What’s up to all my loyal readers? I’m not really sure of how many of you all there really are out there but I want to take a second to say thanks for riding with me for the past year. As I’m sure you probably wouldn’t know unless you were on the couch with me and Ricco last year when we sparked that ball bat in commemoration of kicking off this whole rapaveli.com thing. Actually there was that one little young thing sittin next to us but we’ll leave that at that.

August 23, 2008 was the one year anniversary of the site. As I’m sure you may have noticed I haven’t been posting much lately. No those gangsta ass hyphy people out in California didn’t come and get like they acted like they wanted to, nor did I hear anything from Young Buck after I invited him and his home-boys up here for some OG shit.

Basically, I’ve been talkin a lot of shit for the past few months and I’m just so curious as to what some of you myspace mafia lookin ass dudes is really about. I’m an athlete and I got a few new muscles I wanna try out. Now if you wanna come with all that trigger play rah-rah you speak about on your records then my man Bricks got some artillery to sell and I got a little bit of change to spend. We’ll leave it at that.

Basically I say that to say this, I’m going to increase my poppin off at the mouth by say 47% or so just so I can distinguish which of ya’ll new rappers is really takin up the ass behind closed doors. The truth will come out nigga, you a hoe. For all my artist who keep it real whether it be on some gangsta shit or some intelligent shit, much respect. To the rest of you do like Beans said and eat a dick with aids on the tip.

In the meantime check out the video from my for real niggas doin they thang up in Ohio. Don’t get it twisted it’s still BHS in here. What up Lowe!! Ambition-1 wants to know… Mothafucka can you stand the rain?

Over the past two and a half decades Ice Cube has been nothing less than staple of what gangsta rap is supposed to be. Credited as one of the undisputable originators through his work as the lead lyricist for the Compton bred NWA gang of the mid and late 80’s Ice Cube has seemingly conquered everything he’s set out to do. From crafting classic albums, to starring in movies, to directing family movies, to making a grisly return to his gangsta rap roots it seems as though Ice Cube can do no wrong. Who else can star in Are We There Yet and still flex major street credibility with the like of his latest effort Raw Footage.

Cube steps out of his normal element on the albums opening effort "I Got My Locs On" as he and Young Jeezy bounce laid back lyrics over a southern tailored backdrop courtesy of DJ Toomp. On the album’s pre-determined first single "Gangsta Rap Made Me Do it" Cube goes off on a tangent against anybody with any ill fated thoughts or word towards gangsta rap. On "Hood Mentality" Ice Cube takes an interesting vantage point as he spews sarcastic but realistic instances of the average hood thought process. Cube raises more socially relevant questions on "Why Me" as well as the perfectly produced "Cold Places."

Cube utilizes the likes of "Jack In The Box" and "Thank God" to commemorate some of his own accomplishments within the various entertainment industries he’s influenced over the past couple of decades. Gems such as "Get Money, Spend Money, No Money" display Cube’s shift from lyrical perfection to a sharper focus on perfecting an uplifting message for the misguided urban youth of today. Before the album closes out completely Ice Cube proves he still holds hid tongue for no one as he speaks candidly on some political bull shit on both "Stand Tall" and the Butch Cassidy guested "Take Me Away."

Throughout this well thought out and executed collection of songs Ice Cube shows more than ever just how outspoken he really is. Raw Footage finds Cube criticizing everything from the current president, to the next president, and even those in the hoods of America. It seems as though Ice Cube didn’t really sit down and think about appeasing the metaphor thirsty rap crowd of today but instead opted to force feed them knowledge that just isn’t emphasized within the culture anymore.

After becoming the mot successful rap group to come out of the state of Kentucky with their first two nationally successful albums Watermelon, Chicken, and Gritz and Wooden Leather Nappy Roots all but disappeared from the scene for the better part of a half-decade. With those five years behind them, one less group member, and a brand new label deal Ron Clutch, Big V, Scales, B. Stille, and Skinny Deville are back to represent for the bluegrass state with their latest effort The Humdinger.

