Reviews: Redman - Redman Gone Wild, Remy Martin - There's Something About Remy, Rhymefest - Blue Collar, Rick Ross - Port of Miami, The Roots - Game Theory, Shawnna - Block Music, Snoop Dogg - Tha Blue Carpet Treatment, T.I. - King, T-K.A.S.H. - Turf War Syndrome, Too Short - Blow the Whistle, Ying Yang Twins - Chemically Imbalanced, Young Dro - Best Thang Smokin

Ratings Scale: 100-90 A+/- Hater Proof 89-80 B+/- Heavy Rotation 79-70 C+/- It's You Money 69-60 D+/- Kazaa Anyone? 59-40 F - Use to Balance Tables Only!

Grade Breakdown: Lyrics: 15% Originality/Creativity: 25% Content: 15% Quality Percentage: 20% Production: 25% Skits/Bonus Cuts: 5%

Remy Martin - There's Something About Remy

Lyrics: B Content: D Production: B

Creativity: C- Quality %: C Bonus: N/A

Release Date: February 7th, 2006

I have read or seen Remy Martin in many an interview and although I usually disagree with her rhetoric on everything, I can respect her right to speak “hypocrisy to wisdom”. Ok its clear that Remy is the queen termagant of hip hop but this albums lyrical content will catch you off guard - trust me! Remy switches up personalities between taking on 3 guys for an orgy and shooting a gang full of guys invading her kitchen trying to steal some cooked crack from her. Every female gets a threat if they aint feeling her. Her rhythmic flow is actually nice and she has some Old Big Pun on here which is a plus. Ironically she is one of the few female mc’s who really probably writes her own stuff. In this case its probably more embarrassing than anything, and to think her child will hear here album one day soon if he hasn’t already. Consider she often brags that she hides nothing from him despite his age. Her SEXUALITY is oozing, she is a foul mouthed freak (not a diss to her), but not of the little Kim “femme fatale” type, but a different type of “dykish physical freak” personality that loves men. I respect the fact that she is “conceited" beyond comparison and I actually like that title track. I want people to hear this album but if so I suggest that you get the bootleg like me. I think people should all hear this stuff to see the changes happening in rap entertainment. Somehow due to the scaling of the playahata.com review scale this album didn’t get a D after the breakdown, but no way would I spend my money on art so negative and uninspiring, as at least 90% of the music on There's Something About Remy fits that description. However, for the first time I am curious as to what others think of it so hit me back if you want - Nuff Said.

Redman - Redman Gone Wild

Lyrics: B Content: C+ Production: B-

Creativity: A- Quality %: B- Bonus: N/A

Release Date: March 27th, 2007

It's been about 5 years since Redman's last album release, a time period that in rap music is an eternity. The constant inundation of listeners, many of them only adolescents, with new substandard "artist" as if they fell off a "how not to do Hip-hop" assembly line makes it hard for an artist who isn't releasing albums regularly or hasn't found some other way to keep themselves in the public eye, to maintain their "relevance" or at least commercial viability. Fortunately for Redman there are still some listeners out there who remember the 90's (and 80's) and a time when almost all commercial rap acts were not some manifestation of a criminal super-thug or pimp, archetype. Believe it or not there was a time when there were an array of characters and sounds on the rap scene and an artist like Redman could walk the a line that kept him as an outlandish MC, joker, and maybe a bit of a clown but not a minstrel (well not at least until he did that terrible, short lived sitcom on FOX with Method Man). Redman Gone Wild in many ways is a throwback to that period. 

