It was while working as back-up dancers for elite artists like Usher, Mariah Carey and Ciara that the sexy, girl group Electrik Red joined forces. After a chance meeting on Usher’s Confessions tour, the ladies, hailing from both New York and Canada, signed with Def Jam and teamed up with Singer-songwriter The Dream and his trusty counterpart, production master Tricky Stewart. The result? The debut album How to Be a Lady: Volume 1, written and produced by the dynamic duo. The quartet, consisting of Kyndra “Binkie” Reevey, Lesley Lewis, Naomi Allen and Sarah Rosete comes across as a blend of Pussy Cat Dolls, TLC and Destiny’s Child circa 1999. Sounds like oil and water, right? That’s exactly what you’re getting from this album.

While there are a few gems on the album like the 808 heavy “Drink In My Cup,” a sure-fire club banger. The 90s era “Friend Lover,” which makes you want to get up and dance in your cut-off sweat shirt and leggings a’la Flash dance. And “On Point,” a gritty track with an Oakland feel; all that’s missing is Too Short on the feature. Otherwise, most of the album sounds like a test run for The Dreams next LP. It’s clear from the elementary lyrics in songs such as “P is for Power,” and “So Good,” along with the sub par vocal performance throughout the entire album that production is the life of this album. Which isn’t surprising. I don’t recall the radio killa being an expert on superb vocals, but rather trendsetting gimmicks and hooks.

So if you need some pre-gaming music before a night out on the town or don’t have anything to listen to since PCD is played out, Janet’s almost over the hill, and Kelis hasn’t come out with anything new in a while, Electrik Red is a moderate substitute. As long as they stick to making videos, showcasing their real talent-which is dancing- they may be around for the next couple of months. But a successor to the fallen girl group throne? I think not.

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This is merely an introduction. Chester French was Chester French before Star Trak. This explains the non-Hugo/Williams medleys. Many are wondering why Star Trak would sign them, but my understanding is clear; that Star Trak is about music.

I love the future if it resonates like Chester French. They have this just two men can rock the world, just like the Beatles energy about them. D.A. Wallach and Max Drummer are smart. Their approach is not just rock. It’s hip hop, indie rock, pop and can be just as melodic as R&B.

Many have tried but does it ever come out this pure. Has there ever been a spoon thick enough to stir the “stoup” that few artists create when they truly love all music? French has frankensteined a reverberation that is present, emulates the past, and transports us to the future. Hence, their funky album art; it tells us that there are both contemporary and vintage. And that they adore indifference.

Radio monotony is enough to drive two Harvard students to hide out in their dorms. The output clear guitar riffs, snares, strings; gorgeous vocals and violins; and honest falsettos. At any given moment, a shuffle of these songs is pure, sophisticated and callow, and unbelievably original.

Lyrically Wallach and Drummer set the box on fire. “Fingers” features lines such as “the fingers of your mind have wrapped around my spine and made me feel so blind.” On everyone’s favorite, “She Loves Everybody,” Wallach expresses the pressure and failure many men face when dating or dealing with jaded women: “ you just a little girl now/you’re just a girl who misses her dad/and all the toys she had.”

All in all new mixed with a little old trump the outdated and that’s Chester French.

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Could this album sit on a shelf in Paul’s Boutique? Would Mike D. shake his head with the same fervor as he did during the making of “99 Problems” by Jay-Z? I do not know. I’m no Mike D, but my Beastie Boys permeated brain can’t tolerate sleeping in the bread aisle.

I’m beyond the point of needing a rapper to be black. However, good music is good music. And yes folks, bad music is bad music just as well. Considering my spectrum, Asher Roth is below average. Roth sounds like Kevin Federline walked to Compton and bought some bad weed. What are the odds of this happening? I don’t know.

He cleverly says nothing. Bloggers everywhere claim that he should battle Eminem for the title, but folks Eminem despite the parody and I hate my mother eulogies; he’s no average rapper.

Asher Roth has created a new genre of music. A box that is not serious, but not completely ignorant. He loves college. Asleep in the Bread Aisle dropped on every stoner’s favorite day, April 20, 2009. It is a surplus of the track before this one and the track before that one.

I’ve heard him freestyle and was at best intrigued. I guess the saying is true that it’s not that easy for a freestyler to liberate himself from an environment that knows no boundaries. This goes for most studio rappers (laughing out loud hysterically); many of them choke at the thought improvisation.

“Lark On My Go Kart” adds appeal. “I Love College” and “Be By Myself” are other tracks that are cordial to the ears. I find that Roth’s problem are two things: he has a hard time being himself lyrically and his collaborations outweigh him word wise subsequently bringing the wrong attention to his otherwise empty bread aisle.

I assumed the aisle was empty since he was sleeping there.

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New York revival rock has never been this revolutionary sound before—not in a long time. This all means that the Yeah Yeah Yeahs really cracked the egg.

Karen O stood on David Letterman’s stage with her band mates. They ripped it. This performance led to this review. I know the Yeah Yeah Yeahs simply because I love rock bands whose lead singers are females. O’s new found or better yet strengthened confidence and seasoned nature to the mic was absolute definition of “dope.”

The lovely Karen O says “Off with your head/dance until your dead” in the beginning of “Heads Will Roll.” She also asks, “How are you not going to get high?” on “Dragon Queen.” Its statements like these that gives It’s Blitz the energy of a raging bull. The band has switched guitars and has headed straight to the dance floor.

No booty shaking per se but the walls will sweat. So ladies and gentleman “shake it/like a ladder to the sun.” Don’t ask any questions; just grab your leather jacket.

Karen O has changed. She has always had a high-flavored, sexy aura about her that bleeds into the Yeah Yeah Yeahs music. But this time, it’s different.

She’s bigger, while her band mates are channeling wavelengths of the Richter. The Yeah Yeah Yeahs has a style that can not be bought—and they’re straight beyond and below zero.

“The eagle has landed.”

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Jadakiss is the nastiest mixtape rapper. With that being said, pucker up! I suggest Jadakiss tries the kiss once again. Next time around kiss like you mean it.

Often times as Jadakiss fans, we expect the same “I’m the king of rap” fire he spits on his mixtapes. Unfortunately for us and Jadakiss, radio does not love undefined lyricism or blunt reality.