On the opening "Beads & Braids" the Nappy boys profess their independence as well as their affiliation to one another over a country-twanged backdrop courtesy of Sol Messiah. The album’s first single "Good Day" features a wealth of Kentucky specific terminologies that most outside of the state won’t be able to grasp. The Anthony Hamilton assisted "Down N Out" personifies the group’s ability to vividly paint the portrait of all individuals who are suffering through the current state of the economy and these high ass gas prices. The laid back "Tinted Up" serves as the group’s ode to the nationally recognized whip game.

Producer Sol Messiah returns with another guitar laden favorite with the spacey and breezy feeling "Kalifornia Dreamin." When I was at the album release party I figured that "No Static" was a tribute to Kentucky’s late great golden child Static Major but as listen to the album I’m not so sure that’s the case. Maybe it is; apparently I don’t know how to interpret songs on albums because I don’t listen to entire albums and because in somebody’s hood Rocko is the shit. Funny! "Don’t Stop" turns out to be another white sand smooth ode to the nationally recognized whip game. At least that’s how I interpreted it.

To put it plain and simple The Humdinger doesn’t hold the luster that Nappy Root’s past albums held but it will still be at least a regional force to be reckoned with. The group seemed to keep the music naturally Kentucky which is always a good thing but throughout the collection the high impact flare of past tracks such as "Aw Naw," "Po Folks," or "Nappy Roots Day" is definitely a major missing element. Nonetheless the Nappy Roots fellows do what they do best in vividly illustrating life within Kentucky yet outside of Louisville.

NO RAPPER LEFT BEHIND: KY MOVEMENT Volume: 8
The past few months have been filled with a bunch of local music venue appearances for the i4i media organization as well as myself. Just about everywhere we’ve gone we’ve managed to run into this sort of annoying little rappin dude by the name of Bonanza. Don’t get it twisted when I say annoying though. I guess a better word would be persistent. He’s like one of those salesmen that tries and tries to sell you some shit that both you and he know you want but you just don’t want to pay for it. Better yet, the best way to describe this dude’s first mixtape Big Bonus would be kind of like my late ass infatuation with myspace. At first I was skeptical, then I tried, and now I be god damned if I’m not hooked.

After more than three minutes of straight cow shit talking on the Homeymill produced "Big Bonus (Intro)" Bonanza leaves the listener vastly awaiting more wit heavy bars from the Louisville MC. He goes on to exclaim "every bar’s clean, you can say I spit bars of soap" on the smooth and modern boom bap feeling "I’m In (Opening)." Novakane Beatz continues his commanding board nature with an outstanding sound concept on "The Run" where Bonanza literally runs laps all over the standout banger.

Bonanza displays an undeniable knack for kicking shit off the dome on the mixtape’s numerous freestyles but his supporting cast takes away from his significance on more than just one occasion. On the heartfelt "Struggle" Bonanza pens one for everybody who has some questions about the everyday bullshit that comes with this life we all live. On the funky as fuck and self-produced "You Understand Me" Bonanza kicks some old school verbals, allowing his obvious versatility to shine even brighter than the last track.

I’m sure some of you who are reading this have probably been poking around J-Mall and this dude has ran up on you and demanded that you pay him some money for his CD. In most cases I would say don’t fuck with it but in this particular instance I must say you might wanna drop it off. You see, this isn’t your ordinary local release. First off, there’s not a single industry beat, the material is actually pretty enticing, and the shits even comes in plastic wrap. If Louisville continues to move this way then look for Bonanza Presh to be one of your top five local and climbing artist within the next calendar easily.

NO RAPPER LEFT BEHIND: KY MOVEMENT Volume: 7
If you’re anything like me, you’re probably more than tired of listening to local rappers you grew up with talking about all the gangsta shit that they’ve either done or are currently doing. Luckily for the sake of music somebody forgot to tell Lee Da Rhymin Master that you have to be ultra thuggish in order to make music these days. His debut underground effort Young, Poor, Black, Artistic: The Album just might be the twelve breaths of fresh air that the Ville has been needing for… ever.