Though the musical landscape has changed in the last 5 years from what I can tell Redman has not, and this is a good and refreshing thing. Because of Redman's unique sense of humor and lyrical wordplay the album shines most when he goes it alone. Tracks like the Pete Rock banger "Gimmie One", "Rite Now", and "Freestyle Freestyle" highlight Redman at his zany best." "Walk in Gutta" featuring Erick Sermon, Keith Murray, finds Redman getting the old Def Squad crew back together for one last mission like the "A-Team", though most of the album Redman is shouting "Gilla House" which is apparently his new crew association. It's a bit of a questionable association however as cuts like "Sumtn 4 Urrbody" and "Blow Treez" which feature some of Red's Gilla House mates fall flattest on my ears. The album is also a bit long featuring 20 actual tracks some of which could easily have been left on the cutting room floor, for instance "Mary Jane" which is about guess what - marijuana. I know Redman has always promoted himself as a big-time weed smoker but at this point in rap music I think I am going to try to get some legislation passed to prevent any more odes to Canibus from being recorded and released - such songs are long dead horses. I was also a bit disappointed that "Soopaman Luva 6" and "Soopaman Luva 6 ½" featuring the unbearable female MC and long time Redman cohort, Hurricane G manage to ruin the very successful franchise. Overall though Red Gone Wild is a solid release and vintage Redman, it's good to have him back recording and proving there is space to have fun, be funny, and not sacrifice your sound; the only question now is if after 5 years away, can a space can be carved out with new listeners.

No one has ever rolled a blunt and act a fool with the humor and rowdy energy of Redman. The playfulness of contemporaries like the more corporate savvy, image conscious Ludacris would seem impossible without the Brick City's "Funk Doctor" who appeared to have nailed the coffin of his career shut with the disappointing Malpractice 2000. "Red Gone Wild" intro "Fire" teases just right with Red dripping similes like a diarrheatic on a liquid diet. The Timbaland-produced "Put It Down" walks the line between being a soundtrack for frat parties bound break windows and mean muggin' rivals in clubs. "Wutchoogonnado" moves with the gutter feel Red's best in, though the hook's singer Melanie Rutherford seems too neo-soul and delicate for the terrain. "Rite Now" hits it dead on the mark with Al Green crooning in the background. Method Man and Ready Roc step up in the smoked out "Blow Treez". Never the one to let the love of weed go that easily, "Merry Jane" gives the topic a West Coast treatment with Snoop Dogg and Nate Dogg. Redman's old crew, the Def Squad, make a respectable appearance with members Erick Sermon and Keith Murray giving it up in "Walk In Gutta". Songs like "How U Like Dat" and "Bak Inda Buildin", are under the three minute mark and appear abbreviated and ready for a mix tape format. Nevertheless, "Red Gone Wild" is enough to suspect that hip hop is more than the 16 to twenty-something's game.

Rhymefest - Blue Collar

Lyrics: B Content: B+ Production: B-

Creativity: B Quality %: B- Bonus: N/A

Release Date: July 11th, 2006

Not many Hip-hop artist can say they had a Grammy (co-writer of "Jesus Walks") before they had an album; hell, not many Hip-hop artist can say they have a Grammy)! But Chicago's own Rhymefest, despite the mundane and somewhat corny name is not like many rappers. Clearly determined to be his own man both musically and as an artist Rhymefest chose not to use his deep connections to Kanye West to piggyback off of, in fact he's not even on West's label. Instead he's taken a grassroots, and in fact "Blue Collar" approach to his music and this album. The result is a noteworthy debut in which Rhymefest showcases all the benchmarks of a dope MC, superior lyrics and wordplay, relevant and thoughtful subject matter, great timing, and presence that makes him an irreplaceable part of each song. Another positive in addition to the aforementioned qualities is his ability to inject just enough humor into his verses that the audience "gets it" but he doesn't come off as a clown.

Blue Collar comes right out of the gate with "Dynomite" where Rhymefest showcases superior lyrical dexterity and wordplay over one of the albums most entertaining beats. It's a song that probably would have preferably been a single over the lackluster "Brand New", were it not for the fact that the latter song features "Kanye West". "Fever" uses slick sample by producer "No I.D." to create some Latin Flavored, radio-friendly, single material. "All I Do" reminds me of Jay-Z's "All I Need" in arrangement but it's a solid song all on it's own and "More" another track that features Kanye West is just ok, though if Rhymefest was looking for a single featuring West, this too probably would have been a better choice than "Brand New". There are not a lot of complete missteps on this album besides cuts like "Stick" which is reminiscent of the Ying Yang Twins, "Wait" and has the tempo of Busta Rhymes recent hit, "Touch It", and seems completely out of place on this LP. The true gems on this album are the songs that fashion Rhymefest as the down-to-earth, working class wordsmith that he is, as he describes on the album's first song, "Blue-collar rap, why I call it that?/Sh*t, I know more real n*ggas that U-Haul than haul crack". Cuts like "Bullet" which is like a rap version of TLC's "Waterfalls", the thoughtful tune "Sister", the all too relatable "Tell A Story" and the humorous "All Girls Cheat" are the tunes that will likely catapult this LP into one of the better Hip-hop albums released this year.