On The Last Kiss everything is too club-oriented, too soft enough for the ladies. I was waiting to hear the flow that usually makes my brain freeze and press rewind until my finger feels like I’ve been playing Sonic.

“Can’t Stop Me” is a Rocafella, New York banger. “Grind Hard” and “Cartel Gathering” is notable somewhat. The letter to big is heaven sent.

With all the non-Jada on Jadakiss’ album, I hope he breaks even somewhat. Shamefully, we only have Sound Scan to ask? Can I get a Hard Knock Life Tour 2009? I can not wait until the moment real Hip Hop, real rap, real music because the number one product of these pushers.

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Ladies and gentleman, he tried. Mims has the right confidence but it appears there is nothing backing it up. So, then is it arrogance he possesses?

Shawn Mims says he’s hungry but what exactly has he been eating in the mean time? It can’t possibly be steak potatoes. Someone bright said “eat n*gg@/let it stick to ya rib.” Smart man, wouldn’t you say.

Guilt is the name of Mims second bout. What is he guilty about? Sorry for all the questions, much was left unanswered. He should be guilty about trusting that his ringtone, one hit wonder success could help him pull it off again. Mims does not stand out, period. His album cover art is insipid, up to the poorly chosen red, black plaid shirt—which is no lumber jack fit.

“Move” is a definite radio-stalker, club hopping joint. However, “Making Money” is a swagger jackling annoying. The title, “In My Life (Why O Why),” gives the illusion of substance but sorry folks. Ky-Mani Marley (“One Day”) and Letoya Luckett (“Love Rollercoaster”) could not bring life to Guilt. “On & On” tells us that Mims is not for beef, that he’s not scared. But I think he should be. Good competition, lyrical match-ups always make good creations. Creativity should not scare you.

Be brave and different and Mims, you might garner something more than ringtone success. Take off the glasses maybe some light will shine in that dark hallway your in.

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Gavin Degraw wants us to believe that he took a chariot and has finally found his musical voice. In my interpretation, he is referring to freedom of expression. Such an expression attained musically does transcend.

I am not convinced.

Degraw’s voice introduced the CW’s “One Tree Hill” for many seasons. The acoustic version of “Belief” is one my favorites. Furthermore, “Chariot” was the platform that the world thought would give Degraw Grammy nominations for best new artist.

Notice I have mentioned only two previous tracks of 22, prior to the releasing of Free.

Free should be his clear headed post post-break up album. No pressure, except to free himself from the over production his sophomore album, “Gavin Degraw.”. But (insert pause here). There is something missing. Free sounds as if Degraw was tossed all the free, tranquil wannabe, play in a coffee house gimmick tracks there are over at J Records. Which to me gave him shackles not freedom.

Freedom and music are compatible but can not be masked by an “Indian Summer” that has snow covered cedars. “Why Do The Men Stray” is a terrible strange song about gender differences.

Degraw being free is not something acquired quickly. It takes time and focus. Chariot was released in 2003 and Gavin Degraw in 2008. Time was clearly there, but many fans were left unimpressed and hugely disappointed by Gavin Degraw. Obviously ten months is not sufficient either. I would plug into whatever gave us Chariot. Give your brother a ring; it’s always good to go home.

What is saddening is that Degraw has a strong voice. If paired with his original pen and an appropriate production team, fans will truly have something to believe in. Despite my harsh criticism, Free does have the some strong points. “Lover Be Strong” and “Stay” offers the earthy, take a bath Degraw voice and sound we love.
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In 2009, there is actually a sun that shines in Jack City. New Jack City II is the polar opposite of Wesley Snipes’ grime reality of being the boss of all bosses. Confused? You should be.

Bow Wow and Jermaine Dupri thought cleverly to entitle the album that marks their reunion as New Jack City II. This strange, newly coined term of endearment encapsulates the reconciliation of friends. In Bow Wow and Dupri case, there was “no” bad blood when they parted ways record label wise. So, this is the tale of friends remaining friends and making music once again—not friends becoming frenimies.

New Jack City II is the first time Bow Wow has ever musically received a parental advisory sticker. Yellow-smiley face elation is probably a poor example of expression considering he became Bow Wow in April of 2002. Has he really matured? I’m not referring to the maturation of an individual, but as an artist. Oddly, when Bow Wow is unleashed he only goes gold. When he keeps it clean and symphonic, he certifies his platinum status.

Too bad there is a “pole in the basement,” the T-Pain, Lil Wayne fusion is the best track, production wise on the album. “Pole in the Basement” is a superb southern produced joint by Drumma Boy (smart move). Many thought that “Marco Polo” featuring Soulja Boy would be on the album, but it did not make the cut. Mr. Radio Hit & Never Miss, T-Pain, is present on “She’s My.” “Roc The Mic” is Bow Wow and Dupri’s “stuntin’ like my daddy” tribute.

Any track is a potential radio hit and subsequently club bangers. This commercial wisdom proves his maturity as an artist.

The lack of lyrical growth may be of a disappointment, but Bow Wow makes up for it by making of the era music. Jermaine Dupri did is job by making sure certain collaborations were in place. He clutched features from T.I., Ron Browz, Nelly, Trey Songz and others. His production team was diverse featuring: J.R. Rotem, Swizz Beatz, Dj Khaled, Nitti, T-Pain, Bryan-Michael Cox, Allstar, DJ Toomp, Ron Browz, and No ID.

The first single “You Can Get It All” featuring Johnta Austin and Dondria. The second single “What They Call Me” featuring Nelly and Ron Brows.

New Jack City II doesn’t turn your brain to mush; it just has the wrong name. Thus far New Jack City II is Bow Wow’s lowest selling album.

Written By Kaia Karamoko

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The Rick Ross and friend’s version of “Mafia Music” should have made the cut. Preferably, squeezed in between tema uno and “Maybach Music 2” or at least offered as a gift as a bonus track.

I must admit that I was one of many Bison’s that booed Mr. Miami at Howard University Yard Fest. We have been wrong before.

“He’s not bigger than Biggie,” Ross states on “Yacht Club.” Who cares, at this point? Notorious’ spot is solidified. Ross is hungrily putting forth the effort to make a list. Maybe he’s not King, but damn close.