Lee opens up his mixtape with an entirely different and almost unheard of swagger on the harmonious "Intro (I Promise)." On the testimonial "Music For The Sake Of It" Lee takes time to send some overdue shots at the national as well as local music scenes. Lee uses a simple piano laden background to profess his obviously genuine love for the sport of making good music on the humble "For The Love Of Music." On the 80’s feeling "The Grind" Lee goes in depth about his past, current, and proposed future financial struggles as he sheds some light on those individuals who strive for more on a daily basis. On the soulful "When You Came Away" Lee speaks fluid love filled bars over a single harmony laid over a layer of naked guitar strums. The album’s "Outro" turns into an 80’s style uptown rhyme fest as Lee spits a little cipher style shit talking on the sleeper joint. As if that weren’t enough the Louisville bred MC comes out of left field with the bass heavy bonus effort "Pink Jeans."

Though every track on Young, Poor, Black, Artistic: The Album isn’t a certified banger, it’s still nice as hell to hear somebody talking about something other than saran wrap, baking soda, and triple beam dreams through an entire album. Hip hop is in dire need of a new direction and it’s going to take more people like Le Da Rhymin Master who are not afraid to be themselves and have that thing called fun while making music. Throughout this album you can almost feel Lee’s passion for music down the back of your neck, especially when he says something to the effect of how happy he gets just to get some new equipment. Sure there’s money in this rap shit, but that’s the main reason that 89% of you rap dudes aint shit, you forgot about the passion for the music. Though it’s not the best CD to ever hit Louisville’s shelves you can tell throughout Young, Poor, Black, Artistic: The Album that Lee Da Rhymin Master is going somewhere with or without your support of real music.

It seems as though David Banner has managed the quickest rise in the rap game over the course of his five years of popularity. His latest album The Greatest Story Ever Told though nearly three years removed from his previous effort promises to be filled with even more socially and equality conscious messages than his past ones. After recently attacking those who most black people would look at as heroes, its no wonder why it can be easily stated that Banner definitely has his work cut out for him in this election year.

David Banner immediately starts with his usual outspoken antics as he chastises the bitch moves of the current generation on “So Long.”The legendary Pimp C makes another posthumous appearance on the southern twisted “Suicide Doors” and talks the type of shit we all still love him for.For a lack of better wording David Banner along with Lil Wayne, Snoop Dogg, and Akon get ass and shit nasty on the underground classic “9MM.” Banner shows he knows how to keep the asses shakin’ with the Chris Brown and Yung Joc assisted first single “Get Like Me.”

Banner comes with something for the strugglers on the socially conscious and sorrow filled “Hold On.” I sort of respect the attempt but “Cadillac On 22’s Part 2” aint got shit on the classic original version so I kind of wish he would have just left it off this and all future albums. On the soul filled “I Get By” Banner spits with fluid and pain filled hope over a classic feeling beat courtesy of Davel “Bo” McKenzie. David Banner comes with his usual and unflattering rants on the climaxing “B.A.N. (The Love Song).”

For some dumb ass reason the Banner beat breaks have tracks better than most of the album. It kind of makes me want to question why they weren’t used for the weak ass tracks that Chamillionaire and Jim Jones showed up on. Everything is well as Banner reconfirms what TI was talking about earlier on the closing “Faith” as well as offers some insight on some drastic changes that led up to his rise in the rap game.

Much like his past albums The Greatest Story Ever Told is full of good old down south wisdom, the only difference is the inconsistencies in some of the actual music. For some odd reason or another it seems as though David Banner isn’t as up on his beat game as he used to be. Hopefully for the sake of mankind he will get back on his shit and continue to preach to these bad ass 2000’s kids like they really need to be.

VERDICT – 13 / 20 
LYRICS: 3
PRODUCTION: 3
DELIVERY: 3
CONSISTENCY: 4 

Damn what can I say, this has been a rough weekend for hip hop and its sub genres. I woke up on Saturday morning after about three hours of sleep to find out that one of my favorite comedians had died. Then I’m on the phone this afternoon with my business partner and he’s asking me why I haven’t put anything up about Bernie Mac and he informs me that Issac Hayes had also died. It’s no doubt that we go through this yearly. At least a couple of times per year we all find ourselves thinking like damn I can’t believe that so and so died. To me it’s just a constant reality that any second could be our last.

