REVIEW **NEW**

The essence of a strong debut is something an artist will never fully be able to recapture. Despite how much we may want them to evoke the same feelings we may have felt when we heard their album for the first time, things are never quite the same on the next outing. For Foxy Brown, her strong debut and what occurred to her because of it, is a testament to the adage "Fuck the game, don't let the game fuck you".

Her much discussed off stage problems [drugs, attempted suicide], led to an album that returns the "ill na na" to her roots. "Broken Silence" is a collection of hard tracks, tight production, and introspective lyrics. "The letter" is a heartfelt apology to her loved ones for all she had put them through in light of her stardom. "Tables will turn", "Run Dem" and "Oh Yeah" are all "ill" reggae vibing tracks. The latter of these songs is sure to be a requisite hit and head bobber. The other single "B.K. Anthem", is absolutely sick with its rawness and is a definite standout on the album. Other notables: "730", So Hot" and "Candy w/ Kelis".

As is obvious from this reviewer's perspective, the album is loaded with great songs cementing Foxy Brown's return. Hopefully she is able to sustain the same "back to the street" groove that the album evokes, and for her own sake and career, this Fox does not return to old habits.

The West Coast rhyme warrior and Dogg Pound gangsta Kurupt takes a step toward debunking one of hip-hop's myths: that smoking weed is sinister and aggressive. The music is loose and liquid - the trippy, aired-out grooves feel like G-funk at zero gravity - and Kurupt name-checks both the mind-expansion theories of Timothy Leary and the healing-of-the-nations stances of Bob Marley. "Blast Off" muses on taking blacks to a planet that will "affect their vibrations, for the better, of course"; "It's Over" challenges other MC's to concede being in the game; the Everlast-assisted "Kuruption" paints world government as a robotic, Borglike entity. The album isn't all escapism and big-picture ruminations, though. The hallmarks of gangsta shit abound, including copious servings of chest beating ("The Hardest Mutha Fuckas"), bitch-ass nigga threatening ("On, Onsite," "Gangsta's") and ho bashing (sprinkled in just about every verse). In Kurupt's world, the truth is out there somewhere, but gangstas, bitches and ho's are ill around the corner.

When you think of maybe the most powerful click in hip-hop, you think of the Ruff Ryders. Up to this point they have been carried by the world famous DMX, Eve, and a list of others. But now we are seeing the uprising of Jadakiss. Through his work with the LOX, and many freestyles and cameos, he has propelled himself to the next level. ‘Kiss The Game Goodbye’ is his first solo project, and will meet up to its’ expectations. With its’ hard but catchy production and Jada’s signature flow, how can he be denied?

It seems as if Jadakiss has figured out the formula that the most can’t. There is something for everyone on this album. With tracks like “Show Discipline” which features Nas, and “None Of Ya’ll Betta” with Sheek and Styles, Jada stays true to the streets and the mixtape junkies that have been a major part of his fan base since 96’. But through his experience in the industry, he now understands that he has to produce something for the radio, and for the club, and even for that shorty on the Westside that loves that east coast flava, but would love to hear him rock over a Dre track. Well, that’s what he did. “Crusin” featuring Snoop might be the best all around song on this album. With its’ bangin ass drum pattern, a beautiful piano sample, and a hook that will keep everyone screaming “I wonna”, you gotta love it.

Now, that’s just a couple cuts that Jada has in store for us. The Ruff Ryder crews combined on “It’s Time I See You”, and believe me; the R-and-R is as strong as ever. The NYC has been all over this summers mixtape killa “We Gon’ Make It” featuring Styles and “Knock

Yourself Out”, produced by the Neptunes, is setting fire to the clubs. “Un-Hunh” featuring DMX is a pretty serious track, that due to some leakage, is causing a great deal of beef in the NYC because of a comment or two in the direction of other artist. For instance, Jada shouts, “I had to stop eating red meat, because I ate too many Beanie Macs.” Now, that would be enough to make me upset.

So, if you think that Jada has made a little noise with “Put Your Hands Up”, you’ve got a treat headed your way. This album is full of hits. It’s no wonder he has already released three single before the drop date, he’s got about six more left. And that’s not including a remix or two. August 7th is right around the corner, so get ready to Kiss, The Game, as we know it, Goodbye.