A rapper is supreme in my book based on his confidence and how well he can express his imperturbability. His coolness has to be raw. The creativity he or she possesses must provide a certain swagger that is not of the hackneyed nature. Honesty is important too. I ask how many Russell “Stringer” Bell characters are there?

Deeper than Rap is an earnest statement that many rappers endure once they transcend gold status. It is also the matchless response to 50 Cent’s ‘I’m rich and bored’ antics.

“Mafia Music” rides in clean, without a hook, with enough space to take verbal shots at 50. “Magnificent” featuring John Legend is sure make the ladies mysteriously rub on Ross’ tummy ensuing the Nelly-esque (think eagle meets white linen) dancing to coast until the end of this summer.

The Runners are to be extremely commended on the production of “In Cold Blood.” “All I Really Want” featuring The Dream is sure to make radio.

The DJ Toomp produced track, “Valley of Death” featuring Mary J. Blige is a gem to add to Hip Hop’s immaculate contribution to beautiful music. There is something in Mary’s soul that brings out the best in rappers and provides pure harmonic retrospection.

Rick Ross was clearly meticulous in regards to production by avoiding those that engage in vapid creation. Gripping Louis Sluggers the Inkredibles, J.U.S.T.I.C.E. League, Tricky Stewart, The Runners, Drumma Boy, Bigg D and Dj Toomp provides the wizardry of the backdrop that landed Ross an almost spotless transition album.

Ross’ mishaps are tracks “Face” and “Murda Mami.” It is a well known fact that rappers must maintain the interest of the ladies. Albums will not move off shelves. However, don’t just carelessly throw estrogen into the pot. Both of these tracks despite the grotesque subject matter of “Face” and disappointing temperament of “Murda Mami” the Queen Bee would have constructed A-1 tracks.

Another lesson for Ross, if at all cost and possible never let another emcee upstage you. Nas’ to the point verse murdered him on “Usual Suspects” much like Jay-Z on the original “Maybach Music.”

No prime lyrics to mention. But that’s okay. “Mafia Music” gives us a glimpse of what Ross can do if he really puts his pen to it. Ross stay away from 50 Cent, he’s parasitic. His beef is the product of marketing schemes.

Ladies and gentleman cop Deeper than Rap. Deeper than Rap hit stores yesterday, Tuesday, April 21, 2009.

Written Kaia Karamoko

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In a perfect world…what exactly? I am betting that the songs Miss Hilson discarded during the time it took to get ready for her original September 2008 release date to now, were all top notch hitters. It has been disclosed that about 90% of the track listing was changed.

Keri Hilson’s perfect momentum was murdered by the constant pushing back of her release date. I will be the first to say that the internet is an enigmatic virus when it comes to the music industry. Nevertheless, the mysterious nature of the Internet’s muscle and the fathering authority of record labels is no excuse for poor product. No excuse to settle for princess status as opposed to the queen. At least that’s the interpretation I received from her “Turnin’ Me On (remix).” I thought she was going for the gold or more preferred platinum.

In 2007, when Timbaland dropped “The Way I Are,” I was high off of helium. ‘When is her album coming out? Who is she?’ These are the questions I had in regards to Keri Hilson. I thought her style was different, dissimilar to Beyonce or Ciara. And after “Scream” was released I was truly pumped. We plug into those divas because their own inherent talents. Keri should want the same fan base.

Given her rap sheet of singer and songwriter, I was hoping for a female soldier to join the ranks of the Songwriter/Artist Movement. I was ready to hear track for track phenom. Keri is one part of the five person songwriters’ crew, The Clutch. She has written songs for Britney Spears and Mary J. Blige. Coincidentally, while preparing for this review I said she was like a black Britney Spears.

I think that In A Perfect World has too much collaboration to be a R&B debut. It lacks the energy that we all noticed back in 2007. This made me pose the following questions: Is she better off as a featured artist? Is she just a songwriter? Is In A Perfect World a victim of unfair circumstances?

Despite the aforementioned criticism I can tolerate “Energy,” “Change Me (featuring Akon)” and the radio ready “Knock You Down” featuring Kanye West and Ne-Yo.

There is no argument to whether or not she has the talent to secure a promising career. I would suggest Keri Hilson to demand complete creative control on her next project. Don’t let them change you. We want the woman who wore those fabulous wedges at her California album release party.

Written By Kaia Karamoko

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J. Holiday would like us to rumble the sheets, once again. Will we fall asleep this time (in a good way)? Based on the song titles, it appears as if this time he prefers if we sat at the edge of the bed and discussed a few things.

Round 2 is a more mature approach to the love thang J. Holiday sang so eloquently in the back of his Cadillac (corny I know.) His first single “It’s Yours” declares that Mr. Holiday has switched cars. It’s still a Cadillac, but just not as much room in the back seat.

No more confessions of what he’s going to do in the bed. Holiday is deep in thought about the throws of love. He falls in love in the track, “Fall.” He pleads for his lover to stay all the while realizing he is the cause of her exit performance in “Don’t Go.” Rick Ross provides him with the perfect baritone on “Wrong Lover.” No more crooning or thug loving. J. Holiday has a different pitch and a new subject. Is it enough?

It seems that the strategy is, to make at best, two hot singles to ensure that the people come out in droves to support you. How good is this strategy in an internet driven environment?

I have said this before. There once was a time when mental conundrums occurred every musical season like clockwork. We just could not figure out which album not to buy. Nowadays, it’s different. With guilt on our conscious or not, many of us result to downloading individual tracks instead of purchasing whole albums.

Holiday doesn’t sound bad vocally but nothing on the album strikes a cord or mimics a thread count.

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In 2006, this Trinidadian queen realeased In My Mind. The title track, “In My Mind,” was my collegiate morning soundtrack. I’m sure I drove my roommate insane. The soundtrack consisted only of this one song.

I was not experiencing relationship woes of any sort but it was something about this song that gave me the needed torque to weather any storms my professors decided to start.

Her voice is angelic, thus no wonder her appropriate congregation is an audience of one. This past January, Heather Headley released a gospel record. Yes, a gospel record entitled Audience of One. The album states cleary that it’s never too late to go home.

