Sir Lucious Left Foot: The Son of Chico Dusty
06:00PM ET July 6, 2010
Contributor: Hip Hop Blog Staff
A Rocky Williform Company

Rating:

How does a legendary MC record a Grammy winning, diamond-selling album that is still somehow one of the most underrated releases in 2000s hip hop?

Not exactly sure what the answer is, but that's exactly what happened to Outkast's Antwon "Big Boi" Patton following the release of Outkast's critically-acclaimed, massively-popular double-album Speakerboxxx/The Love Below. Most fans focused on his partner Andre 3000, and Andre's more obvious and eclectic funk, rock and pop experiments and mostly gave Big Boi's Speakerboxxx half of the album a polite nod and lukewarm kudos while lavishing (maybe over-praising) 3000's quirky and infectious Love Below.

But now, after Outkast's extended hiatus following 2006's disappointing Idlewild film and album, Big Boi has resurfaced on his own, on a new label with a renewed focus. 3000 produced one track, and Outkast's contractual complications with Arista meant that Dre couldn't even appear on the Jive Records-released album. But all that means is that Big Boi is inspired and sounds like he's completely relishing the opportunity to remind everyone that he is also one of the better MCs of his generation and a visionary talent on his own. Sir Lucious Left Foot: The Son of Chico Dusty has the shimmer of early 2000s Outkast but isn't the sound of a legend coasting. Big Boi's rhymes are fierce and the production is uniquely funky; the lead single "Shutterbug" has one the truck-rattling thump of a classic Clipse track, with Dungeon Family stalwart Sleepy Brown singing a smooth hook over a jittery electro synth. "General Patton" is an anthem, with Big Boi's enthusiasm tangible in lines like "You disrespect it/It's yo' ass/One half of the Outkast/Return like Ghost of Christmas Past."

The Dre 3000-produced "You Ain't No DJ" features young sensation Yelawolf and, oddly enough, is one of the tracks that sounds less like classic Outkast. On the contrary, it proves that the forward-thinking crew is just as visionary as ever; a percussive beat with sound effects that let Big Boi and 'Wolf drop some of the album's most confrontational brags, dismissing so-called DJ's who only cater to fame. The Organized Noize-produced "Fo Yo Sorrows" features the return of George Clinton, who collaborated with Outkast on their classic 1998 Aquemini album track "Synthesizer." The song is a highlight, with Bay legend Too $hort also dropping by and a beat that recalls Kid Cudi without aping his style.

Those that have been following Outkast for the past 16 years shouldn't need a reminder that Big Boi is as great as he is, but always standing next to the universally-revered Andre 3000 can sometimes make even the staunchest of fans take Daddy Fat Sax for granted. Forever cast as the accessible, radio-friendly Paul McCartney to Three Stack's more avant-garde and experimental John Lennon, Big Boi shows that he has more than a few tricks up his sleeves--he's one of the best to ever do it. Sir Lucious Left Foot: The Son of Chico Dusty doesn't only add to his legacy--it cements it.

How I Got Over
06:00PM ET June 22, 2010
Contributor: Hip Hop Blog Staff
A Rocky Williform Company

Rating:

The Roots remain, even in this era of singles-oriented, create-your-own playlists music consumers, a defiantly album-centric band. Sure, they've released their fair share of stellar singles since their major-label debut in 1995, but the true essence of who they are as a band lies in the albums. Classics like Do You Want More?!!!??!, Things Fall Apart, and Phrenology are the reasons they've quietly become one of hip-hop's most critically-acclaimed and beloved groups.

So to fans unfamiliar with their work, the sublimely subdued How I Got Over may be taxing to listen to initially. If your attention span calls for rushes of "Wow!" moments, numerous high-profile guest stars, a different producer on each track and nonsensically inane 'punchlines,' this type of subtlety may not be your cup of tea. But what the Roots have crafted is one of the most cohesive, forward-pushing hip hop albums of the year thus far. Following their preceding albums (Game Theory and Rising Down) which were explicitly un-commercial, ...Over features lush, atmospheric production and quirky guest stars like the Monsters of Folk. "Now Or Never" finds lead MC Black Thought rapping, "I'm ready for the next chapter and page/To start acting my age/and part ways/With the Black Thought from back in the days." In a genre where thirtysomethings believe that 'beefs' with twenty year-olds is how one remains relevant, its refreshing to hear the frontman of such a visionary crew still sounding like he's eager to break new ground.

John Legend makes an appearance on the piano-driven march "Fire," another album standout that breaks slightly from the moody sound of the rest of the album. ?uestlove's drumming is the backbone of each track, as usual, and the band provides gorgeous backdrops for Thought's ruminations on life, maturity, and the state of the hyper-connected planet circa 2010. How I Got Over may require repeat listens for full appreciation, but it is a wonderful set from an accomplished and visionary band. Subtle and sublime in an era of flash and smash, The Roots show that, 15 years later, they are still unafraid to take hip-hop to new plateaus and never rest on their legendary laurels.

Recovery
09:00PM ET June 20, 2010
Contributor: Hip Hop Blog Staff
A Rocky Williform Company

Rating:

2004's Encore seemed to reveal how Eminem had become pigeonholed by his 'Slim Shady' persona, a talented artist who didn't seem to realize he was rapidly becoming a caricature of his former self. That album was his first real artistic misstep, and the subsequent killing of his close friend, Proof and Em's descent into prescription pill addiction forced him into exile for five years before he resurfaced on the spotty-but-commercially-successful Relapse in 2009. The album did what it was supposed to, namely reinvigorate Marshall Mathers' career; but it wasn't as inspiring or consistent as his early-2000s masterworks.

Em's latest, Recovery looks to both sustain and expand on the resurrection of Relapse. Unfortunately, Em's shtick has worn thin and his ability to craft a stirring album seems to have completely abandoned him. As he's gotten older, and ever since his self-imposed exile, Em has not been able to skewer pop culture with the same knowing eye. He targets are either out-of-touch and lame (David Cook) or tacky and sad (Michael J. Fox.) The teenagers that loved his un-PC, devilishly-witty barbs in 1999-2000 are now a lot older--and so is Em. He tries to retread what made him the biggest star in rap ten years ago, but hearing psycho-raps about women ("Space Bound") come from a guy in his mid-30s is a little sad where it was once gripping. "Seduction" sounds like a tossed-off 50 Cent track; specifically, 2008 50 Cent--not 2004 50 Cent.

