Anyone who’s been through a serious loss knows about the baffling part: After it’s over, you are still you. You are you, plus the loss, plus the pain and confusion the loss causes. The process of healing isn’t really a matter of “getting over it” — taking it in is what’s necessary, incorporating what’s been felt and learned and figuring out how to be the person you’ve always been is what’s different now.

“The Sea,” Corinne Bailey Rae’s sometimes hard to absorb but ultimately deeply rewarding second album, is about that process. Rae’s husband, saxophonist Jason Rae, accidentally overdosed on methadone and alcohol in March 2008. Rae grieved for him by doing nothing for months, then returned to making music.

Though she’s known for the kind of delicacy that’s often dismissed as “lite” — her 2006 self-titled debut was a careful exploration of the feminine psyche set within arrangements that melded Laurel Canyon folk with early-1970s boho soul — Rae searches for the pinpricks and love sighs that intensify gentle emotions. On “The Sea,” her carefulness complicates what might have been a blunt expression of pain.

The album begins with one of Rae’s patented carefully plucked guitar chords and the line, “He’s a real live wire.” What a way to invoke a ghost. That first song, “Are You Here,” captures the way that a dreaming mind can create its own happiness and how returning to reality is a landing with a thud. It’s one of several songs that move in a circular fashion, like waves, like irresolvable emotion.

Several songs, including “Love’s on Its Way” and “Diving for Hearts,” unfold less neatly. They resist hooks and no one will dance to them. Tapping into elements of soul, jazz and even heavy rock, Rae stubbornly shapes these songs to conform to her wandering, insistent thoughts. They don’t sound like what we’re used to in pop right now; they’re more like the mid-period work of Van Morrison and Nona Hendryx’s songs for Labelle. Those artists formed their musical approaches within the soul idiom but demanded the freedom of voice and the chance to stretch in strange ways that rarely makes for hit singles.

Although Rae is famous for the more marketable charm of bouncy singles like the Grammy-nominated “Put Your Records On,” she told interviewers that she hoped her next work would be more akin to the avant-pop of critical darling Joanna Newsom. It’s cruel to say that her personal calamity might have bought her the chance to take that risk, but it does seem possible.

“The Sea” isn’t a perfect album. The catchiest song, “Paris Nights / New York Mornings,” sounds like an outtake from Rae’s debut. “Paper Dolls” seems similarly out of place — it’s a rocker invoking Rae’s post-punk youth that distracts from the thornier, more expansive songs around it.

Repeated listens might help integrate those sonic sore thumbs into the overall mood of “The Sea.” Even without such closure, though, “The Sea” is a remarkable accomplishment. It’s a step toward something — Rae’s inner peace, and her next artistic breakthrough — that has its own considerable rewards.

–Ann Powers for the Los Angeles Times

Corinne Bailey Rae
“The Sea”
Capitol
Four stars (Out of four)

1. “Feels Like the First Time”

2. “I’d Do It All Again”

The best way to listen to Maxwell’s new “BLACKsummers’ Night” is with the volume turned all the way up. The R&B artist didn’t take a turn toward heavy metal during the eight years he’s spent between releasing albums; this one, like his previous three, is full of meditative jams written on the continuum between ardor and heartache. But as genteel and deceptively traditionalist as is Maxwell’s veneer, he’s always been bent on taking urban music forward: he just takes obsessively careful, small steps, best appreciated through close attention.

And he believes, passionately, in dynamics. Many of the songs on “BLACKsummers’ Night,” the first part of a trilogy Maxwell plans to unfold over the next few years, are structured around a short musical phrase, played on a keyboard or guitar, on which everything else loops and builds. (Doesn’t that sound like Radiohead’s approach? That’s an inspiration Maxwell has cited in interviews.)

These details are different than the hooks usually heard on the radio. They don’t grab; they’re not compressed for maximum brightness. Sometimes one recedes and another momentarily dominates — a horn line might burst through, or a kick drum completes the thought of a bassline.

Maxwell’s vocals move in conversation with these elements, growing into the space above and around them. He sings about relationships — many songs here are about a cherished but disappointing love affair — and the music replicates the experience of an intimate connection, its ebbs and surges, its sometimes frustrating turns.

Compare this sound to the showiness of other current urban hitmakers, like Jeremiah or even the more laid back Trey Songz. Those singers telegraph their moods, whether they’re getting down or opening their hearts. Their music is meant to be catchy and quickly absorbed. Nothing wrong with that, it’s just not Maxwell’s approach. Even when he’s not too proud to beg, he stays true to his own internal clock, timing his pleas as they might unfold in real time instead of on the stage of pop seduction.

This doesn’t mean Maxwell isn’t a great seducer. He’s known as a ladies’ favorite and purveyor of “baby-making” soundtracks, and many songs here, whether the directly seductive “Stop the World” or the mournful but still sexy “Pretty Wings,” drip plenty of candle wax.

But let’s give Maxwell’s female fans a little credit for intelligence. His music is libidinally compelling because it is complex. Following the example of his acknowledged influence Al Green, Maxwell’s singing teases out the subtle gradations of feeling in a lyric — even a dubiously “poetic” one like, “Hell hath no fury like the flurry of your snow” — to express how sexual joy intertwines with loneliness, or anger at a love lost collides with guilt and self-loathing.

“BLACKsummers’ Night” spends much time exploring those less comfortable emotions. For all the talk that Maxwell’s covered in thrown panties wherever he walks, he often sounds somber, resentful and wrecked. Pop doesn’t get much more desolate than “Playing Possum,” an elegy for a sweetheart who’s literally departed. And “Fistful of Tears” is a plea for mutual catharsis that’s so raw it almost fails to communicate.

Maxwell promises more hopeful fare on his next installment, and overall “BLACKsummers’ Night” does seem like the first movement in a larger piece that won’t offer total satisfaction until it’s completed. Still, for those who like their pop delicate and unapologetically deep, this is one for turning up loud and wallowing.

Review by Ann Powers for the Los Angeles Times

1. “Help Somebody”

The Irish diva is soon to go global via her debut album on Atlantic. This album from the young Dubliner was set to be released on Jive Records three years ago, but got shelved. Then, another label, Atlantic, took their time in deciding just when it should see be released. “Let The Truth Be Told” reveals not only that capacious voice, but also a confident commercial songwriter - its collection of wholesome pop being penned entirely by Laura herself.

From soulful ballads through orchestral anthems (all pizzicato strings and sisterhood sincerity) to a clipped and sassy R&B swagger, her take on classic femme soul may not be rocking any boats, but earworms such as “Don’t Stay” and new single “Shine” exude enough crossover familiarity to become retail and ringtone fixtures.

The CD is a glossy-sounding album of funky soul-pop tunes with Izibor’s unique stamp all over them. Her smoky voice rides over the album’s strong melodies and establishes her as one of the current vocalists in today’s soul scene. “…It’s so glossy, however, that there’s no rough-’round-the-edges charm, or distinctive quality about it.” - Lauren Murphy

The first track “Shine” kicks the album off to a slightly energetic start, with a very catchy chorus, but then “Dont Stay”, the second song, takes the tempo down a notch or two, while maintaining a swaying rhythm. In fact she showcases her versatility by switching the tempo throughout the album. “If Tonight Is My Last” is a gorgeous, emotive mid-tempo track whilst “The Worst Is Over” is the album’s big piano ballad, and most beautiful moment.

The dreamy “Yes (I’ll Be Your Baby)” adds some finger-clicking sass into the mix and has an edgier street sound and you can imagine this ripping up the charts In US, while the likeable “From My Heart to Yours” borrows from the songbook of Lauryn Hill and dramatic piano ballad “Perfect World” from that one of Alicia Keys. Best, though, is the full-blown gospel soul of “Mmm”, which is authentically beautiful. Expressive and powerful, the Rathfarnham singer is blessed with vocals to elevate even the most banal song.

Not that her voice needs to compensate for weak compositions here : the bulk of these 10 soul songs, mainly written by Izibor, are very well crafted. “Let The Truth Be Told” is a promising debut album by anyone’s standards and hopefully it points to a long and fruitful career. She has an incredible voice, a knack for a melody and an album full of potential hits.

Realistically, it’s a very well crafted, inoffensive album which will not break any ground.
There’s nothing particularly innovative, but good music nonetheless. Enjoy this album for the bright songs that will make you smile. Just don’t expect too much from it. It won’t change your world, it won’t make you think deeply about life…But certainly it will ensure a great career ahead of her.

Review by ST “Easy Listener” (New York City)

1. “Yes I’ll be Your Baby”

2. “I don’t Want You Back”

Blu certainly is valedictorian of the 2007 class. This Los Angeles emcee can’t slow down, and releasing project after project, he excelled quickly from rap fan to gracing XXL covers, and collaborating with a crop of peers that just want to share his spotlight. After the magic of Below The Heavens was followed with the mixed results on C.R.A.C.’s The Piece Talks, Blu raises the bar again, largely with the help of low profile producer Mainframe. The duo links for a heap of life lessons, concept characters and some of the best production to come out of underground Los Angeles since Cut Chemist and Madlib.

Initially premiering with singles on two late 2006 compilations, Johnson & Jonson is said to have sat around for over a year until increased interest allowed for release. The case or not, some of the album’s offerings show a greater depth and level of uncertainty to the promising emcee. “The Only Way” chronicles a hopeful view from the bottom, as Blu talks family loss, financial struggles and a difficult Hip Hop industry. “A Perfect Picture” is a weed-induced moment of Blu bragging about his pimp-hand, while Mainframe fiddles with bugged out beat, influenced by classic MF DOOM production. By far, the album’s highlight is its bonus track, “Hold On John.” Pulling vocals from… shall-we-say the most famous John to ever touch a microphone, Blu presents his equivalent of Talib Kweli’s “Get By.” The song finds the emcee drinking, smoking and doubting the world around him, with some encouragement from the ‘60s musical genius, and a glimmer, as we’re watching Blu grow monthly, that this too, shall pass.

Just as 2007 asked, “who the hell is Blu?” this year, the question might be appropriate of his producer. “Get The Name Right” stands beside Ghostface’s classic “Mighty Healthy” for its cluttered arrangement of samples that feels too good and too chunky to be made after 1990. Album opener “Finally” though, proves that Mainframe doesn’t need comparisons. Rather than create a dope loop and let it roll out, the dynamic shifts in each song challenge Blu’s rhyming, alter his deliveries and make this project feel like it took years to make. Outstanding sampling from Soul, Folk and Rock genres, along with Blu’s ability to use timeless subject matter in his rhymes make this album feel very ‘70s-inspired, and the Los Angeles sunshine travels through the disc. Just as Noodles did on Freeway’s “I Cry,” or Dilla with “Hit Me With A Strap,” Mainframe lets the vocal samples interplay with Blu on “Mama Always Told Me” and “Hold On John,” a signature move that he executes as well as any producer has in the craft, and hopefully a will-be trademark.

Releasing material as fast as Blu has, the only way he can keep his audience interested after launch is through creative and unique projects. Certainly, Blu has. Like Talib and Hi Tek, Vast Aire and Vordul Mega, Hip Hop collaborators make projects and let fans decide whether the chemistry endures. Johnson & Jonson is a bloodshot, bedroom-made Hip Hop album that’s smooth as the powders and oils it swipes its name from.