Many R&B artists often tip-toe to the other side of the railroad and give praise for the God give talents and other blessings. Whitney Houston and Michelle Williams have made positive contributions in the name of the Lord. Duke Ellington joined forces with Mahalia Jackson on the Sunday best, “Come Sunday.” Most recently on Mariah Carey’s The Emancipation of Mimi, featured “Fly Like A Bird.” The track had a spiritual tone despite the upbeat party and sultry love songs the album comprised of.

Audience of One doesn’r involve too much clapping, stumping, utterance of fancy living or false Holy Ghost spirit catching. Why Ms. Headley sings is written all over this album.

Production by Keith Thomas, who is known for his work with Whitney Houston and Yolanda Adams, served Headley well. It kept her light shining. Notable performances are “Hymn Medley” and “Running Back to You.” If you strangely did not know her at first, it will be hard to forget her after Audience of One. Smokie Norful gives his labelmate a fitting duet on “Jesus is Love,” a cover of The Commodores’ hit.

It will not take long before church choirs look to Audience of One to assist them in their hours of praise. Growing above a church makes for good gospel, music or otherwise.

Written By Kaia Karamoko

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India.Arie Testimony Vol 2: Love & Politics Legendary KRS-One has always boasted about his lack of concentration on the strains of marketing. He proclaimed and proved consecutively that his craft originated from his origin and only as he saw fit. The same can be said of India.Arie, down to her toe nail polish she transcends hackeneyed ideals. The proof is in the fabric both figuratively and literally. Many are not able handle her disregard of pop culture but it appears that such is the key for classics. Testimony Vol 2: Love & Politics pure nature is what sets it apart from the rest. It is vocally, sonicallyzn sound as Ms. Arie intended her work to be. I have to be honest. Initially, I was one of the music heads that couldn’t stand her constant positive message or style of music. This was true up until the moment I heard “Ready For Love.” And as far as I was concerned all of her music should rock to that very beat. My or our dreams have come true. Love & Politics is a conplete turn around [for me], that it not too pop, too R&B, or too India.Arie (if that makes sense after you read my next thought). It is different yet it is as inspiring as the “old” India.Arie. The album portrays how disconnected dynamic of politics and love. India.Arie’s testimony delicately gives an in depth look through sound, the needed guidance between the two. The awkwardness arises because one’s landscape is supposedly straight and narrow (politics) and the other wild, rugged and without a manual (love). Such is perfectly conveyed through the array of both song title and subject. This balance beam action is heard in the juggling of topics like the ever-so Domino cause and effect of the loss of a real father and daughter relationship sung in “The Cure” and the fresh, yet all to ancient story of thr ghettoes of America and Africa in “Ghetto.” Love & Politics exercises Arie’s talent outside of the guitar. The piano rifts in “Long Goodbye” are impressive. The sound is mature and properly produced. India.Arie also intelligently gambled with collaborations with Musiq Soulchild, MC Lyte, Terell Carter, Gramps Morgan, Dobet Gnahore and blues legend, Keb Mo. “He Heals Me,” “Psalms 23,” “River Rise,” and “Long Goodbye” are sure to be favorites. Love & Politics is a great addition to Arie’s catalogue; an appropriate exploration to the emotions, vision, and lyrics painted in Testimony Vol 1: Life & Relationships. The point is stop India.Arie’n, India.Arie. Written By Kaia Karamoko __________________________________________________________________________________________
Is Pop music dissolving? It seems that every pop record mandatorily must fit perfectly to the landscape of J.Lo’s 1999 “Waiting For Tonight.” What is surely to follow is thousands of techno mixes. Wrong! At least this is true for a few pop divas. True for the ones that can sing: Christina Aguilera, Jessica Simpson or Tiffany Evans. These famed few have the options of actually singing, singing as many different tunes as they want. Kelly Clarkson has done this time and time again with songs “Behind These Hazel Eyes,” “Since You’ve Been,” “Because of You” and pretty much any track off of Breakway. The problem is Kelly has become Miss Dependent. She has become dependent on ghostwriters (Katy Perry has inked a few tracks) and OPP (other people’s personality). I believe a real singer can sing just about anything. Hence, Kelly has tried it all and in tune. But amongst the guitar rifts and bright, neon strobe lights Kelly has lost sight of the multiplicity of her voice. All I Ever Wanted makes you wonder as to what does Kelly really want. The title is not clarified. The production is weary. It defines why pop musicians are not taking seriously or at least the genre. Breakaway is still the quintessential album for the ladies who are/were fed up. I was far from needing musical therapy. Yet, it never failed, before “Beautiful Disaster” slowly crept through the speakers; I would find myself holding the closest thing resembling a microphone. Thus, the bar was set and we all expected her to continue to soar. Kelly’s vocals have not changed nor weakened but her flight has become a bit loopy. No tracks recommended because I can’t remember any titles. I love Kelly’s music but All I Ever Wanted is just not my kind of December or should I say March. __________________________________________________________________________________________ The Dream jammed that the radio with banger after banger in 2007 and hasn’t looked back. From inking songs for Rihanna “Umbrella” to J. Holiday’s “Suffocate,” the man has proven that musically he is diamond. Love/Hate went gold dispelling that numbers do lie. The only way Love/Hate was not stimulating bedrooms, clubs and/or personal studio session (i.e. showers everywhere) was because the one corner of the Earth untouched by technology. After a year of allowing us to recuperate from his musical green thumb. Radio Killer is at it again. He has managed to devise exactly what the radio has been missing. The formula is simple math. Double your initial ingredients to make more. Love vs Money is Love/Hate². Mr. Stewart said that “this album is just gonna be the first album on crack, basically.” Love vs Money provides the answer to why Christina Milian is one of The Dream’s good friends. He knows exactly what the ladies want to hear. The nine second intro lures you in. With his second track and first single “Rockin That Sh**,” he finished where he left off in ‘07 with “Shawty is a 10.” The track strategically gases up us ladies. Later to say that what ever she is doing got him “walking on the moon” featuring the one, the only Kanye West. Another notable collaboration is with MC. On “My Love” Mariah Carey as angelic as