But Marshall Mathers is still capable of powerful introspection, and he hits the mark on "Going Through Changes," an epic deconstruction of his own psyche backed by a great Black Sabbath sample and "Talkin' 2 Myself" is Em laying bare all of his many insecurities. But high points are few and far between where they once were standard for the Detroit-born MC. Eminem may still have hits in him, and his albums may still sell, but he won't ever be able to truly recapture the attention and imagination of hip-hop fans and pop culture at large until he truly gets back to taking musical risks and retiring some of his tired, cliched routine. He's better than this.

Thank Me Later
06:00PM ET June 20, 2010
Contributor: Hip Hop Blog Staff
A Rocky Williform Company

Rating:

Drake's highly-anticipated (understatement?) debut Thank Me Later is the unusual first release that has to double as both an announcement of a new musical voice and an affirmation of an established superstar. Such is the reality of being a young, talented artist in the age of Twitter and YouTube--new talents can go through the entire cycle of stardom (overnight sensation to musical savior to overexposed pop star to has-been) before they even release their first album. Such is the conundrum of Thank Me Later

So, does the album live up to the hype? Is it the bonafide, undeniable classic it damn-near has to be to silent Drake's detractors?

Well, 'yes' to the former question. 'Not quite' to the latter.

Drake is his expected, introspective self on the grandiose "Over," a sweeping epic that finds him pondering his life as it is today. But he's very...well, sad. About everything from critics ("Show Me A Good Time"), to stardom ("The Resistance"), to the difficulty maintaining relationships in the spotlight, (“Miss Me”.) But he shows that he's not always the emo-rap cliche his critics claim he is; pausing from the po'-faced pondering to soak up the fun on the Swizz Beatz-produced, T.I.-assisted track "Fancy." But the inherent problem with Thank Me Later is the extensive guest list robs Drake of the chance to really make his stamp with a truly landmark debut. Because he (and most likely, his Young Money mentors) felt it was necessary to pile on the guest stars, (The-Dream, Jeezy, and of course, Lil Wayne and Nicki Minaj) Drake's debut isn't allowed to be a star-defining work like Reasonable Doubt or even The College Dropout. Instead of an inspired, period-defining masterwork, you have a very enjoyable, but ultimately overly-calculated release. It's good, but with all of the expectations that Drake had riding on Thank Me Later, it's hard not to feel a little disappointed. Here's hoping Drake gets a little more confidence in his own merits as an artist...sooner than later.

Distant Relatives
03:00PM ET May 26, 2010
Contributor: Mathis Bauchner
A Rocky Williform Company

Rating:

When Damian Marley and Nas collaborated on the track "Road To Zion" in 2005, fans got a glimpse at the natural chemistry the two artists have. Finally, after years of speculation, they've released Distant Relatives, a full-length album featuring the duo on every track.

Things get off to a raucous start with "As We Enter," the high-energy lead single, with Nas and Jr. Gong trading lines back and forth throughout each verse. Nas handles the entire chorus himself. It's perhaps the most "hip-hop" sounding track on an album that has much more of a reggae feel. Not that Marley hogs the mic. Both artists approach the project relatively ego-free. Neither seems determined to dominate the sound of the album which is critical for a collaborative work.

That's not to say the album itself doesn't have a distinct sound. Damian's brother Stephen Marley produced much of the album, using live instruments throughout the recording process, and Nas' flow blends perfectly with Jr. Gong's vocals. The duo delves into more serious issues throughout the album, perhaps most importantly the situation in Africa, a topic many other musicians have shied away from. "Africa Must Wake Up," featuring the Somalia-born artist K'Naan, calls for a more introspective approach to the issues at hand. "Tribal War," also featuring K'Naan, reflects on the violence that has plagued Africa for centuries.

Nas and Marley offer optimism as well. "My Generation" shouts out the revolutionary potential of today's youth. Lil' Wayne contributes one of his humbler verses to the track, avoiding incessant wordplay as he immerses himself fully into the song. "Land Of Promise," another African-themed track, opens with a horn-filled intro and has Jr. Gong namedropping countries throughout the continent, linking them metaphorically to locations in the United States.

There is of course a tremendously joyful aspect of reggae as well, and Marley provides a touch of that on the track "Count Your Blessings." The song borders on excessively fluffy at times, but Nas' sharp verses and Marley's thoughtful lyrics keep it grounded.

But Distant Relatives is at its best when it's also at its most serious. "Strong Will Continue" is a motivational call to action anchored by a powerful baseline and a touch of piano. "Leaders" acknowledges the power of the title figures. Nas' verse about an ambiguous made man is one of the albums finest.

As happens when listening to reggae, Distant Relatives occasionally blends together too well, so that one can drift from track to track without hearing the individual message of each song. More often than not, however, Nas and Marley's lyrics are too poignant to be ignored. They've taken this album as an opportunity to make a statement with their music, weaving the sounds and cultures of hip-hop and reggae and connecting them with larger issues. The result is a groundbreaking collaborative effort, one that adds yet another esteemed chapter to the careers of these two already much accomplished artists.

Stroke Of Genius
09:00PM ET April 27, 2010
Contributor: Mathis Bauchner
A Rocky Williform Company

Rating:

B.o.B has been bubbling just below the surface of hip-hop's mainstream conscious for quite some time now. Back in '07 the Atlanta MC made a brief, uninspiring splash with "Haterz Everywhere." He went to release a couple critically acclaimed yet commercially disappointing singles and a few mixtapes, but still couldn't quite manage to resonate with a wider audience.

What a difference a number #1 single makes. "Nothin' on You," featuring Atlantic label mate Bruno Mars, took the radio by storm and subsequently B.o.B got pushed to the top of the label's priority list. Who would have expected in the three years since "Haterz Everywhere" that he'd been busy crafting an experimental masterpiece, perhaps the best album Southern rap has heard in the past ten years that does not carry the Outkast logo.

But to simply pigeonhole B.o.B Presents: The Adventures of Bobby Ray as a rap album would be a mistake. Seconds into the opening track, "Don't Let Me Fall," it's clear that B.o.B is already defying the influence of his peers. He produced the song himself, and he lets his brisk piano chords run for nearly 30 seconds before the baseline drops. The lyrics, a mixture of song and rap, capture subtly a dreamlike rise to fame and the desperate determination to hold on to it, concepts that B.o.B deals with throughout much of the album.