Rick Ross - Port of Miami

Lyrics: C Content: F Production: C+

Creativity: F Quality %: D Bonus: N/A

Release Date: August 8th, 2006

Rick Ross is a really humble and nice man. I am not saying that because he is a rather large and intimidating ex-football player but he really is from all personal accounts, a nice guy. I was up close to him once and somebody told me who he was, and he came off as somewhat sophisticated. His smash debut single “Hustlin’” is played everywhere and that is why his album has sold so nearly 200k units in its first week. "Hustlin" is played on radio and clubs though there is not too much difference in the formats anymore. It also sold thanks to rumors that label head Sean Carter a.k.a. Jay-Z was going to be rapping on it, which spawned a remix and building anticipation for Ross’ debut Port Of Miami. 

Unfortunately hype does not make an album good, in fact in this case it’s a major letdown considering the buzz. The buzz made it sell initially but once listeners really hear this album the sales will slow tremendously. Everything on the album is a fancy car, an automatic weapon, a drug sale or some sort of shallow or negative vice. There's absolutely no creativity on the album. I say the child hood of no person’s experiences is that bad. We already know from Trick Daddy that a bridge separates hyped up South Beach from his home of Port Of Miami. We know it can be rough. But this isn’t the voice for the impoverished and those who stay in the trap because that’s all they know. It's the machine pushing out music they think we should like, that's why the subject matter is all so narrow. In terms of presence, Ross' laid back flow contrast his rough, burly appearance and his stories. If you have the popular song "Hustlin" you don’t need to buy this album. Here in DC don’t be surprised if somebody puts it all to a go go beat and adds some relevant lyrics and makes a hit of it at his celebrity expense. Even on the "White House" track Ross says nothing worth listening to. I still like him personally but my job as a reviewer is to save you money and this is not an album you want to sail out of the port.

The Roots - Game Theory

Lyrics: B+ Content: A Production: B-

Creativity: A- Quality %: B- Bonus: N/A

Release Date: August 29th, 2006

Often regarded as the ambassadors of anti-bling rap and Hip-hop in it's truest form, The Roots over their career have always managed to stay true to what they do and lead by example, while making subtle and often indirect commentary on issues of more social weight. 2004's The Tipping Point, while one of their better albums in my opinion, was greeted somewhat suspiciously by long time Roots fans who may have felt that album was attempting too much commercial appeal. Whether such suspicions were actually based on something tangible is questionable but one thing that could be picked up from that album was that it offered decidedly more open social commentary then previous Roots releases. 2006's Game Theory in many ways keeps up in that vein though I don't think it's quite as strong as their previous release. 

Game Theory is a moody and brooding LP and it's apparent that the group was deeply affected by the recent death of Slum Village producer J-Dilla after a long painful bout with the disease Lupus. At times the LP wins with energy and even some open frustration with the current social and political scene as illustrated by tunes like "Don't Feel Right", "Living In A New World", and "In The Music". At other times it wins with superior groove crafting and timely guest appearances such as on "Long Time" which features Peedi Peedi (formerly Peedi Crack), and the title track "Game Theory" which features the return of long-time absent group member Malik B, though he's seemingly been away so long it's unclear whether fans will miss him. "False Media" is not that strong a cut but it's noteworthy being based around a reference to a line from a classic Public Enemy cut, and "Take It There" morphs from a mediocre tune into a bit of political prose back into a song. "Clock With No Hands" attempts to break some new talent in the form of Mercedes Martinez. Overall Game Theory is a solid addition to The Roots storied musical history. It doesn't feature many songs that completely miss the mark, though a few may have to grow on listeners. 