possible helps to deliver strong duet. This time around however, the tracks her smooth. There’s alot of serenading going on. You hear a dollop of Mr. R. Kelly. If track 13, Kelly’s 12 Play, has not given it away. My suggestion is if you did not but on Tuesday, March 10 go out and buy it. Bring out the red dresses and Sean John Unforgivable. Pop it in and see what happens. For the ladies sake, press repeat. __________________________________________________________________________________________ I don’t like it. It’s plausible that I raised the bar too high. She dropped a promising debut album, Still, an unblemished package that was sure to ignite her career. Is it or is it not natural for a fan to want an artist to consistently progress and offer something new. At best I think it’s fair to want to buy your favorite artist, to brag to your friends how dope their music sounds. Such raving could cause persuasion of multiple purchases throughout a gajillion circle of friends. No wonder album sales are so ridiculously low. Lily chose some heavy subjects to sing about. The album goes from family, deadbeat dads, insufficient lovers, prescription drugs, and back around the world again. The topics are intriguing except the lyrics are like water for content—too simple. It’s like she’s talking to me. Call me crazy but I would love to hear her sing about all of this stuff, but a little more stimulation. It’s like the “Enter” key is jammed on her keyboard. Lily sometimes it’s okay to press backspace. The end of 2008 and the premiere months ’09 has been the musical focus for retrospection. I simply expected more from an artist who is not afraid to tell it like it is, who uses her music for therapy rather it is her own or otherwise. Some critics will say that she covered every angle but I’m saying give me the riot every time. There are some notable lines, which are plain as day shots at the skin driven industry. Such as “I’ll take my clothes off and it will be shameless, cuz everyone knows that’s how you get famous,” a dig from her single, “The Fear.” “Back To The Start” is to be applauded as well as “Not Fair.” Don’t write Lily Allen off just yet because we all know that we’ve heard considerably shoddier second bouts. It seemed like in trying to have a more mature sound; it buried the best of Lily. Progression occurs naturally, so let it Lily. Written By Kaia Karamoko __________________________________________________________________________________________ Kid Cudi Man on the Moon It sounds like an air balloon, really high up in the air. And it’s weird, until you learn that Kid Cudi wants to live on the moon. Kid Cudi presents to the world, Man on the Moon, duh! The sound is completely rare. No copy cats here. Clearly, Dot is a genius. Dot Da Genius is responsible for the beats that Kid Cudi gears his altitudinal lyrics to. Kid Cudi comes off as that dude that you chill with on the couch. You laugh with Cudi, decipher intricate details about life with Cudi, you indulge conversation after conversation to one day learn that you to want to live on the moon too. Kid Cudi, real name Scott Mescudi from Cleveland, OH is gorgeously influenced by rock as “Down & Out” squeezes its way in after the silly intro. From that point on it’s like a movie, unreal like the man on the Moon in 1969. Cudi makes you wonder was John Legend really talking about essence of the herb on his hit record, “Let’s Get Lifted” on “Maui Wowie.” Cudi borrows from already heard before beats (used by Common, Gnarls Barkley, and Grindhouse) but very eloquently on “Save My Soul,” “Cudi Spazzin’,” and “50 Ways to Make a Record.” However, the “sampling” does annoy the craft of music. Cudi is witty and political. The record is very approachable, no high-tech tricks that makes you hide the CD behind what you really want to hear. Ear-worthy tracks include “Is There Any Love?” featuring D.C.’s Wale, “Day & Night,” “Cudi Spazzin’,” “Cleveland Is the Reason,” “Whenever,” “50 Ways to Make a Record,” and “Save My Soul.” My only complaint is that some tracks are ridiculously short as two minutes and three measly seconds. Let’s follow Cudi to the Moon. __________________________________________________________________________________________ Smart man = smart music. Ryan Leslie has manufactured a new, old sound. You think of pop music and envision Britney Spears, Justin Timberlake, Jessica Simpson and Nick Lachey but there once was a time when it was more marvelous. Whitney Houston pranced around royally with a golden crown. The classic music argument of all time is still, Michael Jackson or Prince? It is proven that if an artist can magically, intricately whip together the soul of R& B and the hoorah, bigger than life performances, aching muscles of Pop music—he or she would have a Duracell hit on their hands. Since May of 2008, girls everywhere have been dying to be diamond girls. “Diamond Girl” was the title R Les’ hit record and was sure to be music’s ear’s next selection. To tease the world, R Les released “Addiction” featuring Fabolous and his flagship artist, Cassie, and “How It Was Supposed to Be” Many might wonder how he figured out what works? Knowledge is truly key. In 2005, he signed with Universal Records to release his European –only debut, “Just Right” and alongside P. Diddy has produced hits for Britney Spears, Beyoncé, New Edition, Loon, Cheri Dennis, and Danity Kane. Leslie is also the founder of the marketing and media company, Next Selection Lifestyle Group. Ryan Leslie sounds like studio induced production; however, Leslie uses real instruments. On February 10, 2009, ladies and gentleman buy this album and put your radio on shuffle. It’s not fraudulent. Ryan Leslie is not singing the impossible, for example, sprinkling ground diamonds on his scramble eggs (for my Dave Chapelle fans). He sounds like a thirty-year-old man, who is ready and willing to sacrifice for love. He’s not too proud with songs such as “Just Right,” “Valentine,” “You’re Fly,” “Wanna Be Good,” and “I-R-I-N-A.” The most notable track other than “Diamond Girl” and “Addiction” is “Quicksand.” It captures the feeling of no control, pure infatuation. I am requesting that you all listen to it over and over and over again. Ryan Leslie is the son of two ministers. Teenage graduate from Harvard University turned talented singer, songwriter, producer, marketing futurist (Internet connoisseur) and more. Make Ryan Leslie your next selection. __________________________________________________________________________________________ Jamie Foxx Intuition If you need a party, slow, sped up, or mid up-tempo you’ll be satisfied. In its entirety the album lacks the “newly” popular concept theme post-American Gangster release, but it works. Is it because of Foxx’s good-looking voice or is it the abundance of his impeccable choice of collaborations? Who cares!?!!! Variety is the best way that I can describe Intuition. It is five inches of schizophrenia. What makes the album quite interesting are the odd matchups. Mr. Foxx has paired up with Sir Southern