A few tracks later, on "Airplanes," he's questioning whether he really wanted any of it in the first place. He raps, "Yeah, I could use a dream or a genie or a wish / To go back to a place much simpler than this." He's complemented beautifully by Hayley Williams of the rock band Paramore. Her inspired vocals erupt over another piano-infused beat, this time co-produced by Alex da Kid and DJ Frank E. The impact of song itself cannot be overstated. It's a three-minute tour de force, special in that it takes only one listen to fall in the love with it. When musicians shed everything but their soul, as B.o.B and Williams do here, it's difficult not to be moved. It's as close to flawless as a single song can get.

This is not an act that's meant to be followed. Smartly, B.o.B doesn’t bother to try. He's takes the album in a different direction on the next track, giving listeners hearts a needed break with "Bet I," a high energy romp featuring T.I. and Playboy Tre that fills B.o.B's Southern banger quota. Its inevitable presence on the album serves as an unnecessary reminder that, when called upon, B.o.B is a rapper capable of producing tracks on par with his more formulaic Southern peers. Fortunately, he's been able to push himself far beyond that mediocre brand of hip-hop.

He returns to brilliance on the next track with the haunting 'Ghost in the Machine.' Absent of rap entirely, B.o.B discusses his struggle with alienation over another beat he produced, this one rich with somber synths.

He ups the energy on the next three songs the "The Kids," "Magic" featuring Weezer's own Rivers Cuomo, and "Fame," which could serve as the anthem for this generation of YouTube/Facebook/Twitter users. B.o.B is often quite adept at masking his seriousness, forcing listeners to engage more deeply with the music. When lyrically examined, "The Kids" and "Fame" are among the album's darkest tracks, despite their laidback tones.

B.o.B's also quite skilled at appealing to women, a quality essential to commercial success. On the lead single, "Nothin' On You," he and partner Bruno Mars shower the ladies with sincere flattery, if there is such a thing. The song is immensely radio friendly without even feeling like prepackaged fodder, as singles often do. "Lovelier Than You," part jazzy ballad, part spoken word poetry, advances B.o.B's musical dexterity even further.

He's an incredibly diverse artist, capable of blending genres most rappers haven't even attempted to explore. But then again, if it hasn't been made clear already, defining B.o.B as a rapper in the first place would be stuffing him in a box much too small for his outsized talents. It's seems he gives listeners everything and more on the album's first eleven tracks, but somehow the twelfth and final one overshadows it all.

"Airplanes, Part II" opens every bit as epically as the first, with Hayley Williams once again providing the chorus. Then B.o.B tears through two verses, contemplating a life without music. Williams returns once again for the chorus, followed by a brief interlude sung by B.o.B, and finally, clearing his throat, Eminem begins, as passionate and tortured as he's ever been. He dissects his entire career in a single verse, why it matters so much to him and how close it came to never happening at all. They're 59 of the greatest seconds rap has ever heard.

And then it's over, the song, the album, and there's a slight feeling of exhaustion, the quiet after the creative storm. B.o.B allows Eminem to have the last word, but the project in total is indisputably his. He's crafted a musical roller coaster ride, with every twist and turn carefully calculated to maximize the exhilaration. The finished product bursts with the energy of a genius in the making.

K-Beta
03:00PM ET April 9, 2010
Contributor: Madame C
A Rocky Williform Company

Hailing from the DC, Maryland, and Virginia (DMV) area, K-Beta is an emcee with the heart of a lion and the mind of a fox, ever so bravely and cunningly applying his vocabulary of versatility, soulful flows, and lyrical mastery on everything he touches. Carrying an immeasurable passion for music, he dedicates his life to three main confidants, aptly known as the pad, the pen, and the mic.

Like Slick Rick, Raekwon, and other musical prodigies, K-Beta manages to paint vivid pictures and construct isometric realities over strategically assembled beats while humanly exposing his life's vulnerabilities and victories, respectively.

He has shared the stage with a diverse roster of artists, including: Fabolous, Melanie Fiona, Wale, Tabi Bonney, Raheem DeVaughn, WHITEFOLKZ, Phil Adé, Diamond District, Lyriciss, and Laelo Hood. Among performing nationwide, K-Beta has three highly praised mixtape albums under his belt and can gladly add an upcoming fourth one towards his ongoing record of acclaim.

His highly anticipated project, Inglorious Beta, was released for free on April Fool's Day (April 1st), and certainly proves he's no fool nor should he be taken lightly. In latent terms, he ain't no a joke.

Your newest project is entitled Inglorious Beta. The term "inglorious" traditionally carries a shameful or disgraceful meaning. One would assume that this project is a reflection of you, flaws and all. Why the title?
The title is a reflection of anything that brings shame or disgrace into a person's mind. They are not feelings or even states of existence. It is a thought that triggers shame in someone, because they believe that whatever they have done is unforgivable, and that is how people lose hope. Inglorious Beta is me saying that I've been there, and that hope is never lost.

What can we expect from this project production-wise and who will be featured?
The production comes from some of the area's best producers. The sound is cohesive, because it was a very collaborative effort in terms of bringing the album together. Everybody involved was in there cranking, and we were able to bang out a nice piece of work. I have records with some great artists, and I'm really happy with the way we connected to create these songs.

Besides its release, what is your proudest moment concerning Inglorious Beta?
Finishing up the final session, and leaving Depth Charge, [the studio] with the mastered album.

You get stuck in the elevator with Jimmy Iovine and you have one minute to explain to him what you can contribute to the game and why he should sign you on the spot. What would you say?
I would play him a minute of one of my songs. You know we got the music on our phones these days (Laughs)

Tell me what is so glorious about Beta, the rapper and Beta, the man?
I don't consider myself to be glorious. I believe that I have been given a glorious gift, and that the potential to help people in need is what makes it so.

Indies are becoming the new majors when it comes to record companies and the music industry. What are the benefits of being an indie artist?
For me, it is definitely creative control. I couldn't imagine being told what to write and how to rap.

To be an artist is such a complex and unique experience in that a myriad of things can inspire the thoughts behind one's pen. What are things that motivate you as an artist?
It's really all about life. No matter what, that's what it comes down to. Life-inspired art. Imagination plays a part in there too. As a writer, you want to take your readers and/or listeners on a journey with your material, so you have to think in colors and really feel the energy within and around you.