J and J

Everything’s wacky in Chicago hip-hop these days: Kanye West is all mopey and contemplative, while Common has just landed on Planet Rock. “This is that new shit/It don’t feel the same,” goes the hook to the title track of the rapper/actor’s latest, which, in its employment of the entire soundtrack from the Atari 2600 edition of “Super Breakout,” sets the tone for a synthetic, sexified club record that’ll bring in new fans while probably alarming old ones. As was the case with John Legend, who beamed into the club on his latest, the initial effect is jarring, even in its star’s capable hands. But it also settles in nicely. “Announcement” benefits from a slinky beat that lets the MC breathe, “Make My Day” issues some California love courtesy of Cee-Lo, “Gladiator” is a great old-school brag rhyme, and the pro-Obama preacher “Changes” lets the old Common back in the door. Common’s been around long enough to earn this kind of detour (even if he already took one with the trippy “Electric Circus”), and it must be frustrating having all the acclaim in the world but not all the sales. All of which makes “Universal” an interesting spin, even if it requires adjusting for those who used to love him.

Review by Jeff Vrabel for Billboard

Q-Tip’s solo career reads like a bad joke. As A Tribe Called Quest’s frontman, he led the alternative hip hop movement and helped establish hip hop as a literate and creative art form during the 90s. After the Native Tongues moved on and ATCQ disbanded, Tip released his solo debut Amplified in 1999 and looked forward to a career of production and performing as his abstract genius and legend would warrant. And after ten years, at least three inexplicably shelved LPs (most notably “Kamaal the Abstract,” which got as far as promo pressings), and countless record labels, Tip’s long awaited follow-up “The Renaissance” arrived almost silently. Release delays date back years, and since rumors of “The Renaissance” have floated for so long, the quick and quiet release seems odd, especially given his huge fanbase and genre-defying appeal.

At 43 minutes and twelve tracks, it’s a concise and focused listen and is immediately enjoyable. While it emits a spirit somewhat comparable to a Tribe recording and shows a hint of the smooth Soulquarians vibe of the late-90s, I’d say it’s most similar to Amplified. However, Amplified’s most frequent criticism is that it is too forced and pop-oriented, and “The Renaissance” does not have that problem. The music is comparably playful, upbeat, and bouncy, but is less poppy and more mature and soulful than its predecessor. The production, mostly piano-based, is layered with a range of artistic instrumentation that sounds classy despite its fun and appealing nature. It’s a very clean and consistent sound, and transitions are so fluid that the first half seems like variations upon a single idea.

Tip still has the charm and wit of the wily teen from People’s Instinctive Travels and the Paths of Rhythm, but his focus has shifted with time and maturity. He’s happier to drop a clever one-liner or a latently insightful verse than elaborate upon social ills as he did in the 90s. He doesn’t often display the style that led to his “abstract rapper” tag; instead his lyrics concern different manners of love, music, and levels of inspiration. The hooks are strong and his approach is well-rounded, seemingly intent upon the combined quality of the music and rap. No guest MCs appear, but vocal contributors include Raphael Saadiq, D’Angelo, Norah Jones, and Amanda Diva.

The disc opens to the pleasant, bouncy guitar strums of “Johnny Is Dead,” which give way to an appealing arrangement with rumbling bass and piano chords and a strong performance from Tip. The breezy “Gettin’ Up” and “Official” are similar in approach, structure, and sound to the opener and achieve the same appeal as well. “We Fight/Love” is an excellent collaboration with a particularly airy Raphael Saadiq, who complements Tip nicely over a great arrangement. Another highlight is the hidden title track after “Move,” which has a hypnotic beat and the album’s most insightful lyrics. “Dance on Glass” picks up when the rich beat finally kicks in about a minute through, and the Norah Jones duet “Life Is Better” is smooth, inspired excellence. “Won’t Trade” is clever, and “You” is a decent love song that sounds good but moves too slowly. However, “Believe” with D’Angelo is wonderful musically and lyrically, and the closer “Shaka” is the track that most resembles a classic Tribe cut.

“The Renaissance” is not the revolutionary opus that some might expect from Tip after such a long layover, but as Dr. Dre should soon learn, hype builds around years of delays. The music is totally enjoyable and well-produced even if not totally uncharted (granted, some of these tracks are years old), and the LP reminds me why I had so eagerly anticipated Q-Tip’s return a few years ago. This album is a great listen and should not disappoint.

Review by ctrx for Amazon.com

Despite the Western world’s increasing cultural diversity, there are still many who have geography-class preconceptions about the shape, size and color of the package in which they’ll find an indigenous treat. Multilingual singer/songwriter Yael Naim confounds preconceptions like these on the self-titled release she created in her apartment with co-producer David Donatien. Recording the songs at home wasn’t merely economical, it allowed for complete creative freedom. The fruits of that freedom are audible in the duo’s original blend of European, American and Middle Eastern musical elements.

Naim’s breakthrough came when her English-language song “New Soul” was used in an Apple laptop commercial, fittingly sparking an avalanche of digital downloads. But the bulk of her album is darker and sung in Hebrew, which the singer learned while growing up in Israel. Ironically, it was her return to France—her country of birth—that provided the gestation for her personal artistic voice. Naim’s decision to write and sing her composition “Paris” mostly in Hebrew was a move of intuition, she says—a key factor in her creative process. Because Naim’s primary musical influences were classic American pop and soul, she had been writing exclusively in English. But a growing need to reconnect with her Israeli roots and resolve her ambivalence about living in France led her to write in her oldest and most personal tongue. Naim claims that composing with Hebrew words accesses her simplest and most emotional work—songs like the wistful “Lachlom.”

Commonly, Hebrew music is linked to Judaism. Naim’s globe-spanning pop bears no such connection, though the sense of homelessness embodied in certain songs does parallel the longing behind traditional and mournful Jewish songs. In Naim’s music, though, spirituality is only subtly implied. When translated, Naim’s impressionistic lyrics sometimes find her floating in dreamlike states or meditating in the stillness of dawn. Her now-internationally famous track, “New Soul,” emerged when Naim dismissed her formerly held belief in reincarnation. On the humble but affirming song, she sings of the fumbling attempts to live well that convinced her she must be starting from scratch after all. (I’m a new soul/ I came to this strange world/ Hoping I could learn a bit about how to give and take/ But since I came here/ Felt the joy and the fear/ Finding myself making every possible mistake.”)

“Far Far” is a seemingly autobiographical cut that describes a girl awakening to artistic gifts she believes are an answer to prayer. Then, turning philosophical, she describes the introspective process by which art is created: by embracing one’s contradictions in tandem with one’s abilities. (“From time to time there are colors and shapes/ Dazzling her eyes and tickling her hands/ They invent her a new world with oil sky and aquarel rivers/ But don’t you run away already/ Please don’t go/ How can you stay outside?/ There’s a beautiful mess inside…”)

In the CD’s booklet, there’s a picture of Naim sitting on a pillow, intensely engaged with a toy keyboard. This is a perfect representation of the music, which combines the artistry of a mature musician with the playful and unselfconscious spirit of a precocious child. Her effortlessly culture-blurring sound suggests that it truly is a small world after all.

Review By Steve Morley for www.umc.org

1. “New Soul”

2. “Pachad”

3. “Toxic”

From the first track to last Jason Mraz dazzles, perplexes and scintillates on his high-octane 3rd full-length studio album “We Sing, We Dance, We Steal Things.” His witty, highly individual lyrical style and organic, powerful backing band transform these songs into four minute detours into the mind of the most underrated singer/songwriter of the 2000s.

Lead single “I’m Yours” finally lands on its feet after many years in Mraz’s setlists with its mellow, Hawaiian grooves, complete with visions of obligatory surfers and pineapple drinks in the background. It’s just a slice of what “We Sing…” has to offer, however. “Lucky” is a sparse, melodic duet with Colbie Callait that transitions aptly out of “I’m Yours,” while “Make It Mine” and “Live High” are classic Mraz with feel-good, enrapturing melodies designed to sweep listeners clean off their feet. “Make It Mine” is particularly upbeat, full of hand-claps and lush, horn-laden instrumentation. It should be a single, and if it becomes one it should give Mraz his first major hit since 2003’s “The Remedy” if radio programmers have even a neuron left in their heads.

The subject matter is diverse on “We Sing…” but Mraz never suffers from mood swings. “Love For a Child,” by far one of the most touching compositions of his career, touches on the effect of divorce on a young child (”When the house was left in shambles/Well, who was there to handle all the broken bits of glass?”) while “Only Human” promotes environmental awareness without playing the blame game. “Details In the Fabric” featuring James Morrison is a moody, meditative look at life, love and relationships, while “Coyotes” takes Mraz’s sonic pallete in new directions with layered vocals, percolating snyths and an awesome background chorus. His operatic vocals from “Mr. Curiosity” from his last LP make an appearance here.

Other tracks continue the unparalleled quality. “Butterfly” is an awesomely-produced ode to sexual chemistry (”You make my slacks a little tight/You may unfasten them if you like/That’s if you crash and spend the night”) with effervescent instrumentation and a mercurial, vigorous melody. “If It Kills Me” finds Mraz pining through cheeky, self-deprecating lyrics about the lady who’s got everything except the insight to see he’s her best match (”We get along much better than you and your boyfriend”) while “A Beautiful Mess” bookends the sentiments of “Details In the Fabric” with a more optimistic outlook.

The album’s arguable highlight, however, is the curiously-titled “The Dynamo of Volition.” Replete from wall-to-wall with Mraz’s entrancing singing/rapping style, the song is like “O. Lover” or “Forecast” from 2005’s “Mr. A-Z” is that it perfectly captures Mraz’s unrivaled melodic weightiness. The lyrics spew left and right in haphazard fashion, but whether or not they are all understood makes no difference. “…Volition” is an exemplary Mraz tune, with a melody powerful enough to hang over the listener, the kind of melody that paints a picture like a scene from an indie movie, that haunts in such a way that it is instantly classic and unforgettable. It says more than any words ever could.

Mraz has that rare kind of talent that puts him in the category of legendary musicians, those musicians with such blazing, inherent talent that it is simply cannot be learned or created. Elton John, Billy Joel, Stevie Wonder come to mind as those types of dynamic musicians that were born with such astounding abilities, and Mraz has what it takes to join their ranks if only more listeners would wizen up and find out what some of us have been lucky to know for over five years.

Review By Rudy Palma “The Writing Fiend”

1. “Make It Mine”

2. “Live High”

“I had a very strong vision in mind for the album,” the artist says of this - her own description. “For me it’s about bringing everything that makes up village life in Africa into an urban setting in a way that’s easy for everyone to relate to.”

In pursuit of this vision, Zamajobe again teamed up with musician, songwriter and producer, Erik Paliani, who helmed her 2006 debut ‘Nadwo Yami’. With the help of some enormously talented players, the two have crafted an album that sees Zamajobe reflect the cool spirit of the world’s most gifted modern soul singers, delivered through a filter that only a thoroughly conscious 21st century Zulu woman can bring.

The 11-track offering conjures up a mythical place that reflects the multiple meanings in its title. “Ndoni Yamanzi means a black stone or it could mean a beautiful black woman,” Zamajobe explains. But, intriguingly, it can also signal purity, authenticity, organicness and more.