I want everybody to know that I go hard at what I do, but sometimes I scare myself when I think about all of the lifetime that I spend working towards something bigger and then I realize that it can be all over as soon as I get the material shit that I’m really chasing. The bottom line is life isn’t about money, cars, and women like most of these rappers make you think it is. Life is about enjoying being alive, it’s about family, it’s about friends, it’s about those things that make you happy that don’t come with a price tag. Lately I’ve had a little bit of money to play with and invest but I must say that walking out of the store with some shit that you always wanted isn’t as sweet as it may seem. For the past decade I’ve wanted a new laptop and I’ve finally got one and to tell you the truth there’s other things that make me much happier that are free.

I’ve been privileged enough to get to work on my latest project, The Plug-N Magazine and I have to admit that the struggle of putting this thing together has made me happier than I’ve ever been. I just like to know that I have a pretty firm grip on reality and I’m still level headed enough to find ways to enjoy the simplest of shit in life. Right now I’m enjoying seeing all the people around me who are trying to get somewhere struggle through this shit. It’s those of us who struggle as such a young age to make sure our lives are set who will reap the benefits in the long run. The best feeling in the world to me comes when I accomplish shit. That easily brings me the most satisfaction so I can’t really blame myself for feeling sick when I sit around and play dick and Playstation all day like the rest of the world. RIP BERNIE MAC & ISSAC HAYES – HIP HOP MOURNS

It’s hard to believe that it’s 2008, there’s a partially black man running for President, and race tensions seem like they’re only getting worse. Last year when Nas announced his next CD would be titled Nigger he almost immediately caused a hailstorm of media contraversy. Under the pressure of media scrutiny Nas decided to change the name of the album to simply Untitled; I guess in an attempt to ease some of the backlash that would sure come as a result.

Nas opens up with some sick wordplay as he completely opens his mind with an array of conscious, educational, and supposed beef topics on "Queens Get The Money." Producer Salaam Remi laces Nas with a deep bass grooving Stylistics sample on the albums uplifting and heavily racially fueled first single "You Can’t Stop Us Now." "Breathe" definitely turns out to be a standout thanks to its deep connection to some of Nas’ earlier work but the Game and Chris Brown assisted "Make The World Go Round" comes off sounding much too forced.

Nas uses the rock-n-roll infused "Sly Fox" to air out one of the country’s most recognized and obviously deceiving television networks. In my country ass opinion the album hits it’s pinnacle when Nas collaborates with DJ Toomp on the realty check "N.I.G.G.E.R." Nas uses thought provoking metaphors as he and Busta Rhymes spit rhyme for rhyme about black America’s undying love and attraction to the high cholesterol within "Fried Chicken." On the closing "Black President" Nas flips the infamous vocal from 2Pac as he weighs in on the current position of Barack Obama and even goes as far as to have him inaugurated at the song’s end.

Nas manages to crisply speak out on every single racial sentiment he has ever seemed to have throughout Untitled. Honestly this is definitely what the rap game needs right about now. With an abundance of throwaway and meaningless albums coming out left and right it’s nice to know that there are artist like Nas who still take the time to speak provocatively about some of the tireless issues still facing Americans and the black Americans that still don’t seem to be comfortable calling themselves Americans.

VERDICT – 15 / 20
LYRICS: 5
PRODUCTION: 2
DELIVERY: 4
CONSISTENCY: 4

I must admit that before you read this review you should take into account that I feel like this album is the best rap album of the year, the most anticipated (by me) album of the year, and probably one of the dopest CDs I’ve heard within this weak ass decade. And by album of the year that does mean that I like it more than Tha Carter III and even the latest Keak Da Sneak shit. So basically what I’m telling you is that this review will be biased as fuck so if you don’t like it… you’re probably a soft pile of four foot shit.

Even though tracks like "Still Throwed" and "Who’s The Man" are nothing more than the typical Houston sound recreated for about the twelve millionth time it turns out to do be the best favor H-Town has been dealt lately. Trae and Ro spit as though there not worried about impressing anybody major or outside of their own circle. Producer Mr. Lee leads a keyboard and bass laden reworked version of New Edition’s "Can You Stand The Rain"

Z-Ro posses an un-teachable ability to make a song’s beat better with his meaningful and message filled lyrics; as is the case on the misguiding "I Wanna Get High." In most cases dropping a track on your CD that was a single from two years ago would be an infraction but that’s not the case with the selfish person anthem "No Help." That Nitti guy who did all that shit for Yung Joc laces one of his typical sounding beats but Trae and Ro sound like its about twenty-eight times harder than is actually is.