himself, T.I., and Sir Southern himself, Lil Wayne, and Marsha Ambrosius, the former songstress of Philly’s soul team, Floetry. There’s nothing abnormal about R&B and rap music coming together, it’s just that sometimes the end product is better off left in a vault of never to be released audio. Sometimes it’s the best poetry to ever move. It must be the natural heavenly sound of real R&B singers that makes suave second nature. However, rappers seem to get so raptured in bravado that the charm needed to serenade is all too foreign. Most people surely ran out and bought the album so they could have a tangible copy of the 2008 banger, “She Got Her Own ( the remix).” Since, Ne-Yo wasn’t gentleman enough to offer it on his own joint. (Just kidding Ne-Yo). Intuition is like Willy Wonka’s chocolate factory, there is something for everyone. Tracks like “Freak’In Me” featuring Marsha Ambrosius, “Digital Girl” featuring Kanye West and The Dream, “Number One” are sure to be favorites like Intuition’s to date notables “Just Like Me” and “Blame It. It’s not that these songs are the best since Popeye’s biscuits but the partnerships are seamless. Fans are probably wondering why Foxx chose such swaggering subjects considering his voice is boastful all on its own. I can only speculate that it is his release away from Hollywood’s stresses. Foxx reminds us all on “Love Brings Change,” that when it comes to entertainment he monopolizes without breaking a sweat. Buy the album and pick your own number ones. __________________________________________________________________________________________ I have to admit after “Charlene” made radio everywhere I was praying and hoping that Anthony’s blues could go away for a while. But in my inhibition to listen to Anthony Hamilton, I was missing out. Hamilton is Southern Comfort, strong in taste, but with a twist of lime the perfect beginning to an introspective evening. It’s nice to know that the R&B scene is not left up to the youngsters or older gentlemen trying to maintain their youth. Anthony Hamilton proves that love can be mature, and that yes, it hurts. The Point of It All explores the intricacies of being/falling in love while surviving. A survival that illustrates that when you are in love a separate world is created between you and your lover. However, you must still enter the matrix. At this point, you hear the news and “pray for a savior.” Anthony Hamilton sounds like a man instead of hormone driven, bare-chested teenage boy. He knows how rhythm and blues resonates when there are shared bank accounts, when once singular thoughts turn into “we” and selfless declarations. Hamilton makes throwing away your pride the point of it all with tracks like “Hard to Breathe,” “Her Heart,” “The Day We Met,” and “Fallin’ in Love.” He professes that “if I had my way, I’d spend my life with you falling in love.” His music is just the thing for the older crowd as well as for the freshly suited men and women of the world trading in their Nikes for Stacy Adams and BCBG pumps. The Point of It All has a spiritual redeeming tone. It shows this generation that religion and R&B it fused correctly belongs together. Hamilton sings and illustrates how life is sometimes is gospel. Marvin Gaye will always be standing origin of real music. That Duke Ellington’s “Come Sunday” sung by Mahalia Jackson plays every Sunday for a reason. Such leaps of faith lead to tracks like “Soul’s On Fire” and “Fine Again.” After hearing “Do You Feel Me?” from American Gangster in 2007, I knew whatever was next from this brother would be phenomenal. All I can say is Anthony please stay. __________________________________________________________________________________________ Avant The album is a blur. I’m lost in translation trying to figure out the journey this man took to arrive at this junction. Unlike on his debut, My Thoughts, Avant seems to struggle with the ability to be thorough. From crooning to the world with his thoughts about his “first love” to “making good love” to “don’t take your love away, I need you girl” to this is a bit much for “fan” to handle. The self-entitled album dropped last year. But there’s something about ‘bangin’ like we used to’ and ‘imma break yo back’ that my radio can’t compute nor is any type of real romantic mood under any moon, set. Something or somewhere in all of Avant’s thirty years, he should have acquired a more debonair sense to his rhythm and blues. However, it may be that it takes a different type of brother to serenade me. Despite his apparent missteps, I recognize growth and his consistent travel toward the Love Movement. It can also be appreciated that he stays clear from a hustler’s groove and drives straight down lover’s lane. The production is much stainless than before, but it always sounds like the production can’t match his multiple album prowess or voice. The album is short, which may provide the reason behind my blurred hearing. Customers and fans alike will like “Break Ya Back,” “Sailing,” “Attention,” “Y.O.U” and “French Pedicure.” Love is the song she sings. __________________________________________________________________________________________   “Strangely” it sounds a lot like drama. It’s no mystery to us that Ms. MJB is or was (you be the judge) a major influence in Ms. Cole’s book. However, the Queen of Hip Hop Soul has nothing to do with Cole’s God given talent. I just can’t wait ‘til she knows or better yet her producers know/let her shine. The ready to break shell needs to be broken and Sound Scan will deliver. Everything sounds great because Cole is vocally athletic. But I bet money, Cole has learned a long time before to let love find her. With that being said, yes, we listen and believe there is a thin line between R&B diva and yesterdays news. I would argue there is a broad, yet touched place between the two that someone with the talent that Keyshia Cole has, can fill. Imitation is for pop singers. “Where This Love Could End Up,” is a stand out track with snippets from Marcus Miller’s “Much Too Much” or more notably to some the sample from Jay-Z’s “Can’t Knock the Hustle.” On her eighth bout on A Different Me, “Playa Cardz Right,” none other than prophetic Tupac Shakur is featured. Keyshia Cole, like many other artist in the last quarter of the music season, opted to try something new: by bringing back the 1980’s. Techno, over the top era is not as clear given Cole’s strong remnants of rhythm and blues. “This Is Us” makes you think we switched CDs and turn on Fergie’s The Duchess, specifically track 10, “Big Girls Don’t Cry.” Play your cards right, trust & passion and you got the foundation for love, right? The obvious solutions is to let Keyshia Cole be Keyshia Cole, not every other singer known to man because she has her own set of strong pipes. P.S. Not a different you, the real you will do just fine. __________________________________________________________________________________________ Maybe we all need some Atlanta air or a cup of Lake Lanier on ice. Fans hate(d) it. The first single, “Radio,” is