“I believe that I’ve made an album that defies constraints,” Zamajobe says. “Young or old, if you live in the village or the town, you can connect with what I am saying and with the groove-based music that supports the lyrics.”

She’s not wrong: Flitting across the album is a beauty that requires no special skills or background to find its footing in the heart of listeners.

Sure there’s plenty of the kind of cool jazz that Zamajobe’s fans have come to expect from her on the album - particularly on songs like ‘Nokuthula’ which features Neil Engel on trumpet and Sam Mataure on drums on one of Ndoni Yamanzi’s most elegant and sparse songs. Jazz styling’s are also evident on ‘Come To Me’ and many of the other tracks on the album.

But taking centrestage are Zamajobe’s beguiling and bewitching vocals that are often supported by little more than Paliani’s guitar playing, as well as a rhythm section that never intrudes.

Take a listen to the supremely sophisticated ‘Fly’ to hear this near perfect music mix in action. Or press play on the album’s title track to be immersed in the transporting sound that Zamajobe and Paliani have so effortlessly crafted on Ndoni Yamanzi. The latter is a slow-build gift of a song that glides into the hearts and minds of listeners in the most enthralling way.

Ndoni Yamanzi also contains Zamajobe’s first song in Chichewa, ‘Mwezi S’unama’. Says Zamajobe, “Erik joked with me after we recorded it saying that if the song was played in Malawi, I would be given land for free, so beautiful did it turn out!”

For Zamajobe, her second album is the one that takes her closer to her true music identity.

“I feel like I am really finding my creative feet on this one. The first album happened in a fairly spontaneous way but with this one I wanted to take a step back and give some real thought to where I am going with my music. I knew I wanted it to be groove based and I knew that I wanted to conjure up a place where both the village and the town can exist together – and I think we’ve done that.”

Maria Kounelakis - Sony BMG

Click Here to sample the music from Ndoni Yamanzi

Naledge jumps off ‘The In Crowd’ strong in “Black Out,” switching up the flow pace skillfully. Still, with recycled lines like “nice round mics like I was Scott Pippen,” it’s hard to give him props. Naledge’s best work comes on “The Pledge” alongside what emerge as the album’s best two verses by Duck Down stars Buckshot and Sean Price; it’s difficult for the young rapper Naledge to rise to the “top of the pops” when “Jesus Price” riddles off random illness like “I smoke a nick of weed, sold a nick of crack/ now I watch the Knicks listening to Nickelback/ I don’t like football, what’s a nickel back?/ take this bottle to the store, get a nickel back.”

The only tracks on which Naledge doesn’t get out-rapped fall flat due to sub-par guest spots i.e. the boring “Snob Hop” w/Camp Lo and uninspired “Middle Of The Map” parts 1 and 2 w/Fooch, Black Milk and Guilty Simpson. Naledge, though satisfactory in the verses of these songs, just doesn’t bring enough vigor in the choruses. Outside of Double O’s prominent horns, keys and nicely chopped drums, the influence of fellow Chi-Town emcees Lupe Fiasco and Kanye West shine on ‘The In Crowd’ more than Naledge’s skills. Even the reflective tones of “Inner Me,” boosted by Double O’s budding production skills, barrows it’s title from an old Lupe line. Other more blatant thefts include a Tupac/jeans lyric Lupe spits on “Pressure” (‘…Food & Liquor,’ 2006). And mentions of flying from Paris to Tokyo (“Paper Trail”) are just too close to the original cool nerd’s hit single for comfort.

“Driven Down The Block (Remix),” featuring Cool Kids, Bun B and Pusher T, is no extravagant improvement on the original single. However, the title track, “The In Crowd,” has the KIH stamp; this high energy joint has an 80’s glam feel with it’s fast pace percussion and subtle keyboard pattern. Kidz In The Hall selects a choice group of emcees for its’ sophomore LP and Duck Down debut ‘The In Crowd.’ Phonte of Little Brother delivers a tight verse in the smooth sounding “Paper Trail;” Skyzoo articulates passion for the atypical ladies over producer Double O’s soulful standout “Let Your Hair Down.” But it’s evident that KIH’s emcee Naledge has work to do before the duo can stand among the new school’s best.

Review by Mike Ivey Jr. for www.nobodysmiling.com

The proliferation of the internet and Web 2.0 must have had a profound effect on J*Davey, in a good and a bad way. On the one hand, the Los Angeles duo’s name and brand of new wave and electronic funk/soul/pop has gained a significant online following due to the myriad messageboards, blogs, and social networking sites that litter cyberspace. Because of this exposure the group has become a veritable e-household name. On the other hand, this phenomenon has paved the way for a massive amount of bootlegging that has to have astonished the group. There probably isn’t a computer/music nerd that has not sent a J*Davey mp3 through AOL instant messenger a t some point since the group burst onto the scene a couple of years ago.

Nevertheless, songstress Jack Davey and producer Brooke D’Leau have managed to rise above the e-hype to deliver a final product for mass consumption in the form of the double EP (??) The Beauty in Distortion/Land of The Lost. These two EPs represent most of the duos work that has been floating around cyberspace that most myspace fans have heard ad nauseam. For the uninitiated, however, this debut project is nothing short of a pop music renaissance.

Miles Davis, Prince, The Police, Talking Heads, DJ Quik, Bone Thugs N’ Harmony, and The Mahavishnu Orchestra. The only thing that this seemingly random list of artists have in common is the sound that J*Davey manages to concoct from their disparate genius and musical textures. The first EP, The Beauty in Distortion, showcases the duo’s uncanny ability to mesh electronic funk, Soul, R&B, and sparse experimentalism to arrive at a synthetic stew of sound. The prototype of this sound is the group’s lead single “Mr. Mister”. Here, Brook D’Leau is able to mangle the synthesizers and keyboards like a Weather Report alumnus while Jack Davey’s (often) erotic vocals and lyrics melt into the mix as another instrument altogether.

At times the direction the group is trying to take its songs can be a bit unclear as some tracks just seem to float off into the ether. “Cowboys and Indians” is a loose and spacey jam that employs a Funkadelic like vibe with a Sir Nose-type voice throwing is streams of randomness. This type of jammy natured songwriting Is a bit less authoritative as the songs don’t really seem to go anywhere or have a stated goal or purpose, but that of course is the king of all nitpicks. It’s probably better to call these extended jams like this and other euphoric exercises like “Everybody Touch It” what they are…sonic crack, sans base.

You might have heard the second EP, The Land of The Lost, as it was released as a free download mixtape from The Fader magazine in 2007. Most of the tracks from that release reemerge here, unmixed of course, but in a slightly different sequence. Many of the standouts remain. Jack Davey is able to display her serviceable emcee chops on “sLAyers” and the group’s standard “Slooow” closes the disc. We are also blessed with a 2006 live version of another standard “No More” and charming number to consider for the bootlegger that has it all.

Despite most of this effort being a grand revisit of the group’s hijacked material it is important to note that this properly released version is mastered-up and has not gone through various overdubs like a 1995 Doo Wop mixtape. By combining and spring boarding from several music genres, the group is leading the charge in a popular music revolution. Their mixture of pop sensibilities and a unique approach to songwriting and instrumentation make them the new standard in music today. To classify them is nothing short of a futile exercise as the group’s efforts are the next evolution in bridge music. This stuff is out there…way out there. And even if you think you got it, you might as well get it again.

Review by Travis Larrier (courtesy of www.thisisrealmusic.com)

“Formula” has become a buzz word for “underground backpackers;” it denotes cookie-cutter ideas, pushed by the mainstream, designed to hook listeners - the same old new stuff. Buckshot and super-producer 9th Wonders’ second joint album, ‘The Formula,’ is anything but recycled blueprints. It shines on an often dark hip hop landscape.

We learn early that it’s a “Brand New Day;” Bucks’ “label is signing” and he vents “nothing less than the best” over 9th’s pulsating bass and beckoning horns. Buckshot songs about relationships and love may seem unexpected but 9th Wonders’ sentimental, R&B affects funnel Bucks’ groove that way. Uppity ladies catch harsh lessons throughout ‘The Formula;’ “Be Cool” is the impressive mesh of a bluesy sample and nice R&B vocals by Swan. She even overdubs well as Buck laments, ‘you only come around when I’m chiefing boo/ and every other weekend we beefing boo.’ “Just Display” and “Throwin Shade,” though similar in content, achieve two unique vibes; the latter applies spurts of vocal bellows and horns for a happy, snare heavy feel; lyrics about jealous gun fire never sounded so gleeful. “Just Display” is a much darker, stringy impulse; Buck relays a lesson about bitter women who cling to the material to mask scars. Buck lays bare his own anguish in “Only For You (Lou),” a soul-hearty RIP shout out to his fallen friend Lou.

The beat to “Here We Go” blends the musical vibrancy of “Throwin Shade” as Bucks’ flow imitates the sober tones of “Just Display.” And, like “Just Display,” the story involves slowing down the microwave pace of our world by walking. ‘The Formula’ packs rich sonic weight despite its’ lean track-list. “Man Listen,” the album finale, picks up right where “Ready (Brand New Day)” leaves off, rejoicing over Buck and Duck Downs’ creative business triumphs; 9th Wonder sums up another opus with more choppy soul singing over sweet strings and quaking percussion. It’s no wonder Buck went from “beef to showing teeth”- he works with an ace producer, handles a roster of emcees he respects and loves, and Duck Down has lately signed acts from Kidz In The Hall to KRS-ONE. Life sounds good when you’re not afraid to apply your ‘…Formula.’

Review by: Mike Ivey Jr. for www.nobodysmiling.com

No Hip hop group has been as prolific as The Roots. Over the last 15 years, the band has produced a musical catalog that rivals the greats in any category of music. Their ability to evolve has kept the crew not only relevant but in the forefront of modern day music. Following the release of 2006’s classic LP, Game Theory, The Roots presents the moody, socially charged Rising Down.

The sound of Rising Down is edgy, serious and provocative. The disc’s title song features Mos Def, Black Thought and Styles P using the “slow flow” while expressing societal disappointment and hostility over a beat that bangs and drags. This particular combination of lyrics and sounds suggests the disc’s overall theme of anxious frustration. Rising Down is revolutionary theme music.

Impressively, the album features a significant array of vocal appearances. These vocalists do a great job sticking with the general energy and theme of the album while ?uestlove pulls off his best production effort to date. This effort creates an offering that is cohesive and fluid despite a number of moving parts and guest appearances. No other Roots album features the array of artists found on Rising Down. Whether it be Philly’s own Peedi Crack, new comer P.O.R.N., the soulful Truck North, Chrisett Michelle, Mercedez Martinez, The Roots’ staples Malik B and Dice Raw, Talib Kweli or underground emcee Saigon, the music is consistent and never evokes mixtape disparity.

More importantly, the wide array of appearances allows an aging Black Thought, noticeably exhausted from carrying the lion’s share of the vocals on The Roots’ previous eight albums, to limit his amount of lyrical material on each song. What results is one or two very solid or dope verses from Thought, complimented by a spirited performance from a guest appearance, all presided over by ?uestlove. Whereas Phrenology, The Tipping Point and even Game Theory are at times lyrically monotonous and lackluster, Rising Down is diverse and exciting. Also of note is Black Thought’s swapping of the more business-conscious alias “Riq Geez” for the aggressive and catalytic “Nat Burner”. His reclamation of this past identity further reflects the temperament of the album.