The two cousins offer up a delightful platter that will make anybody who’s doing good shit these days want to brush the haters off on the 2Pac inspired "Picture Me Rollin." The album’s highlight comes when Z-Ro and Trae take time to spit about the good life on the Pimp C lifted "Turnin Heads." "Still Gets No Love" in my opinion should have been titled "I Hate You Bitch Part II" featuring Trae The Truth. I’ll leave it at that, the next time your chick is working your last nerve, just play her this shit and she’ll sit back after she gets the message.

I know some people are going to look at the rating and think I’m out of my mind but you have to understand the soundtracks that Trae and Z-Ro have offered my adult years. The bottomline here is the fact the these two Texas MCs can demand anyone and everyone’s attention whenever they take the time to spit. With a never ending flow of realism and some of the funkiest concepts that the H-Town has ever seen it’s no wonder why this project has been certified by real grinders all across the nation like me.

After making an initial splash with the legendary duo Outkast earlier in the decade Killer Mike was been relatively quiet outside of the release of his debut Killer. With his 2006 smash double disk set I Pledge Allegiance To The Grind Mike silenced all his critics who thought that he wasn’t worthy anymore b launching over twenty five politically, street, and hustler potent tracks of gristle tough material. With only a bit f the buzz still remaining from that project Killer Mike finally returns with the follow up I Pledge Allegiance To The Grind II.

Killer Mike uses the intro to I Pledge Allegiance To The Grind II to serve enough energy to fuel any true street hustler, college entrepreneur, or striving musician’s deepest ambitions. Killer Mike’s choppy lyrical delivery on the opening "10 Gs" will definitely turn some newcomers off but tested listeners will know that this is far from Mike’s respectable work. On the sensational "Can You Hear Me" Mike lets off angst fueled call for recognition as he stands up for himself and the hood.

In a clashing of lyrical integrity Killer Mike invites Shawty Lo to rock beside him on the for the most part satisfying "2 Sides." Producer Tha Bizness laces a west coast beat as west coast legend Ice Cube shows up on the albums societal gem, "Pressure." It comes as a surprise that Mike put my dude Messy Marv on the Willie D sampled "Big Money, Big Cars." SL Jones shows and proves his staying power on the airy and inspiring "You See It."

After five of six so-so joints from Killer Mike he finally steps up to his own reputation on The Cancer & Kidz With Machine Gunz produced question raising "God In The Building." Southern major players 8Ball & MJG lend some of their rhyme wit on the stellar ode to pimp shit over the sleek tones of "Super Clean / Super Hard." In a somewhat crossover attempt Killer Mike doesn’t lose any luster on the sappy but freaky "Woke Up This Morning."

Though the hook neither the beat sound like shit on "Bang" Killer Mike still manages to come with some of the album’s most scathing lyrics. Louisville, KY bred producer Young Sears gives Killer Mike some heat as the GA MC helps those dumb ass guys distinguish the difference in importance of getting cash over ass on the hustler’s anthem "If I Can’t Eat Right." Killer Mike shows he’s never one to bite his tongue as he speaks on everything from Michael Vick to the crack ridden inner city streets of Atlanta, GA on "I Gotcha." Killer Mike closes out the album on some brash robbery shit as he tells a vivid story of dope, deceit, and death on "Good-Bye (City Of Dope)."

I Pledge Allegiance To The Grind II features some very noteworthy gems but to me it’s missing a little bit too much of something from somewhere or another. Unlike the first episode in the I Pledge Allegiance To The Grind series part II has an abundance of throwaway tracks. Maybe it’s just the fact that the original double disk set came as a complete surprise and each song just seemed to get better and better as you strolled through the collection. Don’t get me wrong, Killer Mike definitely raises some noteworthy questions as he makes his way through this set. Instead of making those questions as attractive as he did on the last one he just simply focused more on the bottom line of shit which definitely doesn’t do him any justice what-so-ever.

