalists mesh perfectly over the song, which would be an ideal candidate on the soundtrack to your summer night.

Yellow and Elephant, while a strong debut, is a little short. With the total running time a little over 20 minutes, Eye Alaska leaves the listener unfulfilled and wanting more. This is not necessarily a bad thing. Their ability to crossover between genres could be very beneficial for the band’s future. Let’s just hope Fearless Records sees the same potential in the group and invests enough time and promotion to help properly launch this young band’s career.

Grade: B+

sidebar: this EP is my current EP of the year. full length immediately, please.

and if you're not convinced, go listen to the tracks on their myspace immediately.

-grizzly

album review: nas - untitled (2008)

Artist: Nas
Album: Untitled
Record Label: The Jones Experience/Def Jam/Columbia
Release Date: July 15, 2008

Nasir Jones has been a pivotal force in hip-hop, weaving in and out of the spotlight for over a decade now. Since 1994, Nas has made sure to challenge the pressures of conforming to mainstream sound while maintaining intellectual and thought-provoking rhymes.

Nas has seen nothing but controversy surrounding his racially and politically charged ninth studio album. At its conception, the album was originally titled Nigger, but after much deliberation, Nas would eventually cave and change the name to Untitled, when the album’s release began to hang in the balance for outlets such as Wal-Mart. However, Nas released a mixtape with DJ Green Lantern in early June to push his original concept, spitefully titled The Nigger Tape.

On Untitled, Nas wastes no time as he begins to flow effortlessly over the hushed piano chords of “Queens Get the Money,” and forces himself into the hip-hop game as he raps, “Hip-hop was aborted/Nas breathes life into the embryo.”

Untitled follows a very loose concept of the awareness of African Americans, heard in songs like “The Slave and the Master” and “America,” but also tackles many political issues. “Sly Fox” is a lyrical assault on the 'visual cancer' tendencies of the Fox News Network. Likewise, “Black President,” a snare-heavy track complete with sample of Tupac Shakur’s “Changes,” alludes to the 2008 presidential nominee Barack Obama.

Nas’ strong suit is and always be his lyrical prowess. The veteran emcee has a way of writing songs that feel completely natural and graceful. Even on “Hero,” the album’s lead single, Nas finds himself rapping over a radio-friendly beat, but manages to rise above the average mainstream talent.

There are very few roadblocks standing in the way of Untitled from becoming a near-classic album. The awkwardly placed “Testify” and the forced rhymes of “Breathe,” hinder the album’s power. “Make the World Go Round” is a little atypical of Nas, considering the fact that Chris Brown is the last person one would expect to provide guest vocals for this album. However, Brown and West-Coast powerhouse The Game collaborate with Nas for one of the strongest songs on the album.

Untitled is not a mainstream-friendly record by any means. Other than “Hero” there are very few tracks that will see commercial success. However, Nas has always kept a level head, and never seems to make records for a buck. Not to mention, the support of his dedicated fan base will always allow him to remain relevant. Nas is one of the few remaining emcees in hip-hop with a purpose and as long as he’s creating music, there is very little chance of hip-hop being dead.

Grade: A-

-grizzly escobar

album review: sophia - my morning; migration (2008)

i did this review a little while ago for absolutepunk's user review database. forgot to share it with the weworemasks crowd. solid hardcore album. for a genre i don't listen to anymore, this was a great release.

read the review here.

sophia on myspace

check some songs out from the debut full length and buy the album if you dig it.

download (right click, save as):

vanity, remember the peacock

mockingbirds after the picture show

-grizzly

album review: coldplay - viva la vida (2008)

check out my review for the new coldplay album:

here.
here.
here.

great album, i really suggest picking it up. makes me forget about the abomination that was x&y.

also, i got "hired" to write for allhiphop.com, and i will probably be sticking to alternative reviews. this review will be my first, so whenever it gets posted, i'll send all you assholes there to give my review some hits and i'll love you all forever.

-grizzly

album review: lil' wayne - tha carter III (2008)

Artist: Lil' Wayne
Album: Tha Carter III
Record Label: Cash Money Records/Young Money Entertainment
Release Date: June 10, 2008



Lil' Wayne is one of the busiest, most hard-working and sought out emcees in hip-hop. For the last three years, the 25-year-old phenomenon has hopped onto any and everybody's songs, from Destiny's Child to The Cool Kids to Fat Joe. He has also managed to become the cash cow for Cash Money Records and is the CEO of his own label, Young Money Entertainment.

Business endeavors aside, Tha Carter III has been highly anticipated in the hip-hop community, topping several "most-anticipated of 2008" lists and being on the receiving end of endless hype. With the bandwagon growing and the hype on a steady increase since the release of Tha Carter II, one can imagine the pressures of being able to put out an album that will live up to and possibly surpass expectations.

Tha Carter III opens up with "3 Peat" a track that glorifies Wayne's personal trifecta of his current and past albums, also the anchor on which most of the album relies on. "Mr. Carter" is among the most enjoyable songs, as Dwayne Carter and Shawn Carter follow-up 2007's "Hello Brooklyn" from Jay-Z's American Gangster and team up together once again for another classic hip-hop song.

Other standout tracks include "Tie My Hands," in which Weezy steps up as the frontrunner of New Orleans and takes on political challenges. Aside from clichéd shots at the president, the song is a must-listen. "Shoot Me Down" and "Dr. Carter" are also choice selections from the record.

One of Tha Carter III's strong suits is diversity. Although there are many songs on TC3 that tackle drug addiction, politics and the pressure's of the hip-hop community, Weezy manages to lighten the mood in several songs with an abundance of ad-libs, snarky comments and his trademark laughter, all of which he has patented in his own style.