confusing, new, and considering the 12 track album was not the right choice. After ripping off the plastic and the annoying title strip from the top edge of the CD and popping it into your system, “Back Again,” roars from the speakers. It’s shocking at first, but it sounds like a perfectly enthused beginning of music. Track after track there’s well crafted ballads, mid-tempo parties, and sensual “oh my God” that sounds so beautiful episodes. “If U Leave” is battle of the sexes in love/hate featuring Mary J. Blige “Dear John” is somewhat awkward as the subject Musiq sings about. Many have argued and blogged to death that Atlanta has betrayed his artistry but beg to differ. “Until,” “Special,” “Money Right,” and “So Beautiful” reminds us why we love Musiq, literally. “So Beautiful” makes me blush. Others are sick of his fused vocabulary but it’s signature like “Hype” and Hype Williams, “the radiant baby” and Keith Haring, “Samo” and Basquiat, or wine glass cracking pitch of Mariah Carey—matching suaveness and The Temptations. Amazon’s customers give it a 4.5 rating out of five. The half point is most definitely because of the OnMyRadio’s last track, “Radio.” However, keep in my inspiration is garnered from almost anything; something as simple as a dripping faucet. Or Atlanta in Musiq’s case. Someone has clearly taught Musiq how to love or at least how sounds. __________________________________________________________________________________________ Confidence prevails. Maybe we should live where there is more sand than grass. Day & Age will without a doubt be placed in the it group of 2008; more notably an album for the ages. Every track has its own signature and rapturing frenzy. Which is why I can’t just call it pop rock, new wave epic rock instead. Many artist trip and fall on the sophomore bouts and redeem their stardom their trés time around. If that is indeed the fact, The Killers are triumphant like Russell Crowe in “Gladiator.” Except Brandon Flowers and his talented crew, Stoemer, Keuning, Vannacci, will not perish honorably like Maximus–we want more. Day and Age fits in perfectly between “Sixteen Candles,” “Weird Science,” and “Footloose,” but like Queen sweetened with The Cure meets Ferris Bueller. The Killer successfully rejuvenates the melodic spirit of the ’80s. If you are engulfed by “Human,” buy the album; you will not be disappointed. Check out joints “A Dustland Fairytale” and “The World We Live In” and find out why The Killers have received seven Grammy nominations. Pay attention to the lyrics on “A Dustyland Fairytale” given that it was written by Flowers and is about his parents. Not your average Eminem tribute. Flowers is such a poet. I heart The Killers. And you should too. __________________________________________________________________________________________ Eleven years has passed since Portishead released Portishead has scrambled our idea of what music is or can be. So much has happened. So much has not. Portishead is most definitely are group that can go in hiding for as long as they please and still produced relevant beautiful music. Third is an album that you can listen from beginning to end, end to beginning, or on shuffle. “Machine Gun,” “Silence,” and “Threads,” are all simply ridiculously visionary tracks. Almost like the lost soundtrack to Blade Runner no offense intended towards Mr. Futuristic himself, Vangelis. It’s hard to capture what exactly Third sounds like, what genre Portishead belongs to. Sure amazon.com explains that they are a trip-hop group, but what about electronica, progressive, pub jazz….. What is in the water in Bristol? A dab of invention, a splash of experimental expertise and hiatus. Between albums Portishead takes these rejuvenating breaks that jekylls the most richter scale numbing music. Third will make you dance, relax, think, pretty much any emotion you need to experience, Third will not let you down. Personally, a glass of wine and a comfy couch allows me to zoom into a new world. For those new loyals, youtube the Coachella concerts and/or the Primavera Sound festival in Barcelona, Chuck D of Public Enemy freestlyed to “Machine Gun.” Since “Numb,” I have no regrets. “Nylon Smile” on replay is heaven in speakers. _________________________________________________________________________________________ They want to call it Electric Circus Part 2. The problem is Hip Hop, rap music has been placed in a box smaller than university efficiencies. “Aquarius.” “Come Close.” “Heaven Somewhere.” “The Hustle.” The above are not random barely attributed words or grammatically incorrect sentences. These incomplete thoughts can stand alone. They are song titles from Electric Circus. If you have never heard or witnessed the live version of “Aquarius,” find the audio quick. Universal Mind Control is not your usual Common, but says who Lonnie, Rashid, or Lynn? Common is not the artist who does not consider the artistry before stepping to the mic. For those writing and claiming that they know Common beyond adjectives, make reference to the following songs: “Heidi Hoe,” “Tricks Up My Sleeve,” or “The Bleep In Yoo.” Better yet listen to his entire catalogue. Common has found the perfect balance in finding forever. Is there such a thing? Universal Mind Control starts without remorse with an infectious club banger, “Universal Mind Control.” “Gladiator” is nasty. It has the perfect base for any Hip Hop lose yourself in the beat, relate to the lyric track. On “Announcement,” there is something actually being said. “Alex Haley of this s–t, my roots is deep.” After 16 years in the game, Common has been awarded by his turn to flip the script. It’s called “Changes.” There is nothing you can do; his mission is controlling minds universally. Is that not what Hip Hop does? Common can count on me to purchase his next joint. Besides I’m ready to dance to something that does not make me second guess who I am or my age. __________________________________________________________________________________________ The young not damaged pop princess, Britney Spears, on December 2 released her sixth album, Circus. If you heard Blackout she’s bootin’ up to wear a different crown. We’ve all heard “Womanizer” gearing us up for Circus. Some call it repetitive but its pop music. That’s why you can hear it blaring everywhere: clubs, bedrooms, cars, showers, and anywhere that can withstand major volume. Many believed that because she couldn’t get it together quick enough for her 2007 VMA performance that Blackout was going to be another shocking reason for cameras to flash. Britney Spears is back! Circus sounds like ringleader. “Circus,” the second track on the album is a lion on a leash. Girls everywhere get your spoons, toothbrushes ready to sing your lives away. Circus features the production of ATL newcomers, The Outsyders. It sounds like she’s scored again. “Love me, hate me but can’t you see what I see all of the boys and all of the girls are beggin’ to.” Spears seems to drop the veil and have laced her album with all the things her fans have yet to stop