O.C. is quite possibly one of the best emcees to have ever lived, and he’d likely be one of the last people that anyone would want to contend in a battle. His voice, tinged with an unmistakable tone of wisdom, commands one to listen. Unfortunately, O.C.’s musical career has not been quite as moving as his skills. In the early 90’s he exploded upon the underground scene with his classic, poignant diatribe of the materialistic rap life in “Time’s Up.” With it’s gritty bassline, uptempo beat and quotable rhymes “Time’s Up” was instantly marked as a diamond in the rough, in the process catapulting O.C. to the forefront of respected emcees. However, on his sophomore release, Jewelz, O.C. seemed a hypocrite through his glamorization of the ‘high life’ and material things, thus alienating many of his die-hard fans.

Thematically Bon Appetit is very similar to Jewelz, and on the surface it may seem that O.C. has once again abandoned the ideals he set forth on “Time’s Up” and throughout Word…Life. But when you immerse yourself in Bon Appetit it becomes clear that O.C. has not become obsessed with materialism, but rather that he is only cloaking his sermons under a flashy “platinum and diamond encrusted” veil.

In many ways Bon Appetit, possibly with the exception of his D.I.T.C. work, is O.C.’s best material to date. “Bonafied” featuring Jay-Z has ‘hit’ written all over it, if only it were to receive the exposure it deserves. Jay-Z’s smooth contribution on the hook is sure to bring a smile to anyone’s face, one that will only broaden when they hear O.C. spit rhymes like: “Yo, I try to live my life right/Earth is like the tree of life/Tempted by the forbidden fruit of my face, I want to take a bite of it/It looks sweet, making my mouth water/ then I thought of a foul thought of filming somebody daughter on camcorder.” Never one afraid to experiment, O.C. successfully navigates a deceptively complex word association rhyme pattern over a funk-laden track on “Back to Cali.” Buckwild of D.I.T.C. handles the vast majority of production and as always does an admirable job, particularly on “Soul to Keep” and “Respect tha Drop.” On the latter O.C. spins a vivid tale of being mugged and wisely choosing to give up the goods rather than his life. “Weed & Drinks” pairs O.C. with A.G. for a horn laced party joint that will likely be a favourite for some time to come.

Although Bon Appetit is exceptional it is not without its holes. Sadly, some of the great producers that O.C. has worked with in the past like DJ Premier, Showbiz and Organized Konfusion (O.K.) do not make any contributions. Gone too are the terrific guest spots by D.I.T.C. brethren (other than A.G.), O.K., and Freddie Foxx. Lastly, although Bon Appetit is more cohesive than O.C.’s last album it lacks the presence of a classic to stand the test of time such as “Time’s Up” or “My World.” But all in all this is a very solid release and well worth having.

The conversational style of rhyming in hip-hop seems to have been pushed by the wayside and that's exactly where Roxbury, MA native Ed OG likes to chill. The Truth Hurts, Ed's third album comes at you like the words of a frustrated homie trying to cope with everyday life.

"Sayin' Somethin'" produced by famed beat master DJ Premier starts off melodic then slips into hardcore heaven. Ed rides Primo's chopped drum patterns, piano tunes and weighted basslines like a champ, offering many a wise quotable, "Either everything is working/or you working for everything." Always ready with a strong message at hand, (like 1991's "Be A Father To Your Child") Ed addresses the problems of being a baby's daddy not romanticaly involved with the baby's mother on "Just Because." BET's 106th & Park host, Free, laces the female's perspective with a impressive performance.

Even with times being tough for a young black male, Ed finds "Too Much To Live Fo'." On the breezy melody of a flute lead track, the lyrics Ed spits are as introspective for hard headed hoods as any preachers sermon, "Why haters want to see us bleed/While me and my crew got mouths to feed."

The overall laid back yet rugged feeling of this album stays consistent through out the 14 tracks, however, this is rare for an album that boasts 12 different producers (including Pete Rock and DJ Spinna). EDO.G may have stepped away from the spotlight for a few years, but The Truth Hurts shows that he still 'gotta to have it...the mic that is.