Outside the obvious assortment of vocal talent are a couple nuances that add to the “fullness” of Rising Down. “Get Busy” features scratching by the legendary DJ Jazzy Jeff; “@ 15” is a rhyme from a then, 15-year old Black Thought, showing his prodigious rapping gift in a style similar to his idol, Kool G Rap. The closing track, “Rising Up”, is an up-tempo Go-Go mix, suitably featuring DC’s own Wale. These subtleties, coupled with the numerous guest appearances all controlled and arranged by ?uestlove, create a product that is remarkably diverse, yet astonishingly fluid. With that said, Rising Down is probably the band’s most challenging effort thus far. Not surprisingly, The Roots are up for the challenge.

Review by A. Knight II (Courtesy: www.thisisrealmusic.com)

1. “Rising Up”

2. “Birthday Girl”

The superficial comparisons between Santi White aka Santogold and hipster darling MIA are just that — superficial. It is only when White uses an off-the-cuff or repetitive adlib on her self-titled debut that even a remote comparison can be drawn between the two. The fact is, when you peel back the layers on Santi White’s musical career, you find that the Philadelphia native comes from a distinct and storied pedigree of musicians precluding her from being anybody’s clone. As the front woman for Philadelphia-based punk band Stiffed and co-writer/producer for Res’ 2001 epic debut album How I Do, White has fashioned herself into an accomplished songwriter who knows her way around a recording studio. Santogold is a strong display of her artistic résumé.

Santogold draws its influence from a number of different sources as White corrals several quasi-related genres on this album. The even-keeled swagger of “L.E.S. Artistes” is similar to the soulful rock material she penned for Res. Elsewhere, the drive and pace of “You’ll Find A Way” and “Say Aha” show traces of White’s longstanding collaborative relationship with members of legendary hardcore punk band Bad Brains. Yet still, the heavy dub of “Shove It” hints more at the punk-infused dub of The Clash. It is this mixture of sounds and textures that make this a true representation of Santi White the artist.

The album carries credits from more than five producers in addition to White herself. While this might suggest a jumble of disparate sounds and textures, it is White’s creative vocal inflections and acrobatics that make the album an exciting, engaging and somewhat thematic listen. Her vocals range from inviting and soothing to percussive and revolutionary. In one fell swoop, Santogold channels the musicality and angst of The Clash, a moody type of neo-haunt similar to Nico and the new wave strut of Blondie.

The blissful vocal harmonies of “Lights Out” and White’s laid back ease and vulnerability on “I’m A Lady” contrast sharply with any of her contemporaries’ vocal stylings or abilities. Whereas other artists of this current hipster-pop genre appropriate and employ World music grooves and Baltimore Club sensibilities, White nestles cozily and comfortably in the vortex where reggae, dub, ska and punk rock meet. To her credit, White has shrouded this specific pool of music with her own original songwriting and unpredictable yet engaging vocals so much so that she is crafting a new version of truly digestible and universal popular music. So universal is it that two cuts off this album are the soundtrack to the new Bud Light Lime campaign. Helplessly infectious and unsurprisingly bold, Santogold is an authoritative effort. This album is not a debut. It is the coming out party of a young talent who has been cutting her teeth and developing her chops with some of the industry’s stalwarts for just under a decade.

Review by Travis Larrier (courtesy of www.thisisrealmusic.com)

Since the very beginning of Murs’ career, he has always had a different outlook on the game than his fellow peers from the west coast power-house collective, the Living Legends crew. Since 1995, Murs has been one of the hardest working rappers in the game. Officially, this is his 7th full-length album, which barely speaks of his entire career. He’s a part of the collective known as 3 Melancholy Gypsy’s, who’ve released 2 full-length albums. He’s also part of the duo Felt, with Slug from Atmosphere, who are currently working on their 3rd album. And besides appearing on 7 full-length Living Legends releases, he’s appeared on approximately 50 records within and outside the crew.

One of the things I’ve always noticed about Murs is that he’s never been tied down to a certain type of sound or producer. From Eligh, to Bicasso, to El-P, to 9th Wonder, to Terrace Martin; Murs stays inspired like a true artist from the golden age. Whether he’s dropping material on an independent label, Definitive Jux, Rhymesayers, or Warner Brothers; Murs has never compromised the quality of his art or craft.

Plain and simple, mainstream hip-hop needs a record like this. Murs brings back that golden age aesthetic to a time when hip-hop albums are vastly disposable in the commercial and underground scene. Murs has always spoke on tales of the common man, and has always brought a conscious, personal, and thought provoking message of real life events to the table. Being a long time fan, I feel Murs has really stepped up his game up lyrically, and is flexing his muscles to their tightest for his major label debut. Now more than ever, it’s apparent Murs is trying to change the game with an eye-opening record of positivity and realness - and now he has the tools and the distribution to make that happen on a global scale.

Having heard Murs’ entire catalog, the production was the thing I was most interested in. Producers include Wild Animals, 9th Wonder, Keith Harris, Scoop DeVille, LT Moe, Khalil, Josef Leimberg, Terrace Martin, & Knotch. One of the most notable additions to the production is DJ Quik. If you are unfamiliar with the west coast legend & audiophile, just know that his mixing and engineering skills have given this production a mainstream glossiness that Murs has never had before, which demands more presence from Murs than ever before.

Review by Alan Pounds for Amazon

It has been four years since the world last heard from Raphael Saadiq as an artist. He was busy on the production side of music, collaborating with artists like Alicia Keys, Teedra Moses and Joss Stone. The Way I See It, Saadiq’s third solo album, is similar to his first two in the classic vintage feel that filters through it, a characteristic that Saadiq embraces proudly. A major difference is that Saadiq’s personal touch and ingenuity can get lost in the re-creation of the soulful sounds of an era gone by.

It is true that Saadiq brings a totally fresh perspective to a relatively uninspired male R&B/soul genre. He lists Stevie Wonder (who appears on the “Never Give You Up” track) and other soul singers such as Gladys Knight and the Pips, Al Green, Sam Cooke, The Temptations and the Four Tops as musical inspirations for the album. He also cites the work of movie directors Quentin Tarantino and Spike Lee and the ambiance of Costa Rica as influences. With muses such as those, the album certainly has an epic feel, one that tells a moving story with seamless quality of sound reminding one of the time period when the Funk Brothers’ golden touch permeated much of the music of Motown. Even the length of the tracks is reminiscent of older albums with shorter songs - five tracks are under three minutes long. The album can very well be viewed as a tribute to these forbearers of soul music.

However, the album is problematic because Saadiq’s work recaptures that nostalgic feeling a little too well. The album sounds like something that’s been heard before - either on an old school movie soundtrack, a 1950s sock hop or in a bluesy 1960s or 1970s lounge. The fact that many critics of the album immediately brand it as “retro” is a clear indicator of this aspect of the work. While previous Saadiq albums boasted this same reflective attribute (Instant Vintage is a particularly appropriate moniker for his debut album), they exuded a singular quality identifiable as Saadiq’s individuality and creative innovation in the musical sphere. The innovation in this album is not as transparent or evident, leaving many Saadiq followers frustrated and hunting for more.

That is not to say that the album does not present beautiful music. Key tracks on the album include the first single, “Love That Girl,” “100 Yard Dash” and “Sometimes.” “Love That Girl” is Saadiq singing falsetto accompanied by a resounding echo in a groovy laid back ballad with a rich texture of percussive elements; “100 Yard Dash” is a hard hitting up-tempo jam that Saadiq packs with an energetic and definitive punch despite its 2:18 length; “Sometimes” is a modern day uplifting tune that rings of the 1975 Spinners’ classic “Sadie” in praise of maternal role models.

There is no doubt that Saadiq’s passion, raw energy and talent are exhibited in his latest album. He dares to break back into the mainstream with a totally different sound and attitude about his music. The major predicament is that while he masterfully reinvents golden soul music, his personal signature is lost in the mix.

Review by Amber Wiley for www.thisisrealmusic.com

1. “Love That Girl”

2. “Never Give You Up”

Although Common’s marriage to the game has birthed seven albums during a career more than twice as long, his latest offering does not in the least reflect an itch that might suggest that his lyrical commitment to H.E.R. is on the rocks. In fact, Common continues to utilize his vocal husk to penetrate a ghetto matrix that is as lovingly supportive of those who make it out, as it is a harbinger for soul murder, where dream deferment rivals breathing and Starbucks get more priority than public housing. Meanwhile, the poor and the colored slap box with absurdity under an ever-expanding cloud of urban impossibility where the idea of light at the end of the tunnel is a crude joke.

Yet survival is a precondition for the hued and the aggrieved whose humanity is forever on a chopping block screaming to be realized, recognized, and dignified at whatever the cost. Guiding the listener through this urban macabre is where Common has always been at his best, blessing the mic with a poetic economy and attention to detail that has vaulted him into that mighty fraternity of the rappers rapper. What better way to describe Hip-Hop’s verbal power than to tell us “that lyrics are like liquor for the fallen soldier, from the bounce to the ounce, its all our culture” or reminding us of urban desperation with the memorable “the karma of the streets is needs and takes, sometimes we find peace in beats and breaks” on the title track “The People.” To the casual listener this might appear to be convenient word play, but to the discerning Hiphoppa, “liquor” serves as both an intoxicant and an elixir, while “bounce to the ounce” signifies the Roger Troutman funk jam of the same name, it also suggest that the “bounce” (the sound of the culture) and “the ounce” (the social dead end of the drug game) are all part of the complex cultural fabric of the hoods’ for which it sprang. Though common knowledge, it’s Common’s poetic juxtaposition and ability to smoothly crash words into new meaning that makes his insights so aesthetically fulfilling.

Sonically, Common plays it safe and attempts to capitalize on the mainstream success of Be by maintaining Kanye behind the boards and enlisting a select few to assist in the musical landscape. One wonders if this was his choice, the labels, or both. Without question, Finding Forever could have been enhanced by more sonic exploration, but love, hope, hurt, fear, myopia, and resilience remain critical themes of poetic engagement for “Chi-town’s Nas.” In his previous effort Common urged us to Be, but in his latest tome he asks us to be the presence that is eternal—to find forever. To my mind they are one in the same, beautiful indeed.

–Review by Fanon Che Wilkins, Ph.D. for SoulGen.com

Perhaps the most persistent irony in Hip-Hop is that being dope does not always translate into fame and fortune. Conversely, being wack does not necessarily guarantee a four-digit income. But what is for certain is that respect will always enable soul wrenching poetry and unfettered creativity to ascend above the mediocre and formulaic in route to becoming a beacon of hope for desperate souls scouring the viberesphere for something they can feel. These were the sensibilities that made Little Brother’s The Listening (2003) and The Minstrel Show (2005) such welcome additions to the game.