In life, every new day leads to new creations which can then lead to new life experiences. Where do you want Inglorious Beta to take you professionally and personally?
Professionally, and artistically, I want the album to get around and inside people's ears. I'm doing this because I love this music. People get behind it because they feel that, and they love it, too. With all the talk about record sales and general disinterest in all things Rap, I'm inclined to ask, how many Rap artists really and truly love what they do? I'd say most of them do at first, but these labels and radio stations are killing their love by running them through the factory line. If I had somebody forcing me to eat the same food every day, then I would begin to hate that food and the person forcing me to eat the food. I just think people are bored with all that.

Where do you want the new release to take your fans and listeners alike?
It's something to put on and just feel. I'm basically chronicling my life on these records. It's the one outlet that truly gives me a release. I'm just glad that people like the music.

Speaking of fans, you have quite a following. What do you think people are looking for from a hip hop artist nowadays?
Well, you have fans of all types. People want to be entertained, I think. Whether it makes them dance, nod their heads, feel a certain feeling, whatever. Music is inspired by life, and good music inspires life in return.

Who would you like to one day collaborate with from the underground scene and who would you hope to be in the studio with commercially?
I'd like to do some stuff with Kem. I'd also get down with Nicki Minaj on a record. She's dope.

Your label Inner Loop Records is not just a record label but is also impressively a lifestyle based entertainment company. What is the best thing about being an artist on Inner Loop Records?
Inner Loop is a great label. I can't complain at all. We know that we're in this together, and we all do our jobs well.

What is next on your agenda of being an artist? What can we expect from you within the next several months?
I'll be hitting the road once school is out. People can also keep up with me and check me out at http://www.myspace.com/kbetamax and follow me on twitter @k_beta

You started somewhere to get where you are today. What would you tell aspiring artists who are trying to make a mark in the industry?
Make as many songs as you can. Kill every open mic. Work harder than you’ve ever worked in your life. Make music that you love. Don't be afraid to approach people, but have something to present when you do.

Raymond V. Raymond
03:00PM ET April 1, 2010
Contributor: Shaun M. Mathis
A Rocky Williform Company

Rating:

Cassidy battled the Hustler, T.I. battled T.I.P so it's only fair that R&B singers join in the fight. Enter Usher's newest album, Raymond v. Raymond. By kicking off his sixth studio album with the monster hit, "Papers", publicly announcing is divorce, Raymond v. Raymond promises to keep up with the Usher brand. Recently releasing the albums' second single, "Daddy's Home (Hey Daddy) featuring Plies, Usher has an unstoppable momentum behind the new album. Guest appearances on Raymond v. Raymond include, Nicki Minaj on "Lil Freak", Atlanta native Ludacris, "She Don't Know" and Will.i.am, "OMG" and T.I. on "Guilty"

The song "Mars v. Venus", opposite of Jay Z's "Venus v. Mars" is a seductive and sensual sex ballad. Usher sings, "Your eyes say it all (all)/their fix upon an object of desire, You can't control (no)/but gravity compels you to ignite and explode, until our time in space combines, have you fantasize the unknown/ girl lets take it off the ground, you know how I put it down/have you seeing stars"

Usher stays within his normal lane on most songs but show us he is not afraid to step out of his comfort zone on a song like "So Many Girls", which sounds like a track the Black Eyed Peas would perform over, still, the song is a good one. The only real song that is unfavorable on Raymond v. Raymond is Guilty featuring T.I. The beat is bland, unlikeable and the hook is an annoying repetitive one. Despite Jay Z's claim that Usher will take Michael Jackson's place as the King of Pop, Raymond v. Raymond lacks the classic and timeless songs that will allow usher to comfortable fit in a pair of shoes that size.

Atlanta's Platinum Princess Is Back
12:00PM ET March 24, 2010
Contributor: Jecquea Howsie
A Rocky Williform Company

Rating:

She's beyond the hurt and the pain. Fifteen years after Miss Thang, Monica proves that she's Still Standing.

Keeping it all in the family, Ludacris explodes on the album's title track, as Monica takes her audience on a journey, exploring love and relationships. Belting out timeless love songs such as: "One In A Lifetime" and "Everything To Me," Monica appears to be at peace with her newfound relationship, and open to anything God may have in store.

Although, the up-tempo "If You Were My Man" leaves her audience unimpressed, she quickly rebounds with "Mirror," a song that examines the reflection a person sees when they look in the mirror. Every woman dreams of waking up next to her Clark Kent, but Monica takes it a step further with the laid back track "Superman." Comparing being with her man to a movie, Monica sings, "Waking up with you is just like waking up next to superman...," and she knows firsthand, the agony and ecstasy of being in love.

Rounding out the album with "Love All Over Me" and "Believing In Me", Monica wraps her listeners in love's melodies, proving that she's back and better than ever. Production credits on this album include Ne-Yo, Bryan Michael Cox, Missy Elliot, Polow Da Don, Jim Jonsin and others. She may be at a current crossroads in her love life, but her album's a solid effort about finding and sharing your life with the one you love.

Stunted Growth
12:00PM ET March 12, 2010
By Mathis Bauchner
A Rocky Williform Company

Rating:

For the past decade Ludacris has been one of hip-hop's biggest success stories. He's sold over 20 million records worldwide, has numerous hit singles on his resume, and his acting career continues to blossom. But one could argue Luda has yet to put together a great album. As talented as he is, he seems content to stay in his comfort zone. His latest release, Battle of the Sexes, is another radio friendly offering, but it won't get him mentioned among the hip-hop elite.

Already a top ten hit, the lead single and one of B.O.T.S.' best tracks, 'How Low' captures Ludacris in a nutshell, fun loving, his flow jam-packed with irresistible energy as he admires the abilities of ass-shakers the world over. It's what listeners have come to expect from him and it sounds great coming out of car speakers or in a club. It may not compare to more lyrical efforts but it is an example of the vintage Luda that fans have not heard much from lately.

He's been beating the same drum for his entire career, not that this is automatically a bad thing. Some rappers can successfully discuss the same topics album after album. But while Luda's content remains the same, his lyrics have deteriorated. On 'My Chick Bad' he declares, "Coming down the street like a parade, MACY'S, I fill her up, BALLOONS, test her and guns get drawn like cartoons.' Those punch lines may be acceptable for some but not for a veteran like Ludacris.