With overwhelming popularity and global acceptance, Hip Hop music has evolve to worldwide entity. Discovering that first class countries like England, France to Germany, Hip Hop has presented a everlasting benchmark for music listeners and audience. This holds truth with the band called " Raptile" hailing from Germany. The album is tilted "Da Basilik's Eye". This group is comprised of DJ Roger Reckless and young lyricists Addis Mussa.

The group sound is subsequently underground and unlikely would receive an ounce of American Radio play. Although they emphasize a throw back sound that involves the kinetic essentials of scratching and innovative samples through there universal album. Which is widely reminiscent of the style of Gang Starr with a touch of Black Starr.

Some of the imminent of creative tracks on the LP would be "My Style is Free", the energetic " Microphone Igniter ". In addition, there assisted by Canada's Own Raszkals on the the track "Transatlantic Partnership", which is arguably highlighting anthem to this duo's release.

Not surprisingly the album does contain few notable casualties. You may begin, suggesting that " Da Basilisk 's Eye " is very repetitive in sound and direction is plain . With tracks like "Times Change" and "Livin Right" the lackluster featured vocalists create awful collaboration, where professional singing lesson should be a future priority.

Raptile's production and talent was never in question in there latest musical venture. However, before any progression is made, a structured formula or guidance is definitely needed to perhaps elevate there sound to North America or even worldwide.