Devin The Dude on iLike - Get Sidebar

You can really tell that this is election year. It seems like everywhere I turn someone is challenging someone else, whether it’s physically, intellectually, or emotionally. I don’t know what’s going on in this crazy ass world. First off, you have Rick Ross who in the eyes of many rap fans in the country used to be the biggest coke dealer ever but in actuality he used to work as a corrections officer back in the day. This one erks me because the year is 2008 and we’re still stuck in a silly ass 1994 mentality as far as thinking it’s a good thing to be a criminal and a bad thing to uphold the law. I understand the man made two albums worth of lies, but lets be realistic, it’s just entertainment.

This is what’s wrong with these funky ass rappers today. Everything is just recycled shit that people heard back in the 90s when we were younger. Now that they’re older they have the audacity to rap bout it even though they never actually went through a tenth of the shit that I hear on all the latest rap records. What did Wayne say, "shopping cart full of fake hip hop artist." That’s what you faggots are, a bunch of fake, talent-less hip slop hoes.

The funny thing about these rappers of today is like I remember some local cats who I went to school with who were real soft hearted back in the day; couldn’t even strap up and go to war on the football field worth shit, lived in the suburbs, and now all of a sudden they’re strapped up, bustin K’s, and choppin up keys. Bitch get for real, nigga you grew up listening to UGK talk about that shit and liked the way it sounded so now you feel like because that bullshit you’re smoking on has got you so high that you really live that life.

I want everybody to know that I am not from the streets. I grew up in a very good environment because my momma busted her ass at a fuckin factory for twenty something years to provide for me and my brother. What the fuck do I look like getting behind somebody’s mic and disgracing my momma and all her hard work just because I want to sound like some shit I heard back when I was younger. Please take some time to read between the lines and try to understand what I’m saying. I understand that some of you may really be gutter and all that shit, but a majority of you are just hoes.

If you feel like I’m speaking to you then there’s a 99.9% chance that I am and you’re simply a hoe. If you feel the need to come at me for some shit that you think I’m saying to you then feel free to be bitch smacked in front of everybody who means anything in the Ville. Please believe I’m takin up some space at 230 pounds and I’m runnin business like Suge Knight over here. I’m just tired of hearing this Dipset sounding, Young Jeezy wanna-be bullshit coming out of my city. I’m not trying to disgrace nobody or nothing like that, I’m just saying do you; stop doing what you see on TV and in the movies. We already have enough Lil Waynes, Young Jeezys, and Clipses.

The bottom line to this shit is if you don’t start bringing some originality and creativity to the table you will be stuck in doing the same bullshit forever. Louisville, how about we focus on developing a sound for ourselves instead of simply biting what everybody else is doing. This is just an unfriendly letter from your big brother. It’s time to step up. 502 Stand Up… this is gonna be a issue for ya’ll!

Before the likes of Twista, Eminem, and even Bone Thugs-N-Harmony repped for the mid-west a spitter by the name of Tech N9ne ruled the middle of the map. With exactly twenty years in the game Tech has made a solid case for himself but he has yet to come close to cracking the mainstream code of conduct. With his eleventh album Killer Tech hopes to at least soundscan a million records independently. No stupid, not with just this record but with all of them combined.

The album’s opening point "Like Yeah" provides enough fire to pull the listener in for the long two hour ride of horror to come with ease thanks to Young Fyre’s clever misarranged backdrop. Young Fyre returns on the Shawna assisted sexcapade fiasco "Wheaties" with some stunning violin strums throughout the standout track. After the first two offerings the following two are more or less, for a lack of better words, bullshit. Both "Everybody Move" and the Paul Wall assisted "Get The Fuck Outta Here" seem to be filler material on an overly long album.

After a slew of sleep over joints Tech comes back to square one on the hip hop love / hate ballad "Crybaby" where he pokes fun at all the rappers who continue to contend that hip hop is dead. Ice Cube steals the valor from Krizz Kaliko, Tech N9ne, and Brother J from X-Clan on the activist inspired "Blackboy." Upon first hearing the Scarface assisted "Pillow Talkin" I said thank you; it’s about time somebody addressed these dumb ass niggas who tell their chicks everything about the dope game after they’ve pulled out of some ass. Stop loose lippin about shit bitch!