The production team behind Tha Carter III is another beneficial asset to Lil' Wayne. The record is comprised of pristine work from some of hip-hop's finest, including Kanye West, who lent his talents on four songs, including "Shoot Me Down" and "Let That Beat Build." Other notables include Swizz Beatz and Just Blaze, among many others.

Another advantage to Tha Carter III are its guest artists, who deliver and in most cases, overshadow Weezy. Along with Jay-Z, Fabolous, Robin Thicke and Babyface all make cameos on the album. T-Pain, 2008's go-to guy for hooks, makes an appearance on "Got Money," which will surely be a huge summer hit.

For every impressive track on the album, there is an equally appalling track. Aside from the atrocious single "A Milli," songs like "Phone Home" and "La La" are filler and do nothing but stunt positive feedback about the overall product.

To sum up, Lil' Wayne will become a casualty of his own hype. Aside from singing his own praises, Weezy does very little to supplement his claims for being "the greatest rapper alive." Regardless, the album will sell like hotcakes due to his dedicated fanbase.

For an artist who spends countless hours in the studio hopping onto remixes and releasing mixtapes, you would hope that he would put as much effort into an official studio release to support his outlandish statements. Despite being one of the most charismatic rappers, Tha Carter III is a lackluster testament to the legacy of Lil' Wayne.


Grade: C+
(i've thought about it for a while, and my review didn't really justify a D. i think my bias against wayne was getting in the way of giving it a fair score, haha. sue me.)

-lil grizzly

album review: usher - here i stand (2008)

Artist: Usher
Album: Here I Stand
Record Label: LaFace Records
Release Date: May 27, 2008



Since the release of 2004’s Confessions, Usher Raymond IV has gone through many life-transforming changes. Aside from one of the highest selling albums of the decade, the R&B sensation has settled down, managed to get married and saw the birth of his first son.

Usher used this transformation into adulthood as a stepping stone and a blueprint for Here I Stand, his first studio album in four years. At face value, Here I Stand is a collection of songs that is no different than material found on Confessions, 8701 or even his debut album My Way. Despite the familiarity, the songs on Here I Stand reflect his new-found maturity as his writing is more focused on fidelity and taking care of his family.

On Here I Stand, Usher finds himself doing what he does best, which is creating tracks that are focused on sexuality, in every sense. Songs like “Trading Places,” “Love You Gently” and “This Ain’t Sex” should come as no surprise. “This Ain’t Sex” is one of the more refined songs on the album. Aside from a few cliché lines, the song is very reminiscent of an early 90s Michael Jackson.

Other standout tracks on the album include “Best Thing,” which sees a guest verse from hip-hop’s finest, Jay-Z. “Appetite” has a catchy hook and a crisp beat, and is another perfectly crafted hit in the making and could easily see mainstream success.

Fatherhood has brought out a new perspective in the superstar’s life. In “Prayer For You,” Usher sings a soulful melody to his infant son, who is heard cooing in the song’s background. In it, he bares all as he sings, “You carry my name/I pray that you’re better than me,” which is sure to tug on a few heart strings.

“Moving Mountains,” a song whose beat is very suggestive of a Timbaland influence and is also slated to be a single, is one of Usher’s most impressive efforts to date. The track is to Here I Stand will be what “Burn” was to Confessions, exploring the struggles of a failing relationship and its effects on both parties.

An album with 17 songs is bound to have a little bit of filler. Songs like the will.i.am produced “What’s Your Name?” and “Something Special” could have easily been left off of the album.

Considering the genre, the artist runs a very high risk of writing cliché and cheesy lyrics. Songs like “Trading Places” reads more like an online blog entry rather than a song. The type of storytelling approach in “Trading Places” and “Love You Gently” do not seem to be Usher’s forte, and should be reserved for R. Kelly, who penned the highly-addicting and narrated “Trapped in the Closet” series.

Aside from the minor setbacks, Here I Stand is a highly addictive and cohesive album which takes influences from the the best of modern and classic R&B. The impressive production line-up has also been beneficial to Usher. Fans of Usher’s previous albums should be able to find several gems on this album.

Growing up may have taken toll on Usher’s personal life, but it has not altered the man’s ability to create refreshing music.

Grade: B-

note: i usually post reviews from the school newspaper's web site, but my copy editors did their thing and completely destroyed it, so i posted the original instead.

-grizzly

album review: thrice - the alchemy index: vol III and IV: air and earth (2008)

the rest of thrice's the alchemy index was released today. and yes, i did write a review. and yes, despite the huge thrice bias that hangs over my life, i love this album.

the alchemy index dot com
thrice on myspace.

read the review HERE

love on this album. it's in stores today. can't wait to see them next week.

album review: panic at the disco - pretty. odd. (2008)

i had to!!!!!!!!!

read the review here.

-grizzly at the disco

album review: lydia - illuminate (2008)

currently my most listened to album. it's brilliant. check the review out.

preview songs(right click, save as):

this is twice now
i woke up near the sea

review:

read.
read.
read.

buy the album here.

-grizzly

album review: alive in wild paint - ceilings (2008)

here's my review for alive in wild paint's debut album, ceilings, which hit stores last tuesday. this is a great release, definitely recommend checking it out.

check out these tracks (right click, save as):

alive in wild paint - ceilings
alive in wild paint - a vespertine haunting

read.
read.
read.

-grizzly

album review: ivoryline - there came a lion (2008)

yawn. i know. as long as i'm writing, i'm posting. who else is going to read this shit?

READ.
READ.
READ.

-grizzly

album review: city and colour - bring me your love (2008)

i mainly do these to post about myself. no harm, no foul.

READ.
READ.
READ.

-grizzly

album review: the mars volta - the bedlam in goliath (2008)

sup hoes. i did another review. read it or jerome will stab you.

READ.
READ.
READ.

-grizzly