	HOMEBOYZ PROD.. -- CUSTOM CD'S ON SALE NOW! \| home GUEST BOOK \| CUSTOM MADE CD's ON SALE NOW!!! \| SISTA GIRL UPDATED 03/14/02 \| WHO KILLED TUPAC ? \| HONEY OF THE WEEK \| THINGS PEOPLE DO TO GET YOUR VOTES! \| TOP 20 RAP CD'S \| TOP 20 R&B/SOUL CD'S \| HOT OFF THE PRESS UPDATED 03/04/02 \| REVIEW NEW \| HIP HOP HISTORY \| HIP-HOP 101 \| HIP HOP REVIEWS \| ON THE WIRE UPDATED 03/04/02 \| ALICIA KEYS - FIVE GRAMMY \| THE 411 \| * OFF THE HOOK * \| MORE INFO: \| NATE DOGG \| HOMEBOYZ HISTORY \| CONTACT US \| WEDDING SONGS REVIEW NEW The essence of a strong debut is something an artist will never fully be able to recapture. Despite how much we may want them to evoke the same feelings we may have felt when we heard their album for the first time, things are never quite the same on the next outing. For Foxy Brown, her strong debut and what occurred to her because of it, is a testament to the adage "Fuck the game, don't let the game fuck you". Her much discussed off stage problems [drugs, attempted suicide], led to an album that returns the "ill na na" to her roots. "Broken Silence" is a collection of hard tracks, tight production, and introspective lyrics. "The letter" is a heartfelt apology to her loved ones for all she had put them through in light of her stardom. "Tables will turn", "Run Dem" and "Oh Yeah" are all "ill" reggae vibing tracks. The latter of these songs is sure to be a requisite hit and head bobber. The other single "B.K. Anthem", is absolutely sick with its rawness and is a definite standout on the album. Other notables: "730", So Hot" and "Candy w/ Kelis". As is obvious from this reviewer's perspective, the album is loaded with great songs cementing Foxy Brown's return. Hopefully she is able to sustain the same "back to the street" groove that the album evokes, and for her own sake and career, this Fox does not return to old habits. Kurupt of Dogg Pound fame assaults your ears with his new album "Space Boogie: Smoke Oddessey". The album contains the likes of Dogg Pound alumni - Snoop Dogg, Nate Dogg and Daz Dillenger; as well as X-zibit, Everlast, and Fred Durst. The West Coast rhyme warrior and Dogg Pound gangsta Kurupt takes a step toward debunking one of hip-hop's myths: that smoking weed is sinister and aggressive. The music is loose and liquid - the trippy, aired-out grooves feel like G-funk at zero gravity - and Kurupt name-checks both the mind-expansion theories of Timothy Leary and the healing-of-the-nations stances of Bob Marley. "Blast Off" muses on taking blacks to a planet that will "affect their vibrations, for the better, of course"; "It's Over" challenges other MC's to concede being in the game; the Everlast-assisted "Kuruption" paints world government as a robotic, Borglike entity. The album isn't all escapism and big-picture ruminations, though. The hallmarks of gangsta shit abound, including copious servings of chest beating ("The Hardest Mutha Fuckas"), bitch-ass nigga threatening ("On, Onsite," "Gangsta's") and ho bashing (sprinkled in just about every verse). In Kurupt's world, the truth is out there somewhere, but gangstas, bitches and ho's are ill around the corner. What this all boils down to is a bass heavin', West Coast lovin', Dogg Pound sounding album. All the guests are present, the sound is similar, and the themes are the same. If your in the dogghouse, your loving this album. When you think of maybe the most powerful click in hip-hop, you think of the Ruff Ryders. Up to this point they have been carried by the world famous DMX, Eve, and a list of others. But now we are seeing the uprising of Jadakiss. Through his work with the LOX, and many freestyles and cameos, he has propelled himself to the next level. ‘Kiss The Game Goodbye’ is his first solo project, and will meet up to its’ expectations. With its’ hard but catchy production and Jada’s signature flow, how can he be denied? It seems as if Jadakiss has figured out the formula that the most can’t. There is something for everyone on this album. With tracks like “Show Discipline” which features Nas, and “None Of Ya’ll Betta” with Sheek and Styles, Jada stays true to the streets and the mixtape junkies that have been a major part of his fan base since 96’. But through his experience in the industry, he now understands that he has to produce something for the radio, and for the club, and even for that shorty on the Westside that loves that east coast flava, but would love to hear him rock over a Dre track. Well, that’s what he did. “Crusin” featuring Snoop might be the best all around song on this album. With its’ bangin ass drum pattern, a beautiful piano sample, and a hook that will keep everyone screaming “I wonna”, you gotta love it. Now, that’s just a couple cuts that Jada has in store for us. The Ruff Ryder crews combined on “It’s Time I See You”, and believe me; the R-and-R is as strong as ever. The NYC has been all over this summers mixtape killa “We Gon’ Make It” featuring Styles and “Knock Yourself Out”, produced by the Neptunes, is setting fire to the clubs. “Un-Hunh” featuring DMX is a pretty serious track, that due to some leakage, is causing a great deal of beef in the NYC because of a comment or two in the direction of other artist. For instance, Jada shouts, “I had to stop eating red meat, because I ate too many Beanie Macs.” Now, that would be enough to make me upset. So, if you think that Jada has made a little noise with “Put Your Hands Up”, you’ve got a treat headed your way. This album is full of hits. It’s no wonder he has already released three single before the drop date, he’s got about six more left. And that’s not including a remix or two. August 7th is right around the corner, so get ready to Kiss, The Game, as we know it, Goodbye. O.C. is quite possibly one of the best emcees to have ever lived, and he’d likely be one of the last people that anyone would want to contend in a battle. His