Two years later, the L-Bees, minus super-producer 9th Wonder and a major label deal with Atlantic Records, are back in the indie-world and Phonte and Rapper Pooh sound as fresh as ever. Out of the gate, the Illmind produced “Sirens” packs enough punch to make Jesse Jackson, the NAACP, and Americas favorite Dad—Bill Cosby rethink their respectability plan to quell the nigga talk and “uplift” the hood. Pooh sets the tone with an intelligence that Al Sharpton (and now Russell Simmons) surely wouldn’t endorse. He opines:

they talk about us not using the word nigga, I wanna speak about a couple issues much bigga, like most Black folks live below the poverty line and they wonder why the fuck we are attracted to crime, we got niggas shootin’ niggas at the drop of a dime, babies in the streets dyin’ way before they time many single parent mothers packin’ welfare lines, and niggas being dumbass, the apocalypse is on us, niggas take onus, that’s all I ever asked and got pegged as a hata’, now they tryin’ to take niggas out with the fada’, started with three two six see you lata’, back independent cuz the kids I wouldn’t cata’, go against the system you in bed with Al-Quaeda, dog they ain’t playin,’ look here their going to war with more than Rap, this are mafuckin’ lives now it’s time to fight back!

Now for all of you Hip-Hoppas out there struggling to defend who you are and what you love, Phonte provides ammo for your next debate:

…they tryin’ to blame this Rap shit for all of our ills, like I can stick you up with a mic, like I could rape you with a verse or use a verb as a knife, like before Kool Herc everything was alright, like I wasn’t callin’ Black women hoes before Rappers Delight, shit that’s just idiot talk, this whole shit is a farce, I refuse to be Hip-Hop’s pallbearer, had to tell my son cut that bullshit off, them ain’t videos nigga’ that’ psychological warfare, twenty different variations of the same face, designed to keep yo broke ass in the same place, something else more, yo it’s got to be, because I’m in transition cuz they watchin’ me..

So now that the civil righters have been chin checked and the stakes of the game have been carefully delineated, Phonte and Pooh invite listeners to witness their growth and maturity as young men grappling with the same challenges that confront ordinary dudes searching for purpose and meaning in life. With gut busting humor (now a L-Bee trademark), the duo celebrate the everyday desires to dress well with “Good Clothes,” and gets assistance from the ubiquitous Yung Weezy (Lil’ Wayne) on the only 9th Wonder produced track, “Breaking My Heart.”

Although 9th plays the side, fellow Justus Leaguer Khrysis gets behind the boards on “After The Party” and expertly melds atonal shrieks and hums over an alternating bass and snare to create an end of the night feel that everybody can relate to. Jersey’s Illmind of Beat Society fame produced the bulk of the album, but the L-Bees employed the services of hit makers Hi-Tek and Nottz on “Step It Up” and “Two-Step Blues” respectively. In the tradition of Nas’s “Bridging the Gap,” the L-Bees bring to life, with the assistance of hometown crooner Darien Brockington and Nottz’s up-tempo arrangement, an evening at the Elk’s Lodge where young and old two step their blues away in a tradition that would make Bessie Smith proud and Ma Rainey show her black bottom. Here we see the L-Bee’s plea for intergenerational unity on full display.

One of the most distinguishing characteristics of Little Brother’s previous work was their amazing ability to create great albums that were well sequenced and contained a unity of feeling. This has become a lost art in the Itunes-era. Many believed (including this author) that much of this craftsmanship would be lost with the departure of 9th Wonder from behind the boards, but I was pleasantly surprised to realize that this simply was not the case. Like their big brothers before them–Tribe, De La, Public Enemy, Pete Rock & C.L. Smooth—they allow the album to tell a story about disappointment, perseverance, maturity, redemption, and just plain old having fun—something we all need from time to time. Get the Get Back and get in for the ride.

1. “Sirens”

2. “Good Clothes”

Jill Scott is undeniably one of the most popular constituents of the Neo-Soul movement. On her third studio album, there’s proof of her seven-year stint as a recording artist. The album cover is the first where her face is shown as it looks in the present (her first was the top of her head, the second was a childhood picture), and she’s going out—with the door open and purse in hand. The Real Thing: Words and Sounds, Vol. 3 (Hidden Beach) definitely poses the question: Where is Jill going? Her divorce and her starring role in Tyler Perry’s new film speak volumes on the new emotional and professional territory that she’s had to voyage through.

“Let It Be” opens The Real Thing with a powerful statement—“If Classical, Country Mood, Rhythm & Blues, Gospel, Whatever it is, let it be.” Jill makes it easy to keep the open mind. This new repertoire of songs demonstrates that even after an ending of a marriage there’s a new beginning, and if you’re lucky, a new sexual awakening. The jazz-blue influenced “Celibacy Blues” can make any woman feel that longing, wherever they are listening. With a line like, “I get some new batteries almost every night,” it’s thought provoking for anyone paying heed, and that’s the thing about Scott. She proves that candor is more provocative than any suggestive song lyric.

Scott’s music can be rendered a bit “female-centric” but, like on her other albums, she proves that her writing is more about human connections. “Hate On Me” is a universal memo for those haterade drinkers. On “Whenever You’re Around” she confesses to her lover that she’s built an emotional relationship with another man.

Five tracks on The Real Thing are under two minutes, which shows Jill’s capacity and talent in concisely saying what she wants. “Crown Royal” is amazingly simplistic. While this latest album also carries less Hip-Hop tinged beats that were prevalent in Beautifully Human; there’s a new element of Hip-Hop that she brings to this new project, and it’s in the lyrical arrangements. In “Epiphany” she raps through the most potent part of the songs.

So, where is Jill going? She’s obviously still on that voyage, like we all are. She just gets to write songs about having sex, and lack thereof. Jill Scott delivers another home-run, not as classical as The Real Thing predecessors, but it’s just as rich and filled with Scott’s brand of R&B, with a new a twist. The Real Thing speaks on that revolution that might occur after a break-up or a divorce—it’s about life’s constant change.

Courtesy of Jonathan Reyes, AllHipHop.com

1. “Hate on Me”

2. “All I”

Log onto an India.Arie lyrics page and you won’t come away expecting an easy-breezy listen–here’s an artist, remember, who made a name for herself by declaring her disdain for silicone and Cristal on her 2001 debut. What’s consistently a revelation for new recruits to the Arie camp, then, is how good the music makes you feel. No matter how heavy the subject matter (and it still gets heavy–God surfaces in the first verse of “Intro,” the prayerful opening song), she delivers it in such a way that it ends up feeling like homespun wisdom–accessible, cloudless, and heartening.

Testimony, no minor R&B/soul achievement, is full of such earth-mother moments: “The Heart of the Matter,” a cover of the Don Henley song, is what a hug might sound like if it were music; “There’s Hope” reminds tunefully that you don’t have to pay to smile (”You better thank God for that”); “Private Party” points up the benefits of getting naked before a mirror and liking what you see (impossible as that sounds, it’ll seem less so after listening); and “I Am Not My Hair,” a sexy thumper featuring Akon, celebrates not the hair, not the skin, but “the soul that lives within.”

Musically, “Testament” is a testament to the benefits of branching out; in addition to gospel and hip-hop, you’ll also find country and pure pop forays here. All of it works, and works wondrously. Arie may be the Oprah of the music world: she’s spiritual, she’s got her head screwed on straight, and whatever she touches turns to gold. Or at least it ought to.

Courtesy of Tammy La Gorce, Amazon.com

1. “Good Mourning”

2. “I Am Not My Hair”

What a marvelously audacious introduction The Colored Section is. Emerging from the same Jazz Café-centered alternative Atlanta soul scene that nourished and nurtured fellow hippie-soul singer/songwriters like Joi and India.Arie all the way into the public consciousness, Donnie’s first LP is a topical, unapologetically conscientious, and even righteously stinging declaration that, yes, can only be likened to the classic sociopolitical masterworks of spiritual heirs Donny Hathaway and especially Stevie Wonder. Songs like “Cloud 9″ and “Wildlife,” in fact, may be too indebted to genius-era Wonder — the former with its wah-wah guitar and warm gusts of squelchy synth vibrato, the latter with its prominent clavinet and crisp harmonica ad-libs — but are such stunning vintage impersonations that both easily could have slipped somewhere onto Innervisions. No matter from which angle you choose to approach such a statement, it couldn’t really be taken as a criticism, nor should it be with The Colored Section.

The music is consistently empowered and empowering: gracefully buttery, always deeply moving, and at its core profoundly idealistic. Generous melodies abound, rising from a gospel-derived groundwork, spun around street-tinged jazz rhythms, and enlivened by wonderful touches of humor like the Dixie frills of “Big Black Buck” that underscore an otherwise valuable criticism of consumerist society. And lest Donnie be dismissed as an imitator (a studied, well-versed disciple clearly, yes, but certainly not a clone), he explores a wealth of his own refreshingly original ideas, stretching out with genuine invention (the gorgeous cosmic explorations of “Heaven Sent,” the jittery electronic backdrop of “Masterplan”) as often as he reaches backwards into retro styles (invigorating bossa nova on “Do You Know?,” the romantic, Baroque string arrangement of “Turn Around”).

It is as bold and self-assured a debut as soul music has seen since D’Angelo’s Brown Sugar. It falls just short of brilliance only because it borrows a few tricks too many from its obvious musical models, but even with its flaws, the album is such a vivid, radiant outpouring of soul-stirring talent and passion that it could fill two hearts.

Courtesy of Stanton Swihart, All Music Guide

Rapper. Singer. Producer. Songwriter. Dancer. Entertainer. However you describe him, one thing is undeniable: tU pHAce will bring the house down. tU pHAce’s music incorporates unique blends of emo, electronica, hip-hop, and soul. Whether in front of rock fans at the Vans Warped Tour, hip-hop heads at Cypress Hill shows, or mixed crowds at MTVu’s Campus Philly festival, tU pHAce and his five-piece band break the musical monotony inflicting much of today’s mainstream and independent music.

1. “Jupiter”

2. “Looking Away”

3. “You and Me”

With a poignant and conscience style all her own, Chavous has burst onto the underground scene in Philly blending a unique cross-section of soulful tones and esoteric rhythms along with the elements of gospel, jazz, R&B, and classical music into a distinctive style that challenges the listener to take a moment for self-reflection and acknowledgment of the power within.

With songs that speak of positive self image, happiness, freedom, love, joy and self-empowerment, Chavous is carving a niche for herself as the fully conscious voice of the soul movement.

Her voice is light and airy one moment, deep and broad the next. Angelic in its range and soothing in its promise, it threatens to usher in a new standard in the American music industry. On the precipice of releasing her first studio project, she is a fresh, new eclectic voice known quite simply as: CHAVOUS.

1. “Much Better”

2. “Hey”

What happens when three individuals with a passion for Hip Hop and Soul music meet on the Hilltop (Howard University)? A blend of sound derived from works of professors of melody & sound. Those lessons learned by pupils, L Shaze, J Sinclair, and Walk On, form School of Beats. Based in the Nation’s Capital, School of Beats has sound that is as dynamic as the surrounding institutions. Their creations are heavily influenced by the pioneers of the urban spirit.

In their production, you can find hints of Isaac Hayes, ingredients Curtis Mayfield and Willie Hutch, elements of Al Green, and of course a dash of the Philly Sound. Beat conductors, such as Jay Dee, Pete Rock, DJ Premier, No I.D., Madlib and 9th Wonder, all provide inspiration for these young travelers of rhythm.

In this infant stage of a Hip Hop Renaissance, School of Beats is destined to bring to life the essence of the past and craft standards for the future. So enjoy this site and get ready for class, School of Beats is in session!