The rest of B.O.T.S. doesn't offer much better. True to its title, nearly all the album's tracks deal with male/female relationships in some way, but don’t hold out for any insightful observations. Luda's sexual relations are the one's most examined, with varying degrees of sensitivity. The boastful 'I Do It All Night' ("stick to you like super glue, maybe even like bubblegum") and 'Party No Mo' ('I've had about 4, 5, 6 shots, yeah I'm getting wasted, red pills, blue pills, yeah I'm in the Matrix') prompt more lyrical frustration. This is Ludacris were talking about, a 32-year-old rap veteran, and not some punk kid talking shit on his debut mixtape. He's way too talented to be navigating his way through tracks with lines this cliché.

Not to say B.O.T.S. doesn't have its moments. 'Sex Room,' with Trey Songz, is a sappy lovemaking anthem that's perfectly crafted to become a hit. 'I Know You Got A Man' serves as a reminder of how ridiculously good Ludacris' flow can be when he really commits to it. Flo Rida's featured on the track and he actually compliments Luda well, however, mismatched production and an overly repetitive singsong hook leaves the finished product sounding mediocre. That's a common theme throughout B.O.T.S. For the majority of album, Luda and his production team, which includes Swizz Beatz and The Neptunes, can't seem to get on the same page, Luda's flow either too laidback or too aggressive for the beat in question. An exception is B.O.T.S Radio, produced by The Runners, a track Luda absolutely tears to pieces.

On the surface, the album is very comparable to Ludacris' previous efforts. He's rapping about the same things, and he's just as sex-crazed, but he's not nearly as witty or entertaining. Luda's had the charts conquered for a while, and B.O.T.S., based on the performance of its first two singles, appears to be another smash. But if Luda’s wants to be mentioned with the top tier of emcees (Eminem, Jay, Nas, Kanye) he has to step his game up. For now though, he remains content to please his radio and club going audience.

Sam Adams
09:00PM ET March 4, 2010
Contributor: Mathis Bauchner
A Rocky Williform Company

Most college kids kill a fair amount of their time procrastinating with Facebook, twitter, chat roulette, etc. For Sam Adams that's not an option. He doesn't have enough minutes in the day as it is. Seven months ago the Boston native dropped his Asher Roth rebuttal, 'I Hate College.' A couple million listens later, he's releasing his debut EP, Boston's Boy (available March 5^th), while also preparing to graduate from Trinity College in the spring. He balances classes and touring, homework and studio time. At best most college kids squeeze in a part time job. Adams has an entire career to handle.

What's the significance of the EP's title?
Besides the obvious fact that I'm from Boston, I'm just sort of making the claim on new music around here. There's a ton of rappers that range from, you know, gangster rappers to backpackers, but there's never really been a mix of electronic rap and actual lyricism. So 'Boston's Boy' means a lot of different things for me, where I grew up, where I started this whole journey of me being a rapper.

Talk about the inspiration for the content of the EP?
Wow, I mean it ranges from everywhere from trips that a bunch of us have taken…where we've been touring, concerts, to stuff that happens in everyday life. I'm still in school so some of the content obviously has to do with that. Anyone that's listened to my stuff has heard 'I Hate College,' so I have some roots still tied to college [while also] wanting to get out of college, so a lot of it attests to everyday things that we go through, travels, shows, fans, interacting with everyone.

How do you think your music has developed from 'I Hate College' and some of your earlier material to now, with the stuff that's on 'Boston's Boy'?
I'd say I'm just way more comfortable in the studio, I have a better relationship with my engineer, and all my boys in general, anyone that comes to the studio…always has the right to say whatever they want, whatever they feel, you know. So I'd say me being comfortable around other people listening to my music, and being comfortable with being in the studio myself. I'm more comfortable on tracks. I used to write things in the studio, I still do sometimes, but things are more formatted, I'm a little more organized in terms of how we actually put shit down and the artistic process.

Starting out with 'I Hate College,' you immediately established that as your audience, and now going into 'Boston's Boy,' are you trying to associate yourself more with the city, are those fans separate or one in the same?
It's interesting because when I dropped 'I Hate College,' I recorded it and I was like 'It's straight, it's alright,' didn't really dig it. And then we released it and it took off, and I think it sort of represents now what our fans are. We'll have shows and my boys from the city will come, and they'll be chilling, and my boys from private school and college and everywhere, they'll come too, a cool blend of people. There's no real hostility. I think different people feel different tracks. You know, some people will probably skip over a couple tracks on the EP that they don't like because they're more into dance music, or they're more into electronic music, but I think in terms of fans, there's a pretty vast array that we have. I can never just classify it, as like backpackers or white kids, or city kids, or hood, you know.

Are you touring a lot?
Yeah, we're kicking off an 18-day tour, in the next 3-4 months. We're doing a bunch of dates.

Are you going with anyone else, or are you touring by yourself?
Mostly doing it by myself, just solo shows, but we got some joints with Chiddy Bang. In March we're doing a show with J. Cole. We're still in the works, putting something down with Kid Cudi in Pennsylvania. Then we got Arizona with Big Sean, Lupe Fiasco in Minnesota. So we got a bunch of shit coming up which is cool because it's definitely good to be seen with some other faces.

As far as being a white rapper, do you think there's still any prejudice against that?
Oh definitely. You're always going to have someone who doubts you 'cause, I mean, we didn't come up with it. Obviously there's going to be hate, especially when you're better than someone who likes rap, and thinks that they can rap. As far as the white thing goes, Eminem broke the barrier. I dig Asher Roth. But, there will always be prejudice, there will always be someone who thinks they're better...The best way to address it is just to remember it's their opinion of things, and that's how they think. That's how I deal with it.

Where'd you record 'Boston's Boy'?
Cybersound in Boston, and Westlake out in L.A., where Michael Jackson used to do his shit, which was crazy.

Talk about your relationship with your label, 1st Round Records. What's that like?
It was shaky to start, to say the least. But now...I've got a real good relationship with them. I wouldn't be where I'm at at this point without them, because I wouldn't have funding, you know...We all have a lot to learn and a lot to work on, but it's definitely a good relationship.

When did you first start rapping?
Like seriously rapping? I mean, I've been rapping since like age 8, 9, and dudes used to just dog me, but I used to suck though. I was writing on college ruled lined paper and shit and it sucked. I'd come home and my mom would read my raps and throw them out, 'cause it was all about guns and shit, stupid shit. But...then I sort of took a hiatus, didn't really focus on it. Soccer took precedence in my life, and then about 8, 9 months ago, I picked it up seriously again and realized that I actually had talent and started going with it. So on an official, authentic level, probably like 8, 9 months ago.