Producer Seven comes with one of the album’s grittiest beats with the convincingly deranged "Paint A Dark Picture." Tech N9ne opens the second disc of the collection with some sour sentiments for his so called friends on "I Love You But Fuck You." On the college game day band inspired "Drill Team" Tech invites some of his dudes to describe some past and future gang bang scenarios on your chick. On the Elmo produced "Why You Aint Call Me." Tech takes time to ask some industry insiders why they never reached out to him over his twenty year career.

On the not so romantic "Seven Words" Krizz Kaliko and Skatterman assist Tech N9ne in dedicating a sarcastic love jam to all the dome doctors in the world. Tech continues his question about life with the almost suicidal "Happy Ending" where he comes with a sometimes rapid flow over a slow grooving background.

Much like most other double disc albums Killer suffers immensely from an overpopulated track list. Too many joints make most of the album seem like a drag to sit through. Luckily for Tech N9ne he managed to infuse some witty songs as well as some crazy themes that work just enough to wake the bored listener up from time to time throughout the collection. At the very beginning of the collection Tech jokingly contemplates making Killer his last album. Luckily for his fans he seems to have a ot more still left in the tank.

Sometimes it seems like I’m the only person in the world who will admit that they were actually mesmerized by what No Limit Records did ten years ago. Then again maybe I’m the only person in the world who is actually replicating Master P’s genius cross promotional business model. Anyhow, though it may seem that all of the former soldiers are dormant these days C-Murder continues to stick his neck out every few years or so to drop an album and keep his name pretty hot in the streets. Since 2002 C has been in turmoil in regards to a bogus murder case he was hit with. Now in 2008 C-Murder finds himself trying to live out some of the career he was forced to miss with his latest effort Screamin 4 Vengeance.

Once you hit play you won’t be able to overlook the intro where C lifts Ice T’s comments about him from that Straight Out The Projects DVD from a few years ago. If you haven’t seen it I’d highly suggest you watch it about ten times as soon as possible. "I Represent" will take listeners back to the No Limit glory days mainly due to the lifted vocals from "No Limit soldiers" and the eerie beat provided by Deadly Soundz. The surprise of the year comes when Mia X makes her rap return on the average "Posted On The Block Remix;" the track isn’t all that great but Mia’s presence makes up for all that’s wrong.

Mia X makes another triumphant appearance on the gun toter’s love ballad "Mihita." Mia’s vocals are short but C spends the entire track vividly displaying his affection for his gat(s). C speaks on an array of things from TI to reppin for the streets on the nostalgic "Gangstafied Lyrics" where he spits exactly what the track’s title suggests. "Streets Keep Callin Me" is a deep rooted horn heavy New Orleans flavored sampling of near excellence.

On "Cutboyz Anthem" C again takes things back to the No Limit glory days as he and his new crew rep for themselves over a baritone heavy production effort. On the robbery anthem "Freeze (Ice Man)" C and Max Minelli make everybody stand still and drop all their shit on the ground as they shake the entire crowd down over another classic sounding beat. With help from Slim Thug and C-Loc "Down South" should turn out to be an instant down south classic in due time. C shows how far he’s managed to move past his ex-murder conviction as he spits bloody bars on the sinister "Murdaman Dance."

Contrary to his 2005 release The Truest Shit I Ever Said C-Murder explores more dark allies and dope deals on his latest effort Screamin 4 Vengeance. With his murder case all but behind him nowadays it seems as though the rapper who changed his name to C-Miller is definitely more comfortable spitting from the shoes of C-Murder. Of course Screamin 4 Vengeance is not free of mishaps, however it still manages to instill some sense of belonging for those like myself who used to pump No Limit music religiously.

In the near five years that it’s been since G-Unit dropped their debut effort Beg For Mercy the Southside Jamaica Queens crew has undergone more roster changes than the Washington Redskins. Basically the crew has seen their stock peak and drop irrepressibly over the last few years. This year’s Terminate On Sight effort is sort of like a passage to righteousness due to the fact that basically after this one G-Unit will either be heralded as legit or they will be labeled flops. From the looks of things that have come on the heels of their latest albums, things are not at all looking good for the once thriving Interscope click.