Courtesy of thisisrealmusic.com

1. “Blaxploitation”

2. “Upper Room”

After a long hiatus, Pharoahe Monch returns to deliver his highly anticipated second solo album Desire. This LP is very ambitious in that Pharoahe attempts to break the mold of what a so-called conscious emcee is supposed to sound like. For the most part, he succeeds. Too often this “conscious sound” translates into boring content and uninspiring lyricism under the façade of “good music,” which amounts to nothing more than rap that does not degrade women, promote drug culture, or wallow in genocide. Sadly enough, this formula often lacks the intensity, energy, and realism that made Hip-Hop emcees relevant in the first place.

As this niche grows and further entrenches itself in the Hip-Hop industry and collective psyche, the content becomes more about promoting an image of positivity in the same sense that 50 Cent promotes an image of “gangsta.” Both representations are wack. They embody a few abstract, hollow ideas that have no basis in reality and as such, cannot inspire us to change the harsh realities that exist within communities here in the U.S. or worldwide. Pharoahe assesses this problem and provides his solution in one line: “You’re A&R’s a house nigga, the label’s the plantation, now switch that advance for your emancipation.”

The desire for the emancipation of our music and culture is what this album signifies. Pharoahe Monch accomplishes this by accentuating his creativity, as opposed to molding himself to fit within the prefabricated, stereotyped roles so commonly found in today’s Hip-Hop scene. It is that indomitable spirit which exudes from Pharoahe—the swagger of a king, which makes him such an appealing artist. Songs such as “Free,” “What It Is,” “Hold On” (feat. Erykah Badu), and the phenomenal reinterpretation of the Public Enemy classic “Welcome to the Terror Dome” are dope tracks that make a strong statement, while at the same time set a solid example of where Hip-Hop can go and what real Hip-Hop is in 2007.

Written by Jamal Berry for SoulGenesis

1. “Desire”

2. “Hold On”

One blues man and a voodoo band have become an increasingly popular tangent for R&B as of late, combining the mellow vocal soul of the ’70s with folksy guitar strum and clip-clop percussion reminiscent of Tom Waits at his most rhythmic. Atlanta singer/songwriter Anthony David might overstate his case for being a Delta blues man, titling his album 3 Chords & the Truth, but that does little to take away from his Ben Harper-esque growl and skillful song craft, which have already been recognized with his participation on India.Arie’s Grammy-nominated Acoustic Soul album.

At his best, David recalls Terry Callier or Q-Tip’s highly promoted yet tragically never released “Barely in Love.” At his worst, he either relies on too much saccharine production (the ’70s orchestra over saturation of “Part of My Life”) or, inversely, too little (the lone pick and vocal of “Cheatin’ Man,” which stumbles over lines like “When the stage is set for drama/I keep thinking ’bout my momma”). But the slight sampling hip-hop feel of “Krooked Kop” hits the balance just right, as does the mechanically led “Cold Turkey” with its distant steel-on-steel quarry metronome, its metal pulse egging on the jaw-clenching subject matter. He even gets a little reggae on “50/50 Love,” complete with a Jamaican backing vocalist, proving that Southern R&B is just a starting point for this promising talent.

~ Joshua Glazer, All Music Guide

1. “The Water, The Fire”

1. “Yes”

“They say you can’t please everybody.” Those are the words spoken by Talib Kweli to open his latest album Eardrum. Eardrum personifies a newfound level of maturity and growth for Kweli in that he now realizes he cannot be the “Everything Man” as the opening track of the album insinuates. He is simply Talib Kweli, revolutionary emcee extraordinaire.

Being a self-proclaimed “revolutionary emcee” in a time of great apathy, nihilistic despair, and corporate consolidation is a daunting task that Kweli showed signs of difficulty with on his previous effort The Beautiful Struggle. Eardrum, however, finds Kweli taking a different approach to trying to create the necessary space to represent himself as a revolutionary emcee. Eardrum is filled with an abundance of food for thought that will please the appetite of a cross section of the Hip-Hop audience, while at the same time giving Kweli’s core fan base the raw energy and thought-provoking lyricism that they have come to love and expect from him.

In fact, there is enough good food here to bring all parties back to the table for seconds, thirds and fourths. “Country Cousins,” “Eat to Live,” “Give ‘Em Hell,” and “Soon the New Day” are just a few of the tracks that will get mad rotation on iPods and midnight mix shows all over the world. It would not be a surprise to see a mainstream single emerge from this album due in part to the eclectic mix of guest artists, ranging from U.G.K. to Norah Jones, with production work by Hi-Tek, Pete Rock, and Sa-Ra. Amazingly, Talib pulls off this great record, which is heavy on features, highly accessible, and driven without feeling too forced or sounding corny. Maybe he is the everything man.

Written by Jamal Berry for SoulGenesis

Check out Kweli’s new video for “Hot Thing”! One of the best music videos we’ve seen in a while over here at soulgen.com!!!
[youtube width="425" height="335"]http://www.youtube.com/watch?v=UUPCBmcpNzk[/youtube]

1. “Country Cousins” feat. UGK and Raheem Devaughn

2. “Soon the New Day” feat. Norah Jones

Leaving Somalia at the age of thirteen on what turned out to be the very last commercial flight to ever do so, amidst a crumbling society and the end to this day of any form of central government, K’NAAN carried with him a very strong sense of purpose. It is this sense of purpose as well as his amazing lyrical gift, which has made him a beacon for other artists as well as those dedicated to global change.

Similarly, in Toronto in 2002 while recording a verse for a War Child benefit track entitled “Keep the Beat K’NAAN’s unique flow caught the attention of artist/producer Jarvis Church, one half of the Grammy award winning production team Track and Field (Nelly Furtado). From there began a creative partnership that would lead to the creation of K’NAAN’s’ first full length album “The Dusty Foot Philosopher.”

K’NAAN creates urgent “music with a message” because his whole existence depends on it. “Soobax” produced by Track n Field is percussion-fuelled protest music at its finest. It’s more than a song, it’s something people raise arms for,” explains K’NAAN “The term Soobax actually means to “come out” so when I recorded that in the studio, I imagined myself being in front of gun men, and I’m communicating directly to them”. He adds: “Sixty-year-old women in Canada jam to that song because it’s saying things they couldn’t say. When my brother heard the song he said that it’s the first song he’d heard of mine that could get me killed.”

“Hardcore”, is a truthful reflection, a comparison track for those MC’s who believe that they, their circumstances or themselves to be Hardcore. “Strugglin” is tracks for those who struggle and find themselves pushed to the brink yet at that point transform that struggle into power and the ability to overcome. The African Way” utilizes superb backing music supplied from a group of nomadic musicians K’NAAN ran into and recorded in a restaurant in Mombassa, Kenya. “Wash It Down” is another must-hear track made entirely out of the sounds of crashing water, done by the “forces of nature”. All and all the LP is a break out from the braggadocio world of Hip Hop.

Review courtesy of www.cdbaby.com

Hip-Hop’s culture has been in a state of disillusionment for quite some time now, with the mainstream serving up with stale material, and most of the underground not caring enough to provide interesting alternatives. When it seems all hope is lost, every few years there comes a refreshing act reminding one of what it was to become enamored with this music. Blu & Exile’s Below The Heavens could be termed a future classic as the respective MC/producer duo hearken back to a Gang Starr or Pete Rock & CL Smooth with not only their chemistry but advanced skill in their arenas.

Coming out of L.A., Blu is perhaps the most technically gifted early adult MC since a younger Nasir Jones made his mark over a decade ago. His partner Exile manages to sample everything from soul to jazz to vocals from Sesame Street’s Grover character and work magic delivering beats that knock hard. Thematically this is a concept album of sorts, but it doesn’t really feel like one: A young man a few years out of his teens sets out to tell the world the story of his ups and downs through fatherhood, a dysfunctional family background, love, and financial struggles amongst other trials and tribulations. Blu’s deep introspection is matched with a notable ferocious battling prowess making him one of the best newcomers to hit the scene in quite some time.

Below The Heavens was written and recorded 2-3 years ago at the tender age of 21, with Blu displaying wisdom far beyond his days as he tells who he is, where he’s been and where he’s trying to get. The future appears bright with other projects on deck for both Blu & Exile in the near future. With any luck, this album will inspire future generations to make a difference in the quality of beats and rhymes produced for mass consumption.
-Review by Jesse Fairfax

1. “Simply Amazin”

2. “Blu Colla Workers”

3. “In Remembrance”

“All I got is my balls and my word,” Lifesavas declare on “Freedom Walk,” echoing Pacino in Scarface for a bracing slice of hip-hop activism that comes near the end of Gutterfly: The Original Soundtrack.

With an aggravated beat and on-point lyrics—and welcome guest appearances from dead prez and Living Colour’s Vernon Reid—it’s one of the best tracks on an album that teases old blaxploitation melodrama, cribs enthusiastically from ‘70s funk, but keeps its feet firmly planted in the present. There’s a party vibe on a good chunk of Gutterfly, but this is serious business, too.

The drama that the album “soundtracks” is included in scene snippets where Vursatyl, Jumbo the Garbageman and DJ Shines all get to chew on alter egos. These interludes aren’t great, but also aren’t as jarring as some hip-hop skits—and have the added benefit of helping establish the overarching narrative of Gutterfly as a whole (essentially about three “ghetto superheroes” who are trapped in a Gotham-like dystopian future vision of the group’s Portland stomping grounds). Sometimes, too, even a disruption in momentum can be useful, as Lifesavas tackle a variety of styles on various songs; the gritty, on-the-streets flow of “Freedom Walk,” for instance, benefits from a breath of interlude air before closing out the album with the old-school street party scene of “Celebrate.”

That diversity is one of the most rewarding elements of Gutterfly. Vursatyl readily acknowledges that he and his partner Jumbo aren’t always on the same page when it comes time to dig into the material, and this seems to have helped them from settling into a comfort zone and churning out material that all seems wed to a template. Instead, there are complete throwbacks with sunny vibes right alongside smoother ballad jams and harsher, more modern (or futuristic) set pieces. Not surprisingly given such a wide range, there are a couple missteps along the way—but Gutterfly’s wealth of smart beats and sharp lyrics ensures that it will continue to build on the buzz generated by 2003’s Spirit in Stone.

— Reviewed by Adam McKibbin (http://www.theredalert.com/)

1. “No Surprise”

2. “Shine Language”

Is it possible that an artist be so talented, that record companies don’t have a clue about how to handle them? It happened with D’Angelo, it happened with Q-Tip, it’s still happening with The Roots. Robin Thicke is the latest victim of an amazing talent being left on the promotion department floor.

Thicke’s sophomore album, “The Evolution of Robin Thicke,” is as smooth and soulful as an album can get, and is especially welcome in the days of watered down teenie bopper R&B. Robin Thicke’s voice velvet-like voice blends with the instrumentation like few other artists’ voices do. Instead of singing ‘over’ tracks, Thicke sings within the track creating flawless melodies and goosebump-producing musical compositions.

From the laid back swing of ‘Complicated,’ to the hypnotizing ballad ‘2 the Sky,’ every song on this album takes the listener on a musical journey. “The Evolution of Robin Thicke” is a very mature album for a fairly unknown artist, and is well worth the purchase for even the most critical listener. by J. Grayson

1. “Complicated”

2. “Lost Without You”

With “Extended Play”, Eulorythmics created created one of the best sleeper albums of 2005. Part of the All Natural clique out of Chicago, Eulo’s unique, lackadaisical, style intertwines seemingly effortless rhymes with soulful production.