What do your parents think of your music?
They love it. My dad calls himself 'Hip-Hop Pops' (laughs). My mom digs it too. The new music I've been coming out with, from a parent's standpoint what's not to love? I'm not claiming any gang, I'm not throwing up a set, I'm not violent, I'm just a reflection of what I see and what I do...It's not like I'm putting on a costume or a fake or anything. It's all coming from me. So it's cool for them to see, 'cause it came out of left field. If you had asked them when I started college if I was going to be a rapper, I don't think either of them would've said yeah.

How difficult is it balancing college with your career?
Balancing the career and school and stuff was way harder [during the soccer] season, 'cause I wasn't just another player on the team. I was the captain, so leaving [practice] 40, 45 minutes early to go catch a flight to L.A. when we got a game in two days, not exactly the leadership role you want to take. Balancing soccer, and doing my work, and going to the studio, and doing shows, it got real tiring. But now it's a lot easier 'cause I got classes Tuesdays, Thursdays. Monday, Wednesday, Friday I'm usually up here [in Boston]...But yeah, it's difficult. But at the same time it's something I love, doing music, I don't love school at all, but it's something I got to do.

You looking forward to graduating?
Oh yeah. Big time, graduation is definitely something I need to get out of the way (laughs).

Since the beginning of hip-hop, the best emcees have used personal experience to power their lyrics. Adams channels similar energy with his music. There's no falsity in his songs, no gun talk, no coke raps. He captures campus life with unparalleled specificity. More so than most students, Adams understands the frustration of having to buckle down and do work despite the constant availability of more entertaining options. Even if he is dying to graduate.

IQue The Prodigy
12:00PM ET February 9, 2010
Contributor: Mathis Bauchner
A Rocky Williform Company

Few teenagers have any idea what they want to do when they grow up. Even fewer are already doing it. Atlanta native Quentin "IQue" Smith is a rare member of the latter group. At just 18, IQue is already making a name for himself as a producer, offering up beats to hip-hop mainstays. He's a graphic designer as well, giving him an edge in terms of marketing and self-promotion. While already miles ahead of his musically inclined peers, IQue still manages to balance business and school.

Calling him mature for his age would be an understatement, but being an aspiring industry mogul hasn't stopped IQue from maintaining his love for cartoons. He counts Pixar's The Incredibles as his favorite movie, admitting that he's watched it seven times. Existing in these two worlds, seeing simultaneously through the eyes of a teenager and an accomplished businessman gives IQue a unique perspective on the future of music. With string of impressive credits to his name and a mixtape of the way, Atlanta appears to have a pair of steady hands ready to grab the torch.

Atlanta is home to a ridiculous number of hip-hop greats. What does that tradition mean to you?
There are, and have always been, a lot of hip-hop greats coming out of my hometown. It is very important to me to keep the talent unfolding and setting the standards for southern hip-hop. As odd as it seems, these icons are all regular people that can be seen out and about as they live their everyday lives. Approaching them isn't difficult, so it's always a refreshing reminder to stay humble.

Do you have any mentors or people that have been particularly supportive thus far in your music career?
My parents have been very supportive of my music both mentally and financially. I have also had a lot of guidance from family friend Jayar Browne. He specializes in branding, marketing, and radio promotion and owns One Million Sold Inc. I have traveled to many cities and have been introduced to many people through him.

How much pressure do you feel being from Atlanta with all that's been accomplished by people that came before you?
I don't feel pressured at all actually. I am calm by nature because I live by the words, 'Everything happens for a reason.' I know that if I take care of myself, the industry will take care of itself. Everything will fall into place.

What about your music do you consider unique? In other words, what separates you from all the other producers out there?
My productions are composed of unique instrumentation and one-off sounds. I have a really clean, futuristic image that I think is portrayed in everything that I do, including music. I tend to use a lot of synths in combination with traditional instruments.

Whose music do you admire and who inspires you?
Many people would reply to this question with the typical old-school pioneers, but I am actually inspired by a lot of current music. Polow Da Don is a big inspiration to me. His productions are always thought of outside the box. He uses a lot of regular patterns in irregular ways to create very distinctive music.

A lot of people dream of making music. When did you really get serious and decide that it was what you wanted to do with your life?
I skipped the whole process of dreaming. I took the action of becoming a producer around the year 2008, when the economic recession first began. I was a typical teenager that needed a good-paying summer job, but no one was hiring. That same frustration powered my motivation to do things my way. I had been making beats as a hobby for about a year at the time and figured that I could earn some money selling tracks as I looked for a job. Eventually I began making more money producing than I would've working for someone else and doing something I didn't want to do. My mind was made up by the age of seventeen.

Where do you see your career going? What are your long-term goals?
I am eighteen years old right now. I have been very fortunate to have worked on projects with artists such as Jimmy 2 Tyme and Young Dro, Tyler Perry's Ashley Nicole Morris, and K-Rab. I plan on continuing producing for large-scale artists and branding IQue Music into a very influential company. I am in the mist of creating a promotion team named 'TechnIQue' to help market our upcoming mixtape entitled 'Musiq & Lyriqs.' My long-term goals include creating a record label that will supply the music industry with creative artists and innovative ideas and investing in the corporate world.

That's a lot of ambition and foresight for an eighteen year old. What's it like being so actively involved in the industry at such a young age?
When I was seventeen, I couldn't go to any events or (legally) be out driving past 12 o' clock, so it was very hard for me to market my music. I was pretty much limited to online advertisement. Now I can venture out, but one drawback is that people that don't know my age constantly interrupt me while I'm at school. Music is important to me, but at the end of the day, I still have homework.

Paint me a picture of a day in the life of IQue. Morning to night, how does it unfold?
I usually start my day off with a little reflection time. I have to get my thoughts together before I do anything. I may play my 'Money' playlist on my iPhone to get motivated for the day. After I get washed up, cereal keeps me company as I check my emails, make a few phone calls, and head out the door. I let the top back on the convertible and meet a few customers to deliver their tracks and graphics or head to the studio. Later on that night, I'll be at a music event promoting and networking. It's rare to see me partying, but you may see me in Lenox Mall greeting fans and shopping for an upcoming appearance.

