DMX, "Grand Champ" (Def Jam Records, Ruff Riders, 2003)
Earl Simmons AKA Dark Man X AKA DMX AKA the dog has had his fair share of trials and tribulations. He has been jailed for possession of drug paraphernalia, animal cruelty (dog fighting), and been institutionalized for over six years in a psych ward. His fifth album, Grand Champ, is if nothing else the most brilliantly titled of his albums. For those of you without street smarts, I'll throw you a bone. Grand Champ is a ranking bestowed upon an undefeated pit bull with at least five wins. If you didn't already know that little tidbit, chances are you won't be getting much out of this album. X has his daughter spell it out on the second track of this album: "This is dedicated to the streets," resonates the hook. Simmons doesn't rap for his consumers in the burbs, he doesn't rap for critics. This album is riddled with terminology and references far more intellectually accessible to the more marginalized members of our society. In other words, this album was made for the hood.
While this album does include DMX staples of lots of screaming, growling, and barking, it fails to live up to its name and effectively establishes itself as his most underachieving album to date. The first ten tracks boast eight songs that are all good enough to be released as singles. Among these are the anthems: "Where the hood at" and the "dog is out." X's daughter provides an ominous sounding hook that coupled with his sinister lyrics, provides for an instant east coast classic. Also in the first ten tracks are records from Kanye West and Swizz Beatz; notable collaborations include 50 cent, Jadakiss, Styles P, Sheek, Eve, and Infa-Red.
The next three tracks are garbage. Seriously, would anyone else like to have the twelve minutes of their life back that they waisted on these songs? "Rob all night," "We go hard," and "Bout to blow" are void of energy and over saturated with the same old Sap and generic themes. Honestly, those cuts lick more ass than most pit bulls. One need only read the names of these tracks to milk them for their entire value. Track fourteen features DMX singing, yes, singing over a Greg Perry sample. Unfortunately, "Will she meet the train" is a favorite of mine so X's rendition is completely lost on me. His singing creates a strong advocacy of saddling noisy dogs with a muzzle. This is the first time I wished a rapper would've considered using the always excruciating auto-tune plug in. Seriously X, lay off the blow. The next track is a severely misplaced R&B love song with Monica during which the tandem struggle to parity the chemistry of other hip-hop duets. No disrespect to the dog, but this song bites. This track could've easily carried out cerebral homicide on both of their careers. "Ayo Kato" is the last evidence of any sincerity on the album, a memorial to a friend and victim of Gang violence.
The album ends with three tracks only fit for religious zealots one of which Patti Labelle should be credited for carrying. Ten of the album's twenty songs are worth a listen, the rest aren't worth the time you'll spend listening. Earl Simmons has put out classic albums in the past but you can't teach an old dog new tricks. Unfortunately, this puppy is very much past his prime. Two and a half stars out of five would be putting it politely.
Sunday, September 27, 2009
Sunday, September 20, 2009
A throbbing appetite.....
An enthralling experience in dining
Mike Sula is a food writer for the Chicago reader. In his unique writing style, he builds chemistry with the reader by flirting with his preconceptions of whatever exotic delicacy is currently tempting him. His tone is personal and intimate, as if speaking to one friend or one reader. He dolls out expectations of what said dish will ostensibly taste like and usually opens with a comparison to some mutually identifiable snack. He mounts the anticipation with purposive creativity, describing texture without consideration to taste. He begins to undress ingredients in a slow and deliberate manor. When anticipation has finally met its climax, he serenades his audience with an ode to the sensuality of taste that leaves his readers appetite enamored and aroused. Sula writes as only an Obese, sexually deviant poet could. His intimacy with food is contagious; After reading a few stanzas, I didn't know if I wanted a bowl of Kita Firfir to sate my hunger or if I wanted a bowl of Turshi Amba to have sex with. In any case, I found his insights to be very informative. The feathery language provides enough excitement to produce these exotic dishes as intriguing and relevant choies. A scholarly writing style is conducive to book reviewing. Its obvious that Mike Sula's genius lies in his simple understanding that we all gotta' eat. His review style is well acclimated to mass appeal and his tangible interest in culinary delight makes him a trustworthy source.