The result is a mellow yet engaging listening experience. As background music or as the center of the party, “Extended Play” manages to work. Adad, the lyricist, shows off his wordplay and lyrical prowess nicely on such tracks as “Blam!” and “Drama”.

Kenny Keyes, the producer, flexes his muscle on “Good Life” and “L.I.V.E.” On first listen, Adad’s flow may be reminiscient of the MC side of Mos Def, but with a few additional listens, Adad takes on a life and originality all his own. All in all, this smooth, soulful album is a welcome addition to grown-up hiphop; definitely one to be enjoyed all the way through. by J. Green

1. “L.I.V.E.”

2. “Sociology”

In the South African language of Tswana, “Goapele” means “to go forward,” and that is exactly what this Oakland-born singer- songwriter tries to do with the often criticized neo-soul genre. Born to an Israeli mother and a father who was a South-African political exile, Goapele was born into the blood of social consciousness and political activism. Goapele tells us what she thinks of the “system” simply by the title of her 2005 release, “Change It All.”

Her sophomore album (after her widely accepted solo debut “Even Closer”) is a beautiful blend of Goapele’s soft, airy voice, and deep, pounding instrumentals. One of the standout tracks on the album, “You,” a collaboration with soul-singer Dwele, is a hypnotizing, beautifully composed duet, which may mysteriously end up on repeat in your CD player or Ipod. There are no real overpowering voices here, but their chemistry is aparrent as they sing to each other throughout the song.

The title track “Change It All” touches on current affairs including the Iraq war, the state of education and the plight of the poor. She protests “History feels so far away / We’re not fighting for our lives anymore / You’re not fighting for my life anymore / It’s hard to know what’s really worth fighting / Or is it killing and dying on the streets.” At 29 years old, Goapele seems to be wise beyond her years–in love, politics, and in music. It’s hard to listen to her and not conjure up comparisons to R&B legend Sade, but Goapele is her own superstar, and sky’s the limit; Change It All is her springboard.

1. “Change It All”

2. “First Love”

In 2004, two of Hip-Hop’s most under-appreciated artists–the legendary underground producer/DJ, Madlib and the eccentric and ultra talented rapper/producer MF DOOM–teamed together creating a super-group called Madvillain. Consequently, they released what was easily the most anticipated underground Hip-Hop album in recent memory, “Madvillainy.”

Veering from the traditional formula of most of today’s Hip-Hop albums of syncopated beats, misogynistic and/or violent lyrics, Madvillainy tries something daring and new…”creativity.” They’ve created 22 tracks of pure Hip-Hop that one can imagine hearing in lounges from Brooklyn to Amsterdam where the crowds are as diverse as the listeners’ tastes in music. MF Doom’s unconventional but ill flow meshes nicely with Madlib’s penchant for producing some of the hottest abstract beats ever heard. One of the greatest things about this album is how it is constructed.

Songs stop then start (RZA-like), catching you off guard, while at the same time keeping your attention. Although most of MF Doom’s rhyme style is abstract and a bit mercurial, he has such catchy one-liners and drops science so frequently that you challenge yourself to try and find meaning in the rhymes that you missed. Overall, if you’re a fan of DOOM…you probably already have this album, if not, it’s as good a place as any to start. Just know, don’t put this album in thinking that DOOM’s gonna spit some Jay-Z, NaS, Immortal Technique or Phonte of Little Brother-esque rhymes.

Madvillainy is the type of album that you will still catch new things on the fiftieth listen. Relaxing alone with headphones and the lights off may be the greatest way to experience Madvillainy. by I. Ewell

1. “Accordion”

Murs of the West Coast’s Living Legends crew has had a sizeable buzz and following for some time within the underground, largely due to his association with the premier independent label Def Jux. His celebrity rose in 2004 as he partnered with then up-and-coming producer 9th Wonder for Murs 3:16: The 9th Edition. This album enabled Murs to gain fans that were already hooked in by the classic compositions 9th previously laid down for Little Brother and the rest of the Justus League.

The two share a synergy on this record that could be considered akin to a Gang Starr or Pete Rock & CL Smooth. As Murs puts it on the explosive title track, the album’s basic theme is him “tryna walk that thin line between intelligence and ignorance, have a little fun while making music of significance.” Within 10 songs and in just a little over a half hour, the pair manages to cover an array of topics such as heartbreak, sexual exploits and relationship drama, along with tales of gang culture and street life in California.

“And This Is For” is particularly notable as Murs takes a stand for the art of real Hip-Hop and it’s ever diminishing black audience. Murs is the complete package, equipped with wit, multisyllables, a knack for storytelling and a fair share of standard battling braggadocio. The ferocity of the last track “The Animal” (featuring Phonte of Little Brother) best sums up the aggressive, rugged undertone of the album. Murs is to be commended for managing to entertain without trying to represent anything other than himself and his environment.

1. “And This Is For…”

2. “The Pain”

In 1959, Berry Gordy Jr. founded Motown Records, which is responsible for breaking some of the biggest names in the recording industry’s history including, Marvin Gaye, Diana Ross, Stevie Wonder, Smokey Robinson and Michael Jackson. Along with Gordy, these artists helped create “The Sound of Motown” and helped establish Detroit as the centerpoint of this unparalleled culture.

With their debut album, Triple P, the Platinum Pied Pipers, producers Wajeed, one of the founders of Slum Village and Saadiq, the mentee of world-renowned songwriter, Barrett Strong have picked up where Gordy left off. They have assembled some freshest, yet little known (although not for long) talent and created a classic collection of cuts that are certain to have your head bobbin’, fingers poppin and b-boppin around the house, car or wherever you are. If I had to categorize Triple P, the most fitting category would be hip-hop-soul-funk; however, their sound can not and should not be forced into a box.

Waajeed and Saadiq conduct Triple P Quincy Jones-style, by only appearing on the cover while otherwise remaining in the background. Although every track is sick, pay close attention to “Act Like You Know” and “Shotgun, both featuring uber-producer/artist Jay-Dee who’s straight rhymin’, “Detroit Winter” featuring MC Invincible and “Light’s Out”, featuring Ta’Raach & Georgia. The album also features three lightning hot songs with sultry and soulful singing from the up-and-coming Tiombe Lockhart. With Triple P, the Platinum Pied Pipers have re-ignited the fire that once sizzled under The Sound of Motown and given music lovers hope.

But like Invincible warns on Detroit Winters: “Detroit in the winter, the cold is a poison that lingers/A point for beginners: to hold on, avoiding the shivers/You either bundle up or burn rubber/But if you can’t take the winter, you don’t deserve summer.” If you don’t like great music then Triple P isn’t for you. However, if you do, this joint will keep you warm and toasty through the winter and well into the summer. by I. Ewell

1. “Shotgun (feat. Jay-Dee)”

2. “Deep Inside (feat. Sa Ra)”

Beautiful music…this is not a phrase often used to describe Hip-Hop but the sonic qualities of tracks like ‘Bird’s Eye View’ and ‘One Chance,’ two of True and Livin’s notable songs beg to be regarded not only as exceptional Hip-Hop, but excellent music overall.

On “Tru & Livin,” Zion I’s third full album release, they further solidify their place as a Bay Area Hip-Hop innovator embodying the essence of flowing lyrics over smooth, melodic tracks. The album is a thoughtful collection of well-produced and well-performed songs which call for the audience to recognize the diverse beauty of Hip-Hop. Up-tempo Deep South can be felt on ‘Soo Tall’; the slow and simple percussion and heavy vocals characteristic of Bay Area West Coast can be heard on ‘The Bay;’ pronounced snares and in-your-face rhymes over a head nod track characteristic of the northeast can be found on ‘Temperature’ featuring Talib Kweli.

Zion I remains fundamentally conscious and critical questioning the mainstream Hip-Hop machine on such tracks as ‘Poems 4 Post Modern Decay’ featuring Aesop Rock. Zion I’s clean delivery and steady, consistent rhyme flow nicely complement the horns and keys of Amp Live’s production. Through well placed and executed scratches, Amp stays true to classic DJ roots and reminds the listener of the art of DJ’ing. The duo certainly has a chemistry on “True and Livin” that can’t be overlooked. by J. Green

1. “Birds Eye View”

2. “Temperature” (feat. Talib Kweli)

With the her self-titled album, Corinne Bailey Rae, the British soul singer has been compared to Billie Holiday, Sade and even Erykah Badu. Such high praise could be career ending.

Fortunately for Corinne, she steps up to the challenge by being herself and delivering such anthems as, “Put Your Records On”, a sister-girl feel-good record. About this track, Corinne says, “I’d like to think the music can affect people in a positive way. A song like ‘Put Your Records On,’ I feel like I’m singing that back to a younger version of me, getting 10-year-old girls to have confidence to not fit in with the crowd, and finding an identity in music…Not being afraid to look different to other people, or think different.”

Her voice is innocently soulful and filled with humility. What I like most about Corinne is that she seems to love the theme of love and she’s not using her voice to complain about love or how she’s been wronged. Instead, she creates mature material that presents a very balanced view of the highs and lows of love. “Till It Happens to You” and “Like a Star” are examples my point. On both tracks, Corinne explores the difficulty of being in love with what Common describes as “the one who makes you happiest and hurts you the most.”

What’s interesting about her approach is the listener is able to relate to each song. Most of the songs talk about subjects we’ve all experienced, as if Corinne has ghost-written your memoir. In today’s music market of manufactured artists it’s refreshing to have an artist who appears to be very comfortable in her own skin, willing to talk about her insecurities and not objectify herself to sell albums while singing songs of substance. If Corinne is a sign of where the industry is headed, then I’ll go along for the ride. by J. Grayson

1. “Like A Star”

2. “Enchantment”

Bursting on the national scene in 1991 as one of The Source magazine’s “Unsigned Hype,” Common released his first album, Can I Borrow A Dollar in 1992, a mix of youthful exuberance and raw B-Boy braggadocio. Can I Borrow A Dollar assured Common a spot in the sun, however, it was his second LP, Resurrection and the underground smash “I Used To Love H.E.R.” that made the Southside Chicago wordsmith a living legend.

If “I Used To Love H.E.R.” solidified Common’s status as a dope Emcee nationally, then One Day It’ll All Make Sense made it clear that young Com was growing up fast and concentrating his efforts on more mature affairs such as fatherhood, the perils of the streets, religious dogma and the power of spirituality. From the albums opening invocation Common invites listeners into his “mental window” and begins to take them to places that he’s “been and “to places [that he] wants to go. Unlike his previous albums, One Day It’ll All Make Sense boast a bevy of collabos with Hip-Hop’s avant-garde, including

Lauryn Hill, Black Thought, De La Soul, Cee-Lo, Erykah Badu, Q-Tip, and Canibus. Yet Common remains the center of attraction on “Retrospect For Life,” where the life challenges of abortion and the decision to have a child get equal footing with Lauryn Hill voicing lament and lost on the songs hook. Common continues his smorgasbord of introspection on the Cee-lo assisted G.O.D. (Gaining One’s Definition) and continues to get his full B-boy on with the Blues guitar lick-driven “Real Nigga Quotes” and the unstoppable “Hungry” on which he tells cats that his “shit is so bangin niggaz say it’s gang related, on philosopher’s rink of thought, I’ve skated with precision, Crews is gettin split like decisions.”