Trendsetter
03:00PM ET December 31, 2009
Contributor: Branden J. Peters
A Rocky Williform Company

Shondrae "Bangladesh" Crawford has crafted some of the most enigmatic tracks of the last 10 years. The Atlanta by way of Iowa producer consistently throws caution to the wind when it comes to his beats. Whether it's "Video Phone" for Beyonce or "A Milli" for Lil Wayne Bangladesh’s work is always immediately noticeable.

Just like his production his list of the top albums of this decade varies but they are all certified hits.

1. Outkast - Stankonia - The music stays fresh like organic cabbage out of the garden.

2. 50 Cent – Get Rich or Die Tryin' the 1st time around your hunger is up and you’re thirsty for success. It had substance and a meaning at that time.

3. Outkast (Andre3000) - The Love Below. It covered every genre of music effortlessly. Filled with melodic themes and well written by a genius producer song writer.

4. Ghostface - Supreme Clientele – This album was unorthodox in style, I was impressed by the selection of dope beats he chose for it. The flow is incredible and he make great songs.

5. Coldplay – XandY - Was the first Coldplay album I heard and from then on I wanted to be as big as them.

6. Robin Thicke - A Beautiful World - This is the most slept on album of this decade. He embraces many different styles to make up the true sound of Robin Thicke. This is the true definition of artistry.

7. R. Kelly – TP-2 - Probably wouldn't have gotten any love but everyone that's relevant in today’s R&B world is emulating him so I guess that makes him the greatest of this decade.

8. Kanye West - College Dropout - One of the few rappers that cared about the music first.

9. Amy Winehouse – Back to Black – This album was Grammy worthy cause it was true artistry.

10. Jay-Z – Vol. 3... The life and times of Shawn Carter – He was the first major rapper to be influenced by south artist.

Watts Up
03:00PM ET December 31, 2009
Contributor: Branden J. Peters
A Rocky Williform Company

West Coast underground king Glasses Malone has been heating up the streets of California for awhile since dropping his classic street album White Lightnin... Sticks. The Blu Division CEO has been through one deal and bounced back even stronger signing with Cash Money Records. His long awaited debut Beach Cruiser is set for a 2010 release. In the meantime Glasses is keeping the streets lit by consistently releasing material via whoisgmalone.com.

Here is Malone's non-political Top 10 album of the decade.

1. Jay Z –The Blueprint - The Best Rap Album Ever.

2. Scarface – Made - Face made his grand return to the mic and put out what I believed to be an unappreciated classic.

3. Lil Wayne - Tha Carter - Lil Wayne finally stepped into a true grown man's world with this album.

4. 50 Cent - Get Rich or Die Tryin' - Gangsta Rap returned to the mainstream in a big way.

5. The Game - The Documentary - The West Coast is Back...Did you miss us?

6. Young Jeezy - Thug Motivation 101 - D Boy music like never before!

7. Rick Ross - Deeper Than Rap - Don't front ni**a... this album is ridiculous. A couple less b**ch songs and it's a bonafied classic.

8. Rick Ross – Trilla – Yeah, so what, I like 2 Ross albums, not to mention Justice League's production.

9. Shawty Lo - Units in the City - Can't explain my attachment to this album. But man, it ain't a real street nigga breathing that didn't knock it.

10. Kanye West - Late Registration - Sophomore Jinx my ass, Mr. West came back retarded. Proper ass lyricism and even better production. This album also has one of my top 5 favorite songs of all time.... "We Major" which coincidently has my favorite Nas verse on it. Not to mention Lupe's verse from Touch the Sky!

Next Up
12:00PM ET December 31, 2009
Contributor: Hip Hop Blog Staff
A Rocky Williform Company

Dow Jones and Henny make up the production duo Tha Bizness. If you are not familiar with their name you should be. The Seattle natives made two of the most popular singles to be released in 2009. The minds behind Young Money's "Every Girl" and Young Jeezy's "My President" pretty much head locked the clubs and the street this year.

The Bizness is working on upcoming projects by Lil Wayne, T-Pain and Gucci Mane as well. They took time out from the studio to share their favorite albums of the last 10 years and an honorable mention. West, west ya'll.

Eminem - Marshall Mathers LP - This album took Em to the next level.

Jay-Z - Black Album - Grand opening, grand closing... or so we thought. This is as close as one can get to a perfect album.

Game - The Documentary - The feeling on the West Coast when this album hit the streets was incredible.

50 Cent - Get Rich or Die Trying - This is possible the best debut album ever! He had like 15 singles on this album.

Big Tymers - I Got That Work - The number 1 stunnas also had a lot of dope songs that kept clubs on fire.

Lil Wayne – Tha Carter Trilogy - Weezy decided to take the game over and he was not gonna be out worked by anybody and showed he could do it all on his own.

Kanye West - Graduation - One of the best produced albums. You could listen to the beats on repeat forever.

T.I. - Urban Legend - This album was the transition from Tip to the King of the South

Clipse - Lord Willin' - They shook the whole world up with their distinct sound and cocaine flows that were dope but had wide stream appeal at the same time!

Busta Rhymes - Big Bang - One of the most slept on albums of the decade... this was by far one of the greatest produced albums and Busta showed he could change lanes and give substance, style, and growth and do more than just party songs. He is one of the most consistent rappers ever and always able to stay relevant.

Honorable Mention:

Mac Dre - Genie of the Lamp - One of the games real tragedies. Dre was truly one of kind and complied some of his best raps on this one... gone too soon. Reality rap and fool with wordplay and his own version of storytelling.

The New South
12:00PM ET December 31, 2009
Contributor: Branden J. Peters
A Rocky Williform Company

Chalie Boy is one of the few rappers to make it out of Texas that is not from Dallas or Houston. The small town rapper /singer had been grinding for years with the Dirty 3rd crew, releasing a slew of popular mixtapes before he hit big with the single "I Look Good." Now signed to Battery/Jive Chalie Boy is working on his upcoming album.

Check out his 10 favorite albums of the decade.

T.I. - Urban Legend - Tip really came into his own on this album. "Bring Em Out," "ASAP," "You Don't Know Me," and "Motivation" were all bangers.

Rick Ross - Port of Miami - Ross came out with Hustlin' and it was a wrap.