Mike Sula is a food writer for the Chicago reader. In his unique writing style, he builds chemistry with the reader by flirting with his preconceptions of whatever exotic delicacy is currently tempting him. His tone is personal and intimate, as if speaking to one friend or one reader. He dolls out expectations of what said dish will ostensibly taste like and usually opens with a comparison to some mutually identifiable snack. He mounts the anticipation with purposive creativity, describing texture without consideration to taste. He begins to undress ingredients in a slow and deliberate manor. When anticipation has finally met its climax, he serenades his audience with an ode to the sensuality of taste that leaves his readers appetite enamored and aroused. Sula writes as only an Obese, sexually deviant poet could. His intimacy with food is contagious; After reading a few stanzas, I didn't know if I wanted a bowl of Kita Firfir to sate my hunger or if I wanted a bowl of Turshi Amba to have sex with. In any case, I found his insights to be very informative. The feathery language provides enough excitement to produce these exotic dishes as intriguing and relevant choies. A scholarly writing style is conducive to book reviewing. Its obvious that Mike Sula's genius lies in his simple understanding that we all gotta' eat. His review style is well acclimated to mass appeal and his tangible interest in culinary delight makes him a trustworthy source.
Are we watching the same game?
Game, "Doctor's Advocate" (Geffen 2006)
Game struggles to live up to the hype of his sophmore album and fails to soar when pulled out from under Dr. Dre's wings.
Both Reviews can be found at Amazon.com
http://www.amazon.com/Doctors-Advocate-Game/dp/B000J103X4
First Review by: Reggie L. Mattocks
Yep it pretty much sounds like a continuation of The Documentary which actually isn't a bad thing for a sophmore joint. I mean most fans were at the very least expecting GAME to keep it as raw and tight as the first one and Doctor's Advocate does that and more. Leaving G-Unit and Aftermath was actually a great thing for him. He doesn't need to be pigeonholed into thinking DRE was the sole reason for his success and he definitely doesn't need to be associated with a weak mob like G-Unit (How good is that money looking now Mobb Deep. You not only sold your soul but have lost your following messing with 50 da rat). Hopefully Young Buck will have enough sense to get outta there and go independent.
This review is severely lacking in any sort of relevant information about Game's sophmore album. This was Jason Taylor's coming of age album in that he took significant risks on his track selection and strayed slightly from the commercialized image he was saddled with on his debut. The first three tracks offer slamming beats that resonate with West Coast flavor and sinister melodies, however, Game struggles to compete with the level of intensity offered by his all-star lineup of producers. Tacks four through seven offer a designated block of acoustic nap-time in which Game lays down self-riotous and generic free-styles over four tracks that sound like the demo version of fruity loops. The next five tracks are more than good enough to have been the five opening tracks and feature his ode to gold diggers single "wouldn't get far" feat. Kanye West. Also noteworthy is the track,"Scream on Em" produced by Swizz Beatz. Easily one of the best songs on this album, It can transform the most submissive bookworm into a berserking, raging, overly amped and violent beast for its three minute duration. This review offers no description of the everchanging mood of this album which goes from juvenile, to brooding, to reflective and regretful, vengeful, and finally content. This is anything but "a continuation" of his last album and while it not be good enough to recieve 5 or even 4 stars, it is definately worth a listen.
Anonomyous Adolescent
A complete mess
Without Dre's quarterbacking behind the scenes, Game's album lacks direction. Many of the early tracks end up being glorified freestyles that tell no story, have no direction and are missing concepts ending up sounding like the same rhymes over different beats. And although Dre's presence is missing, his name is not. Game makes mention of Dre on nearly ever track, almost obsessively. Game does manage to put together a fairly decent album with production help from Storch, Will I Am, Kanye West and Just Blaze and caps the album with a soulful climax featuring Nas reminiscing on hip-hop's fallen soldiers and current heavyweights and a much-needed squashing of the beef between him-self and 50. The Doctor's Advocate is not worth half the hype that was made for it but is an okay listen. Game still has potential but without Dre mentoring him it's a wrap. Hopefully Dre will hear this album and accept hip-hop's prodigal son back.