Common’s rewind able poetics are never short of rich metaphors, sharp similes, and pop-cultural inspired double entendre that will one day earn him a literary following that rivals the likes of Langston Hughes and Sonya Sanchez. With musical production largely held down by long time Chicago beatsmith NO I.D. (Kanye West’s mentor) and scratches by Mista Sinista, Common ensures that for those who slept and didn’t understand what he was up to in 1997, one day it’ll all make sense.

1. “Invocation”

2. “Retrospect For Life” Feat. Lauryn Hill

If Nasir Jones is right, and Hip-Hop is in fact dead, then Lupe Fiasco’s “Food and Liquor” represents the last optimistic gasp of breath for the expiring beast. There are very few emcees who can survive in the unforgiving “music biz” without a stereotypical and gimmicky image.

Lupe manages—with great credibility—to prove that his musical endeavors are not driven by gimmicks, but intense lyricism, supreme storytelling and intelligent political discourse. “Food and Liquor” offers listening pleasure for the most critical Hip-Hop listener. From the highly cinematic strings that bless the “Intro” to the hard-hitting “Emperor’s Soundtrack,” you’re given the full array of musical possibilities.

The standout song of the album, “Daydream,” pairs Lupe Fiasco with soulful songstress Jill Scott, whose vocal efforts almost outdo Fiasco’s fire on this track. Lupe does, however, stake his claim as one of the best new lyricists around with songs like “The Instrumental,” where he masterfully describes society’s empty addiction to television and radio. Lupe writes “He just sits, and watches the people in the boxes / Everything he sees he absorbs and adopts it / He mimics and he mocks it / Really hates the box but he can’t remember how to stop it / So he continues to watch it.”

“Food and Liquor” is not the future of Hip-Hop, it is the past, present AND future of Hip-Hop. Lupe Fiasco brought us one of the best and well produced albums of 2006, and managed to give the “dying” industry a much-needed breath of fresh air.

1. “Daydreamin’”

2. “The Instrumental”

Since his first album release in 1992, Omar has created a portfolio of music that some of the most recognized artists of today would envy. His fourth album, “This is not a love song” released in 1997, is definitely one of his best collective pieces of work to date.

With a style characterized by a soulful, electric groove and a voice that has been termed “heavenly,” Omar is one of those rare artists who is able to take the listener mind traveling with him on his emotional music journey. There is an almost epic quality in standout track “Golden Brown” with keys, strings and vocals that complement each other with near perfect harmonic balance. On the more subtle, but very impressive, ‘Fallen’, Omar creates a head-trippy, heavy electric experience where it feels like the audience is falling in and out of clouds with him.

Deeper funk, head-nod, grooves include the title track, ‘This Is Not a Love Song’ and ‘Say Nothing’ with accented keys and deeper base. The tranquil love ballads, ‘World of You’ and ‘Lullaby,’ remind you that Omar’s romantic side is just as engaging. Omar’s versatility is truly unquestionable. There is an uncommon brilliance in Omar’s ability to create songs that evolve, morph and unfold as one listens. Subject matter as compelling as music quality make Omar’s “This is not a long song” an album we love and Omar an artist we love. by J. Green

1. “This Is Not A Love Song”

2. “Never Too Late”

The greatest injustice about The Roots’ “Game Theory” is the fact that Def Jam did little to no promotion for the album. How can hip-hop’s greatest label not try to push an album that epitomizes hip-hop from beginning to end?! Thoughts from a Black man ignited and excited over arguably one of the best albums of 2006- and one of the best Roots albums ever.

The move to Def Jam did not slow the creativity down at all for lead lyricist Black Thought, drummer ?uestlove and the crew as they invite the listener to a haunting 13 song opus that takes us to the greatest depths of despair and the greatest heights of hope. From dealing with politics on “Don’t Feel Right”, reflecting on growing up on “Long Time” (featuring a crazy verse from one-time State Property member Peedi Peedi) and even dealing with regrets and broken relationships on “Clock With No Hands”, The Roots provided as relevant an album as there was in 2006.

Last but certainly not least is “Can’t Stop This”, the moving tribute song dedicated to the late great J. Dilla. This album is not only a classic for Roots fans, but serves as a great introduction for new listeners. “Yeah it’s something in the water where I come from, they used to sing it on the corner yo where I come from, making something out of nothing, cause everybody fifty cent away from a quarter yo where I come from”; And with that I must say welcome back to the most prolific hip-hop band ever. It’s been a long time… by I. Ewell

1. “Game Theory”

2. “Clock With No Hands”

“The Healing” from Strange Fruit Project is an emotional, thoughtful, enjoyable and inspiring musical journey into the hearts and minds of this dynamic Houston based trio, Myone, Myth and S1. Continuing along the path of Little Brother’s, “The Minstrel Show” and De La Soul’s, “Grind Date”, “The Healing” represents the maturing of Hip Hop.

They further confirm that is okay for an emcee to speak about life, learning self, the responsibilities of adulthood, and the challenges of dealing with relationships. While your head bops to the feel good track, ‘Parachutes’, the hook affirms, “Feels good to know that though you’re falling down, you’re gonna land on your feet.” On ‘Rise’ featuring Little Brother, they emphatically urge the listener to, “Spread love instead of trying to be the enemy/y’all quick to kill/but slow to build/can’t a brother live/that’s why we follow Salaam/travel through hollow minds…just rise.” Through even a casual listen, it is evident that SFP carefully crated this album.

Beats, hooks and rhymes flow seemlessly creating a very enjoyable listening experience. The versatility of this group is proven from the soulful “Get Live” featuring Eryka Badu to the club-knocking “Soul Clap,” specially made to flaunt the bass in your trunk. SFP takes the listener to church on “Liberation,” a quiet standout and one of the album’s most spirited tracks. Its hard not to get goosebumps as the group explores self-discovery and the inner spiritual struggle toward liberation. ”

So what’s the definition of freedom, gold chains and fast cars, when God calls we can’t even keep ‘em…I seen a lot of soldiers fall victim, with a full clip but it only takes one shot to hit ‘em.” Strange Fruit Project is the dawning of the new era of MC’s for those of us that have grown up on Hip-Hop, but have actually also grown up. Trust, Strange Fruit Project is just getting started in making great music. They have given us a gem in “The Healing” and we believe it will only get better from here. by J. Green

1. “Get Live” Feat. Erykah Badu

2. “Parachutes”

The Roots have always been largely respected for the acumen of their live shows but they have hardly ever been accepted en masse for their studio work. For a brief period in the late 90’s this changed as Things Fall Apart played a big role in shifting attention from what was the reign of the jiggy era, with breakout single “You Got Me” winning that year’s Grammy for Best Rap Performance by a Duo or Group.

The album’s opening intro expressed frustration with an industry and audience that had come to treat Hip-Hop albums “as disposable, not maximized as product, not to mention art”. This could be considered somewhat of a concept album as everything from the music to the song titles (Step Into The Realm, The Next Movement, Dynamite, Adrenaline, Aint Sayin’ Nothin’ New, Don’t See Us) could be seen as attempts at raising the bar and taking the art to a higher level. The Roots managed to bridge what was then the mainstream and underground with features from Mos Def, Common and Erykah Badu on one side of the fence and Beanie Sigel and Eve on the other.

Although the topic material doesn’t stray very far from rapping about being the best MC and loving hip-hop, Black Thought has been one of the best at his craft for some time now. Devoted fans of the whole ensemble could consider Things Fall Apart the last “official” Roots album being that Dice Raw and Malik B haven’t played major roles on the mic since then. The Roots have always brought the open-minded audience to them without catering to whatever the market may have been calling for at the time.

1. “The Next Movement”

2. “You Got Me”

Voodoo is a well-known, yet highly misunderstood system of religious and ritual practices which originated in Western Africa. Though it is a legitimate religion taken very seriously by those who practice it, many look at it as a joke, or the illegitimate child of Satanism.

This is what makes D’Angelo’s second album “Voodoo” as prophetic an album title as they come. D’Angelo and the rest of the Soulquarians (comprised of ?uestlove, Talib Kweli, Common, Mos Def, James Poyser, Erykah Badu, D’Angelo, Q-Tip, J Dilla, Bilal) somehow found a way to conjure up the musical spirits of Jimi Hendrix, a young Smokey Robinson, Prince, and any other great classic soul artist, and pour their liquid soul all over the “Voodoo” project. They also found a way to evoke emotions with the instrumentation of this album. This album is, by far, one of the best composed and produced albums since the digital music age began, and D’Angelo has received two grammys to prove that.

During “Send It On,” the smooth horns dance carefully around an uber-relaxed bass-line that would make even the average music listener cringe in funky disgust. It’s not easy to create an album in which every note is completely relevant. Add one more guitar ad-lib, or take away one subtle echo of the piano–and the perfection of this masterpiece is compromised. Even the silent moments in some songs where the only sound is the lingering of a cymbal crash, the listener is taken on a very rare listening experience. This album is one of a rare perfection, in fact, according to ?uestlove, the Roots’ drummer, multiple male R&B singers had to go BACK to the studio to “step their game up” after hearing this album. by J. Grayson

1. “Send It On”

2. “Africa”

The Grind Date is not your typical De La album, but then again, what is? In an industry littered with one album wonders and short careers, De La Soul has managed to release their 7th album with as much (if not more) grace and fire power as their critically acclaimed debut, “Three Feet High and Rising.”

Grind Date is pure, unadulterated, concentrated fiyah from its slowly building opening track, ‘The Future’, to its climactic finale, ‘Rock Co Cane Flow’, featuring MF Doom.The amazing thing about The Grind Date is that any song on this album could be a standout. The innovativeness and lyrical dexterity exhibited on Rock Co Cane Flow will have the most discerning hiphop connoisseur clutching his head in disbelief.

‘It’s Like That’ boasts a smooth track with laid back rhymes and the heavy beat and cutting rhymes of ‘Days of Our Lives’ featuring Common further solidify De La’s lyrical versatility as a hard-hitting rap trio. On ‘Church,’ De La gets their message through without beating you over the head, “It’s not always good just to get by. Who’s coversing your stakes when you’re bent high. Chasin’ cars, clothes and rocks. Identify with the goods you got…I really don’t care to see your tattoos there. I’d rather see you graduate the school year.

Black folk go put a book in your face. But, first give the hook a taste, bring the the preacher in.” The mantra of the song’s chorus is very simple, “Let’s Heal.” The Grind Date represents De La’s most most commercially friendly and easily accessible album to date. The production is headnod flawless from beginning to end and the the lyrics do not miss a beat. For all of you eccentric De La followers of old, if it sounds like De La has attempted to go commercial, not to worry. Somehow, De La has managed again to change their style enough to remain fresh, and still maintain their unique D.A.I.S.Y. Age roots. Singly this is a great album. The combination of dope beats and dope rhymes makes this arguably one of the most well-produced hiphop albums of recent years. However, in the context of De La Soul’s collective and consistent genius over the past 20 years, the Grind Date is nothing short of amazing. by J. Green

1. Days of Our Lives