Dr. Dre - Chronic 2001 - Really goes without explanation. Great production, Eminem and Snoop rhyming with Dre. (Editor Note: This album was actually released in 1999)

Eminem - Marshall Mathers LP - Em was just sick on this album. Subject matter was crazy, and his rhyme schemes, patterns and cadences were so unique.

UGK - Underground Kingz - Last album before Pimp C passed away. RIP Pimp C. UGK made it possible for me to be where I am today.

Young Jeezy - Thug Motivation - Jeezy hit the scene, he changed the whole vibe of rap music. Everybody started trappin after this album hit.

Kanye West - College Dropout - Kanye was just so unique with his subject matter and the production was crazy.

Jamie Foxx - Unpredictable - He made everybody forget that he was a comedian.

Anthony Hamilton - Coming From Where I'm From - He had such a unique sound and his music embodied so many different influences.

50 Cent - Get Rich or Die Tryin - 50 came in the game and took over. From beginning to end this is a classic album.

Got The Internet Going Nuts
12:00PM ET December 29, 2009
Contributor: Branden J. Peters
A Rocky Williform Company

With the decade rapidly coming to a close, HHB reached out to a few hip hop figures to see what music moved them most in the 2000's. The only criteria is the album had to be released from 2000-2009.

The People's Champ Paul Wall's list appears in no particular order. There are some expected selections (Paul and Chamillionaire's debut for instance) and a couple that will have you doing some research. Paul definitely knows his music and as you will see from the list he is Texas to the bone.

Paul Wall & Chamillionaire Get Ya Mind Correct
This was me and Koopa's 1st album. We really showed our skillz to our critics, our fans, and ourselves. This put us in the record books

T.I. Trap Music
So many hits on this album. With A-list features and production Tip really held it down on one of my favorite albums of all time

Z-ro Cracc
Man Z-ro is so underrated. This was our theme music for the entire year of 2008. The album was just like the title- CRACK

The Jacka Tear Gas
As an underground icon in the Bay, this album was highly anticipated and definitely worth the wait. Straight gangsta music.

Eminem The Marshall Mathers LP
It sold 1.76 million copies the 1st week with hits like "Stan" and "The Real Slim Shady". The production was incredible, and the lyrics were unbeatable. Em is one of the greatest to ever touch the M.I.C.

Lil Wayne Tha Carter
Go DJ was one of my favorite songs to play when I used to DJ at the clubs in Houston and Dallas. And when I heard "I Miss My Dawgs" it made me go back and buy all of the Hot Boys CD's all over again.

Young Jeezy "Thug Motivation 101"
Everybody in every hood in America knew 100% of all the lyrics on this album. "Standing Ovation", "My Hood", "Trap Star" and Snowman even had Jay-Z with him making the "dope boyz go crazy". 19 tracks of fire, without a doubt the best album of the decade

Jay-Z The Blueprint
My favorite Jay-Z album ever. I love "Song Cry", "Heart of The City", and "Renedade" with Eminem. The Production was game changing, with Kanye West, Just Blaze, Timbaland, and Bink. This was a great album.

Kanye West Late Registration
I love K-Dub's ode to boppers "Gold Digger" and "Drive Slow" was already a jam before I was on there (Editors Note: Wall appeared on the official remix to the song). "Diamonds from Sierra Leone" changed a lot of people's perspective on blood diamonds and shed a lot of light on the conflict.

The Game The Documentary
The Game came with it on here. "How We Do" was a serious club banger. "Hate It Or Love It" was another one that features my favorite 50cent verse of all time. "Dreams" was another one that stayed on repeat.

Crew Love
03:00PM ET December 23, 2009
Contributor: Mathis Bauchner
A Rocky Williform Company

It is truly rare for someone to possess enough cultural influence to make those around them famous. We're talking presidential fame. But if any hip hop artist, perhaps any artist period could do it, it would be Lil' Wayne.

Over the past few years, as he's risen from Hollygrove's finest to mainstream icon, Weezy's signing a plethora of artists to his Young Money label, mostly notably Drake, raps latest superstar. The YM umburella includes the veteran Jae Millz, from Harlem, Compton-native Tyga, Nicki Minaj, and the label's current president Mack Maine among others. With the introductory album, We Are Young Money, the crew attempts to introduce and in some cases reintroduce themselves to the world.

Unfortunately, with the exception of Drake, none are nearly as talented or as interesting as Wayne himself, but they do have a lot of sex. Starting with the hit single "Every Girl," the escapades of Weezy's boys take over the album thematically. To quick summarize: "Every Girl" is about fucking, well, every girl. The next track, "Ms. Parker," is about fucking Ms. Parker from the movie "Friday." Following that is "Wife Beater," which is about fucking one girl all day long. These songs have there moments. Mack Maine's line from "Every Girl, "In about three years holla at me Miley Cyrus," is brilliant, but overall they overdo it.

The rapping from everyone, excluding Drake, is mediocre, and Drizzy himself doesn't appear nearly often enough. He's on only 5 of 15 tracks, most notably "Pass The Dutch," which is a bit less sex-crazed than the rest of the album. The song features recent Young Money signee Short Dawg, and on his one appearance on the album he makes an impression. He's got a ton of swag and his verse is packed with enough witty metaphors and similes to make any Weezy aficionado proud.

Every Young Money artist, more or less, has adopted Lil' Wayne's taste for comparison-overkill. But while Weezy can giggle his way through verses likening himself to anything from a Martian to a cat, his costars stumble awkwardly with their wordplay. Hearing Mack Maine rhyme "parker," with "parka," with "park...UH" is painful.

But the production is solid, with two standout tracks from Chase N. Cashe, "Pass The Dutch" and "New Shit." The biggest name producer is David Banner, who turns in a wild horn-filled beat for "Streets Is Watchin,'" an otherwise pretty pedestrian track.

The biggest problem with the album is Young Money's lack of any feasible chemistry. Weezy appears on every track, providing the choruses for most, and his crewmembers pop in for verses. They attempt to standout as individuals, but their routine lyrics just end up blending together. If nothing else, the album reaffirms Drake's standout ability and Wayne's creative insanity. The rest of the squad has their moments, but they've got a lot of catching up to do.

Till The Casket Drops
09:00PM ET December 8, 2009
Contributor: Mathis Bauchner
A Rocky Williform Company

Old Dog, Old Tricks
09:00PM ET December 8, 2009
Contributor: SLM
A Rocky Williform Company

Rating: