Urban Music Reviews

GRADE: A–

The phrase “concept album” has always left an uneasy feeling in the stomachs of Hip Hoppers. Since the late 80’s, rappers have tried (and almost always failed) to create truly interesting albums that follow closely on one theme. Then, in late 2007, Lupe Fiasco’s mentor Jay-Z did the unthinkable. Jigga released one of his best albums ever, the concept project “American Gangster.”

The comparison between Lupe Fiasco’s The Cool and Jay-Z’s Gangster is not as much of a stretch as it may seem. Sonically, both albums find a similar place in your eardrums. The grand orchestration, heavy use of pianos and dense drums that stir up feelings of a lost era in east coast hip hop are equally present in both. As well are the intricate rhyme patterns and complex verbiage that the two emcees have become known for. With so much in common, it’s ironic that Lupe’s concept is almost an exact opposition to Jay-Z’s.

There is nothing Gangster about The Cool. If anything, the album’s confusing and almost nonsensical concept was developed to persuade listeners away from the trappings of the “trap house.” The concept itself has something to do with the character Lupe developed in his debut album on the song titled “The Cool.” Then there is also something about a rotting hand and Alexander the Great and some other stuff that will probably never make sense to anyone but Lupe Fiasco. That being said, Lupe is an exceptionally clever artist. On “Gotta Eat” he manages to develop a thought provoking metaphor from a cheeseburger and somehow not sound totally ridiculous.

The concept for this album may be all over the place, but unlike many albums of this nature, his execution is flawless. The album will not resonate with all listeners, but it doesn’t need to. It doesn’t strive to fit in or appeal to the masses. Lupe Fiasco’s The Cool is art in it’s purest form… and isn’t that what music needs right now?

GRADE: B+

Ghostface Killah resurfaces in familiar form with The Big Doe Rehab. The album finds the Wu-Tang Clan’s golden child back in his comfort zone.

Be warned, if you were never a Ghostface Killah fan, The Big Doe Rehab will not change your mind. Ghost is a creature of habit and every track on this album would fit comfortably on any of his previous 6 efforts. Predictable collaborations with Wu members (Method Man and Raekwon) are solid as always, as are his off-the-wall and borderline abstract lyrics. But sometimes, when something is not broke, its best to leave it alone.

The album opens with a Latin flavored skit, in the style of an old Scarface outtake, which does its job of setting the stage for a violent, chaotic and tumultuous ride. From there, we are thrown directly into the belly of the beast with the exceptional “Toney Sigel” feat Beanie Sigel. From there, its back to the classic Ghostface tracks that we have grown to love. Explicit storytelling laced with obscure and downright odd metaphors (”shots blow through your meatloaf and lace ya back, turn you over like a pancake and take your gat”) dominate the album. He closes with one of his strongest closing tracks yet, the foreboding yet mildly comical “Slow Down.”

Ghost’s style, which was truly developed on Ironman and Built Only For Cuban Linx, finally saw itself perfected on his 2006 masterpiece, Fishscale. Now, armed with a winning formula, he is able to give his fans exactly what they want and expect: absurd, witty and almost deranged lyrics over 70’s samples that only Ghostface Killah can deliver.

GRADE: A–

The Queen of Hip Hop Soul is top form. In a time where new, generic, cookie cutter R&B artists are appearing (then quickly disappearing) every other week, it’s refreshing to see urban music’s favorite underdog finally getting the pop props she deserves.

Both vocally and lyrically, Mary J. impresses on Growing Pains. Though not quite as dynamic as 2005’s The Breakthrough, it is equally as genuine and enjoyable. “Hurt Again” and “Fade Away” are stand outs that may cause few involuntary taps of the replay button. While “Grown Woman” and “Till The Morning” will remind you that she still has the swagger that made you fall in love with her in the 90’s. The album ends in grand style with the impressive and appropriate closing track “Come to Me (Peace).”

Since 1999’s Mary, Mary J. Blige has progressively moved closer and closer to the world of pop. Growing Pains is her biggest step yet. Fortunately, it works. She is right at home in her long overdue fame and she maintains enough credibility and style to satisfy even her most hardcore What’s The 411? fanatics. Not much more can be said about the new and improved Mary, other than, its’ a good look.