Shawnna - Block Music

Lyrics: C Content: D- Production: D

Creativity: F Quality %: F Bonus: N/A

Release Date: June 27th, 2006

If nothing else Shawnna’s sophomore LP, “Can’t Do It Like Me”, is a testament to just how bad things are in the music industry. Her 2004 debut didn’t offer much in terms of promise but there was hope that with an album under her belt maybe she would have more leeway to do her own thing. Unfortunately being that “thugged out bitch”, even if it’s only a character she’s playing is Shawnna’s “thing”. Listening to a second LP of Shawnna’s tales or drug dealing, gangster life, and hard living brought back memories of early 90’s rapper “Boss” who recorded as a rapping “gangstress” complete with shades and Cryp-like plaids. It would of course turn out that “Boss” was actually female who had a privileged upbringing and attended private school going up – Boss at least gave an indication of this on her album. Shawnna tells on herself another way, admitting on one “Damn” that her father was well off and she’s been rich she was 1, which may make since her father is the famed Blues guitarist Buddy Guy. 

But enough exposing of the inauthentic nature of Shawnna’s persona, I mean after all this is wrap, the WWF of all music. What you guys want to know is, if this album is any good. I can say with much confidence that it is NOT, even a little good. I may have developed an ear infection just listening to this album so I could review. I definitely made it my business to immediately delete if off of my computer after I was done reviewing it. In fact if it wasn’t for the less than mediocre and lewd nightclub success, “Getting Some (Head)” I don’t know if there would have been any interest in this LP from anyone else, much less myself. “Can’t Break Me” and “Ghetto Fairy Tale” are probably the only songs I found mildly interesting and even those are mostly a confused mix of ideas and sentiments. I’m not sure what Ludacris sees in Shawnna and why he’s chosen her to be promoted in the forefront of his DTP imprint but if Shawnna’s Block Music is anything other than the worst the label has to offer then our ears are in for many long nights to come. 

Snoop Dogg - The Blue Carpet Treatment

Lyrics: C+ Content: C+ Production: A

Creativity: B+ Quality %: A- Bonus: N/A

Release Date: November 21st, 2006

When Snoop Dogg debuted with 1993's Doggystyle all the stars were aligned for him. Death Row records was near it's apex, Dr. Dre was the most sought after producer on the west coast, if not all of rap music, and Snoop's flow and voice was a commodity all by itself despite the fact his lyrics have always been at best, average. Over more than a decade most of that winning formula changed including Snoop exiting Death Row records and at many times, Dr. Dre's production expertise. It was starting around that point that Snoop's shortcomings as an artist became more apparent at least to me and I seriously wondered whether Snoop would ever really make another good, or at least memorable, album. With Tha Blue Carpet Treatment Snoop answers anybody harboring such questions as it is his personal tour de force, and I would argue hands down his best album. 

Marked by excellent and diverse production and choc-full of guest appearances, Tha Blue Carpet Treatment plays like a tribute album as Snoop pulls out all the stops with contributors ranging from predictable West coast household names such as Nate Dogg, Kurupt, and The Game to Damian "Junior Gong" Marley, and Stevie Wonder. The album is a bit long but going when going back through there aren't that many songs you would make a case for leaving off the LP. After George Clinton explains the "Intrology" to listeners "Think About It" presents a perfect groove for some of Snoop's most melodic flows. "Vato" featuring "B-Real" on the hook and the boards urges Black and Brown unity in a roundabout kind of way meanwhile "Gangbangn 101" featuring The Game displays some Crip/Blood love. "That's That Sh!+" is the, now rare, useful R.Kelly appearance on a rap album.  Damian Marley barely offers a hook on "Get a Light" but the cut is a standout. Akon offers the first of two guest appearances on this LP on "Boss' Life", but I actually like this cut. It isn't until we've passed a full album worth of songs by normal album standards that a couple of the cuts start getting a little suspect but it seems each near miss is followed by a bulls-eye. For instance I might want to skip a cut like "A Bitch I Knew" but you won't want to miss "Like This". In the same way "Don't Stop" might not hold your attention but you won't want to miss "Imagine" featuring the reclusive D'Angelo and Dr. Dre on the mic, thinking what life would be like without Hip-Hop. Tha Blue Carpet Treatment features Snoop returning to a grittier sound, but the album is introspective when it needs to be and still maintains Snoop's commercial appeal. It's a "Gangsta party" and a celebration of his entire career where almost everyone is invited (maybe not self-respecting ladies, but I did say almost everyone), Snoop even makes a song for the children he coaches in his football league, "Beat Up on Yo Pads", though if the parental advisory sticker holds true that should be about the only song on this album they should hear.