voice, tinged with an unmistakable tone of wisdom, commands one to listen. Unfortunately, O.C.’s musical career has not been quite as moving as his skills. In the early 90’s he exploded upon the underground scene with his classic, poignant diatribe of the materialistic rap life in “Time’s Up.” With it’s gritty bassline, uptempo beat and quotable rhymes “Time’s Up” was instantly marked as a diamond in the rough, in the process catapulting O.C. to the forefront of respected emcees. However, on his sophomore release, Jewelz, O.C. seemed a hypocrite through his glamorization of the ‘high life’ and material things, thus alienating many of his die-hard fans. Thematically Bon Appetit is very similar to Jewelz, and on the surface it may seem that O.C. has once again abandoned the ideals he set forth on “Time’s Up” and throughout Word…Life. But when you immerse yourself in Bon Appetit it becomes clear that O.C. has not become obsessed with materialism, but rather that he is only cloaking his sermons under a flashy “platinum and diamond encrusted” veil. In many ways Bon Appetit, possibly with the exception of his D.I.T.C. work, is O.C.’s best material to date. “Bonafied” featuring Jay-Z has ‘hit’ written all over it, if only it were to receive the exposure it deserves. Jay-Z’s smooth contribution on the hook is sure to bring a smile to anyone’s face, one that will only broaden when they hear O.C. spit rhymes like: “Yo, I try to live my life right/Earth is like the tree of life/Tempted by the forbidden fruit of my face, I want to take a bite of it/It looks sweet, making my mouth water/ then I thought of a foul thought of filming somebody daughter on camcorder.” Never one afraid to experiment, O.C. successfully navigates a deceptively complex word association rhyme pattern over a funk-laden track on “Back to Cali.” Buckwild of D.I.T.C. handles the vast majority of production and as always does an admirable job, particularly on “Soul to Keep” and “Respect tha Drop.” On the latter O.C. spins a vivid tale of being mugged and wisely choosing to give up the goods rather than his life. “Weed & Drinks” pairs O.C. with A.G. for a horn laced party joint that will likely be a favourite for some time to come. Although Bon Appetit is exceptional it is not without its holes. Sadly, some of the great producers that O.C. has worked with in the past like DJ Premier, Showbiz and Organized Konfusion (O.K.) do not make any contributions. Gone too are the terrific guest spots by D.I.T.C. brethren (other than A.G.), O.K., and Freddie Foxx. Lastly, although Bon Appetit is more cohesive than O.C.’s last album it lacks the presence of a classic to stand the test of time such as “Time’s Up” or “My World.” But all in all this is a very solid release and well worth having. The conversational style of rhyming in hip-hop seems to have been pushed by the wayside and that's exactly where Roxbury, MA native Ed OG likes to chill. The Truth Hurts, Ed's third album comes at you like the words of a frustrated homie trying to cope with everyday life. "Sayin' Somethin'" produced by famed beat master DJ Premier starts off melodic then slips into hardcore heaven. Ed rides Primo's chopped drum patterns, piano tunes and weighted basslines like a champ, offering many a wise quotable, "Either everything is working/or you working for everything." Always ready with a strong message at hand, (like 1991's "Be A Father To Your Child") Ed addresses the problems of being a baby's daddy not romanticaly involved with the baby's mother on "Just Because." BET's 106th & Park host, Free, laces the female's perspective with a impressive performance. Even with times being tough for a young black male, Ed finds "Too Much To Live Fo'." On the breezy melody of a flute lead track, the lyrics Ed spits are as introspective for hard headed hoods as any preachers sermon, "Why haters want to see us bleed/While me and my crew got mouths to feed." The overall laid back yet rugged feeling of this album stays consistent through out the 14 tracks, however, this is rare for an album that boasts 12 different producers (including Pete Rock and DJ Spinna). EDO.G may have stepped away from the spotlight for a few years, but The Truth Hurts shows that he still 'gotta to have it...the mic that is. With overwhelming popularity and global acceptance, Hip Hop music has evolve to worldwide entity. Discovering that first class countries like England, France to Germany, Hip Hop has presented a everlasting benchmark for music listeners and audience. This holds truth with the band called " Raptile" hailing from Germany. The album is tilted "Da Basilik's Eye". This group is comprised of DJ Roger Reckless and young lyricists Addis Mussa. The group sound is subsequently underground and unlikely would receive an ounce of American Radio play. Although they emphasize a throw back sound that involves the kinetic essentials of scratching and innovative samples through there universal album. Which is widely reminiscent of the style of Gang Starr with a touch of Black Starr. Some of the imminent of creative tracks on the LP would be "My Style is Free", the energetic " Microphone Igniter ". In addition, there assisted by Canada's Own Raszkals on the the track "Transatlantic Partnership", which is arguably highlighting anthem to this duo's release. Not surprisingly the album does contain few notable casualties. You may begin, suggesting that " Da Basilisk 's Eye " is very repetitive in sound and direction is plain . With tracks like "Times Change" and "Livin Right" the lackluster featured vocalists create awful collaboration, where professional singing lesson should be a future priority. Raptile's production and talent was never in question in there latest musical venture. However, before any progression is made, a structured formula or guidance is definitely needed to perhaps elevate there sound to North America or even worldwide.