I found this review to be spot on. The personal and heartfelt tracks come towards the end of the CD and require a bit too much patience to get through game shooting off about the usual generic hip-hop themes. Its good to know I'm not the only one a little creeped out by Game's obsessive nature toward Dr Dre. He pays homage to him in a religious and rehearsed manor. Its not hard to picture Game cropping out pictures of Dre's face to put over pictures of ex-girlfriends. The mention of his extensive list of producers is noteworthy because the last album was almost exclusively Dre. It would've been nice to see a bit of discussion about the sheer diversity of the tracks Game raps over. The CD layout seems to have been aiming at a something for everybody approach but falls short with the finished product. Three and a half out of five stars.
Game struggles to live up to the hype of his sophmore album and fails to soar when pulled out from under Dr. Dre's wings.
Both Reviews can be found at Amazon.com
http://www.amazon.com/Doctors-Advocate-Game/dp/B000J103X4
First Review by: Reggie L. Mattocks
Yep it pretty much sounds like a continuation of The Documentary which actually isn't a bad thing for a sophmore joint. I mean most fans were at the very least expecting GAME to keep it as raw and tight as the first one and Doctor's Advocate does that and more. Leaving G-Unit and Aftermath was actually a great thing for him. He doesn't need to be pigeonholed into thinking DRE was the sole reason for his success and he definitely doesn't need to be associated with a weak mob like G-Unit (How good is that money looking now Mobb Deep. You not only sold your soul but have lost your following messing with 50 da rat). Hopefully Young Buck will have enough sense to get outta there and go independent.
This review is severely lacking in any sort of relevant information about Game's sophmore album. This was Jason Taylor's coming of age album in that he took significant risks on his track selection and strayed slightly from the commercialized image he was saddled with on his debut. The first three tracks offer slamming beats that resonate with West Coast flavor and sinister melodies, however, Game struggles to compete with the level of intensity offered by his all-star lineup of producers. Tacks four through seven offer a designated block of acoustic nap-time in which Game lays down self-riotous and generic free-styles over four tracks that sound like the demo version of fruity loops. The next five tracks are more than good enough to have been the five opening tracks and feature his ode to gold diggers single "wouldn't get far" feat. Kanye West. Also noteworthy is the track,"Scream on Em" produced by Swizz Beatz. Easily one of the best songs on this album, It can transform the most submissive bookworm into a berserking, raging, overly amped and violent beast for its three minute duration. This review offers no description of the everchanging mood of this album which goes from juvenile, to brooding, to reflective and regretful, vengeful, and finally content. This is anything but "a continuation" of his last album and while it not be good enough to recieve 5 or even 4 stars, it is definately worth a listen.
Anonomyous Adolescent
A complete mess
Without Dre's quarterbacking behind the scenes, Game's album lacks direction. Many of the early tracks end up being glorified freestyles that tell no story, have no direction and are missing concepts ending up sounding like the same rhymes over different beats. And although Dre's presence is missing, his name is not. Game makes mention of Dre on nearly ever track, almost obsessively. Game does manage to put together a fairly decent album with production help from Storch, Will I Am, Kanye West and Just Blaze and caps the album with a soulful climax featuring Nas reminiscing on hip-hop's fallen soldiers and current heavyweights and a much-needed squashing of the beef between him-self and 50. The Doctor's Advocate is not worth half the hype that was made for it but is an okay listen. Game still has potential but without Dre mentoring him it's a wrap. Hopefully Dre will hear this album and accept hip-hop's prodigal son back.
I found this review to be spot on. The personal and heartfelt tracks come towards the end of the CD and require a bit too much patience to get through game shooting off about the usual generic hip-hop themes. Its good to know I'm not the only one a little creeped out by Game's obsessive nature toward Dr Dre. He pays homage to him in a religious and rehearsed manor. Its not hard to picture Game cropping out pictures of Dre's face to put over pictures of ex-girlfriends. The mention of his extensive list of producers is noteworthy because the last album was almost exclusively Dre. It would've been nice to see a bit of discussion about the sheer diversity of the tracks Game raps over. The CD layout seems to have been aiming at a something for everybody approach but falls short with the finished product. Three and a half out of five stars.
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