T.I. - King

Lyrics: C Content: D Production: C

Creativity: C- Quality %: D Bonus: N/A

Release Date: March 28th, 2006

Since his major label debut Trap MuzIk in 2003. Atlanta's T.I. has been quite busy making himself a household name. Touted by some, including himself, as the "Jay-Z of the South", T.I. has parlayed his musical endeavors into a budding record label, an major acting roll in the movie ATL, and prominent TV billing at various music and non-music related events. The success of his first two albums, in terms of the music's palatability as well as it's commercial viability, left fans clamoring for more, and though I wouldn't quite call myself a fan I did like T.T.'s first 2 offerings (could have something to do with them being recorded at basically the same time due to an impending jail sentence) and was at least intrigued by what his 3rd LP, King, would bring. 

Unfortunately it seems that all the non-music distractions have taken there toll on T.I. for this album as King marks a substantial decline from his previous 2 efforts. Gone is the understated wittiness, occasional introspection, punctuated with a Southern swagger that characterized 2003's Trap Muzik and 2004's Urban Legend. In it's place is that certain laziness of idea and content that usually manifest itself in the repetitive and easily remembered, hooks and mediocre to weak lyrics ever present in today's rap music. And where previously while T.I. togged a lot about dealing drugs there was at least some cautionary material about the drug game, this album hardly features any such talk. Take for instance the song "I'm Straight" which features T.I. indicating that if he loses music he'll just go back to selling drugs; this is of course the same T.I. that claims to be a "7-time felon". Hands down "What You Know" and "Why You Wanna" are the best songs on the album and I don't think it's a coincidence that those were the first two singles released.  Overall instead of staking claim to being Southern royalty, King finds T.I. falling back into the pack of common rap peasants. 

T-K.A.S.H. - Turf War Syndrome

Lyrics: B+ Content: A+ Production: C+

Creativity: B Quality %: B+ Bonus: N/A

Release Date: March 21st, 2006

After sharpening his skills and raising his profile on several Bay Area Hip-hop projects, including several albums by "The Coup", T.-K.A.S.H. has finally released his debut offering, Turf War Syndrome. A product of the Guerrilla Funk camp and mostly produced by fellow firebrand MC and industry veteran Paris, Turf War Syndrome's subject matter comes from the same school of thought. A school of thought we're Hip-hop is not just a financial hustle where promoting any form of ignorance is par for the course, but one where Hip-hop is a soundtrack to truth and positive social change - I guess that's the origin of the "hard truth soldiers" moniker that attaches itself to any artist coming out of Paris' camp. 

Syndrome comes right out the gate with 2 of the albums best tracks, "American Nightmare and "Made in America", the latter of which reminds me of a something Easy Mo Bee might have produced for the late Tupac Shakur, though T-K.A.S.H's political perspectives are clearly far more developed than anything Tupac ever exhibited. These cuts immediately precede "In My Drawz", a cut with a true West Coast vibe, that had to grow on me a little but eventually became one of my favorite songs on the album. "How to Get Ass (Assassinated)" is another personal favorite of mine, though it's a rather strange "how to guide". The LP despite some uneven moments is kept solid by songs like "Louder Than Words" and "Stay Away", which attempts to answer attempts by people not from "the hood" to glamorize and romanticize ghetto life. Overall Turf War Syndrome is a solid LP and only made better by the independent and uncensored route it's gone through to get to the people. As an artist T-K.A.S.H has a lot to say and is pretty skilled at saying it. His flow is reminiscent of a mixture of Paris and Boots Riley from The Coup; it's a little less fiery than Paris but a little more lyrical, and not quite as lyrical as Boots Riley but not as laid back either. In my opinion he T-K.A.S.H is another underground artist to watch out for, with the kind of subject matter that the industry wants to keep underground, but he'll need to do more to establish his identity as his voice and delivery remind me a little too much of Paris.