If the G-Unit still had some of the luster they had when they first came out then I’m sure that the opening "Straight Outta Southside" would be way more significant. Producer Tha Bizness laces the Unit with some throwback sounding material on the Young Buck assisted loyal fan favorite "Piano Man." "Close To Me" sounds like your typical G-Unit love song but in the end the three amigos spit about runnin trains and basically just doggin other dudes chicks… always a sour scenario. I don’t know about anyone else but 50 Cent sounds gay as fuck on the opening of "Rider Part 2." I’m really not understanding why the fuck everybody feels the need to bite Lil Wayne on every fuckin song these days.

The Unit come with some eerie and somewhat violent efforts on "Casualties Of War" and "You So Tough." The album’s highlight comes when 50, Banks, and Yayo are in older form on the perfectly laid out "No Days Off." As the album wears on one can’t help but to notice the abundance of filler tracks that end up making up the most part of the collection. Even producers like Swizz Beatz and Don Cannon can’t do anything to doctor up the soundscapes on the lackluster album with their contributions on "Get Down" and "Let It Go" respectively. Luckily for the Unit the album’s last two offerings are actually a bit above average. Both "Ready Or Not" and "Money Makes The World Go Round" find Lloyd Banks and Tony Yayo spitting alongside each other without assistance from general 50.

Throughout Terminate On Sight the Gorilla Unit show some signs of still living in their own skin but in the end its just not enough to warrant the same respect the once achieved so easily. 50 Cent, Lloyd Banks, and Tony Yayo just don’t live up to their lofty expectations anymore these days and if Terminate On Sight is a glimpse of some of their new solo efforts to come then the G-Unit is all but already terminated.

Lately all the news surrounding the Diplomats has revolved around their assumed and basically official break up. Though heads Jim Jones and Cam’Ron haven’t officially broken the news to the public the fact that Cam hasn’t dropped anything since 200 and Jim Jones’ constant pursuits of other business ventures makes it obvious that Dipset isn’t quite the same anymore. On top of being Warner Brother’s A&R Jim Jones has obviously been hard at work building his new label, Byrdgang Records along with hitting the studio himself. The crew’s debut album, M.O.B. (Members Of Byrdgang) The Album shall be a testament to Jim Jones ever burning hustler’s spirit.

Jim Jones opens up the collective with a reworked and well seasoned version of last year’s mixtape favorite "I’m The Man." Whispers of an all out Dipset break up can be eased but not put completely to rest as Juelz Santana guests on the west coast inspired "Mobbin." Jones sends a deep street rooted message to all the young BGs on the laid back funky ass "Only 17." The late Stack Bundles shows up alongside Jim Jones, Sen, and Mel Matrix on the volatile and explanative "Blasphemy."

For some crazy ass reason both "Money Right" and "Throwin BGs" sound like some shit Justin Timberlake would be singing about some faggot shit all over. All in all the tracks are digestible for just one, maybe two listens at most. For me personally, the album’s highlight comes on the sultry "She So Gangsta" due to the fact the track has an underlying relation to the relationship that my chick and I share. She doesn’t help me bag up dope or none of that shit but she does help me keep my foot in y’alls asses!

You can hear vast similarities between Noe and Jay-Z throughout the collection but on the Jim Jones assisted "Hustle" the similarities definitely cross the fine line of biting. On first sight you’ll probably be confused into thinking that "Oopsy Daisy" is a garbage track but contrary to its candy ass title the end product is actually very enjoyable. Hell Rell proves that some of Dipset may still be intact as he shows up on one of the collection’s standout in "Heartbeat."

Much like most other products from Jim Jones over the past few years M.O.B. The Album is another quality piece of work. With more than enough testaments to gritty New York life Jones and crew deliver a consistent album full of something for just about everything without compromising the hood aspect. The only draw back to the collection is Noe’s constant sounding like Jay-Z. It doesn’t necessarily sound bad, its just annoying as shit to know that what sounds like Jigga is in reality someone else. With that aside everything else is a go; looks like Jim Jones deserves that coveted A&R position after all.