Too Short - Blow The Whistle

Lyrics: D Content: F Production: F

Creativity: F Quality %: F Bonus: N/A

Release Date: February 28th, 2006

Too Short probably put this album out on market simply to try and make a little money, as he obviously put very little effort into it. This is without question the worst album that Too Short has ever made. It may put his legacy in questionable territory. I like his voice and flow but on this album he has repetitive dialogue and repetitive beats that are hard to tell apart. He has too much poorly produced material. I know that Too Short is a foul mouthed Oakland boy and he is not going to be penalized for that and this is album number 16 for him so you know what is in store in terms of content. I thought it was just me until I checked the comments on an I-tunes review site of this Too Short album and his base was killing him also. They turned on him faster than conservatives turned on Bush. One person asked “what happens when you mix crunk and west coast = a disaster.” Another comment was “Too Short came way too Short, please retire.” I wont repeat anymore as not to embarrass him. In short (pun intended) there is very little musical value here and the overall effort is an insult to true music fans. Here is the part where I call everyone's credit card company to immediately stop payment on this CD. It’s not worth it for even the die hard Too Short fans. 

Ying Yang Twins - Chemically Imbalanced

Lyrics: C Content: D- Production: C

Creativity: D Quality %: D- Bonus: N/A

Release Date: November 28th, 2006

The Minstrel Twins are trying to grow up and let people know they are proud blacks. Kaine and D-roc accept their niche as the kings of ho-hop. This is strip club music nothing more. The niche they fill for some is real because they move units but they are not capable of much more. As if being popularly known as peripherals to Lil’ Jon and Britney Spears didn’t tarnish their lyrical credibility, the amount of filler on their last release U.S.A. (United State of Atlanta) didn’t help, despite the hit singles.

Meanwhile, the aptly named Chemically Imbalanced stays true the pattern. The album is formally split into two halves and, thanks to the wobbly quality, feels like separate pieces haphazardly glued together by Patrón and sticky icky. The first half, devoted to the group’s tried and true strip joint Crunk, is bolstered by the kind of club tunes that established the duo as commercial players. The other half a mixed bag of new sounds filtered through the multicolored, blunt-funked lens. Though musically more complex, it’s still heavily influenced by the raucous Crunk sound. More than half of the album, mostly produced by longtime producer Mr. Collipark, sounds so typical (club tracks about booty, sex, liquor and partying) that you might be ready to give up early. At this point we're all ready to see something more from the Ying Yang Twins, but they have to want more from themselves. Wyclef and Wonda’s influence is promising, but a little off-target when it comes down to it. The pair reach an apex on the “Leave” which indulges Jean’s love for Latin rhythms, and “Friday,” a track extended by Jean’s guitar pyrotechnics and a Wonda bass solo. Evoking early-era Outkast, the group plus Jean and Wonda offer some compelling instrumentation and song craft to accompany the southern rap clichés, but it’s still mostly the same stuff at heart. Simply, Chemically Imbalanced is less fun than U.S.A. (United State of Atlanta). It’s no small wonder it was so easy to miss and nobody is asking when is the next album coming.

Overall: D :Review by Ooh Papi

Young Dro - Best Thang Smokin

Lyrics: B- Content: D Production: C

Creativity: F Quality %: D Bonus: N/A

Release Date: August 29th, 2006

I have yet to meet the consumers who purchase Young Dro’s music. Outside of the club-banger –“Shoulder Lean” with T.I., its slim pickings to recognize his music. This 27-year-old rapper narrates his life from poverty to falling prey to dead-end recording deals to obtaining his dreams of becoming a rap "star". But when one of your best friends is T.I. it can’t be too hard to get a deal and when you are the middle seven of his fathers 21 children, it's no wonder Dro sings about growing up in poverty. The reality is that at the age of 16, he was shot in the stomach and the back and required almost a year to recover. Dro says of the incident “I had to wear a bag for like a year…I was traumatized from that. I couldn’t laugh. I couldn’t walk or nothing. He is obviously over the trauma of it all because he does use violence as an entertainment vehicle. I assumed his lyrical wordplay was a little bit more advanced than it is since he cites influences from a variety of different artist like Ghostface, Raekwon, Nas, Biggie, N.W.A., Kilo, Hot Boys…Baby , 8-Ball and MJG, UGK. He should have said T.I. because he sounds a little too much like him. He is still new to this rap music field as a performer but says he's been around since Kris Kross, who in fact made him really want to start doing music. In short he is still young enough to be naïve and old enough to know better. He has a lot of potential but right now he is working through it. In the meantime I am taking this album back to the store until he recognizes it.