saying. Just ask Chris Cocker. Leave Britney alone, pop her album in and notice that some of the lashing out has paid off. She’s mentally free to give you tracks like “Circus,” “If You Seek Amy,” “My Baby,” “Rock Me In” and yes, “Radar” again. Circus goes so well with the techno electric fantasy fusion sound. It’s typical Britney. “Circus” is the ideal prelude to new and better things, to assure her fans that she is stable. Britney is more Britney than ever. “Photographers” get your lens ready because Britney is here to stay. __________________________________________________________________________________________ This December 09, 2008, Brandy Norwood is contemplating that her album enjoys the warmth of Christmas stockings hanging from every mantle. Maybe she should have switched themes, a new side of Brandy that listeners have yet to hear given her four year hiatus. It’s an emotional rollercoaster. And Brandy wants us to forgive her because she’s still “an angel in disguise,” but this time around she’s perfectly human too. Human is the song the “Piano Man” is playing. We are all sad, heartbroken, and lusting for real love that last. Brandy’s first single, “Right Here (Departed)” stormed the radio airwaves. The track was produced by Rodney “Dark Child” Jerkins and promptly followed by “Long Distance.” An artist’s first single is intended to muster up interest. “Right Here” is the perfect reintroduction since Afrodisiac; however, fans are in for a different ride. Or should I say the same ride. Human has the pace of Miss Daisy’s car. Quite frankly despite concise production and the maturity in Brandy’s voice, it’s somewhat invisible. Fun House and Beyonce’s alter ego set a much more amped tone. Pink is heartbroken but managed to still pluck the strings of a guitar. Beyonce is in love and still wears four inch pumps. Brandy is just human. We are too. So forgive her. Written By Kaia Karamoko __________________________________________________________________________________________ Retired but retaining an honorary title corresponding to that held immediately before retirement. Emeritus, is Scarface. Scarface is the last of a dying breed. No force included. Scarface has never put on airs and doesn’t start now. As if he made an album because he really had something to say. Scarface is notorious for his griot abilities: to convey reality clearly, null of falsehoods. Thus, Scarface is the rapper you listen to if you like “Long Islands” on the rocks. He holds nothing back. “Can’t Get Right,” “Redemption Song,” and “High Note” are all more than worthy tracks. “Sold so many records might as well change my name to life,” Scarface spits on “Forgot About Me,” including Hip-Hop ain’t dead addends by Lil Wayne and Bun B. Real name no gimmicks. Search no further if worn-out from believe you and believe you nots antics of today’s here today gone tomorrow “emcees.” He spews “I’m tired of you — disrespecting the Great. I am Legend. Ain’t nobody — with ‘Face. My catalogue is timeless.” You be the judge. Emeritus or not emeritus? Written By Kaia Karamoko __________________________________________________________________________________________ Ludacris’ chicken is still southern fried. Let Theatre of the Mind gloss your lips, clog your arteries and leave puddles of grease on your plate. Luda’s mind proclaims that MC “means move the crowd” on the punch line punched track “The Last of Dying Breed.” Such a phrase has been stated, coined and delivered frequently in the rap game; but something tells me there’s a few good rapper left. Theater of the Mind is schizophrenic but it fits perfectly to the concept of the title and the album cover. Ludacris’ mind is complex. From ladies man to word connoisseur the theatre is surely to be crowded. Preacher minus the disconnection on “Do The Right Thang” to “undisputed” champion, Ludacris has definitely released therapy to the streets once again. Dj Premier, Dj Premier has accompanied Ludacris’ rightfully on “MVP,” adding a certain vintage taste. Theatre of the Mind’s seven herbs and spices consists of Floyd Mayweather, T.I., Rick Ross (he apparently listens to Public Enemy), Plies, Jamie Foxx, T Pain, Willy Northpole, Chris Rock, Spike Lee, Lil Wayne, Chris Brown, Playaz Circle, Ving Rhames, Sean Garrett, Common, The Game, Nas, and Jay-Z. Make that 18 herbs and spices. His name is grammatically incorrect but there’s nothing wrong with his English. This delicious choice of verse is impeccably seasoned. Written By Kaia Karamoko __________________________________________________________________________________________ How much more of the 80s can we take sipping into the 2000s; the annoying clothes that gives us seconds of cornea suicide. The 80s are your lives on neon colors, mullets, and liberated creativity. So what happened in Kanye West’s life that made him need to return to the 80s? As a producer, he runs with the best of them these days or if not in front them. Unwarranted heartbreak as we all know and continue to send our condolences. What I can say is that I heard and saw “Love Lockdown” and couldn’t wait to hear what else Mr. West had cooked up. I’ve never heard him so naked. “Coldest Winter” is a vignette of just how much music imitates life. For many, this album will be hard to imagine “replay.” But for others this would be the greatest rendition of all the things that they loved about decades before today. I would argue that albums like “808s,” are the answer to “Hip Hop Is Dead.” It erases all notions that Hip Hop is one-dimensional. Kanye West is truly a one-man band show. If he could dance, I don’t know of what hemisphere he couldn’t reach. On “Street Lights” he asks does he “still have time to grow?” Yes, Mr. West. You have grown and we have watched you since “College Dropout.” Written by Kaia Karamoko __________________________________________________________________________________________ Is Beyonce Sasha Fierce? Is Sasha Fierce really Beyonce Knowles? We all know about celebrities and their alter egos. Hell, we ourselves have alter egos. But whose to say which one of our egos is our true being. This album serves as Beyonce’s outlet of reinvention per se. She is still nervous. And is still anxious. She decided to bring out the gold, the glitter that was not so stuffed to the back of her closet and add a different arch to her eyebrows. I am…Sasha Fierce hit stores yesterday bringing you both the ballad and the funky, hip gyrating dance oriented artistry that has provided youtube.com with endless minutes of entertainment. But this is the Beyonce we know isn’t it? Yes it is. And she does it well. This alter egoed double disc LP is what we expect but there is something different. The lyrics and production sounds intrinsic. It is as if Beyonce chose each drum and octave. As if she has dropped her last veil. From folk songs, acoustic guitar and alternative music; she continues to secure her legacy. “I am…Sasha Fierce” is sure to bug all male significant others of the world because if purchased it will be played. It’s so “I am woman hear me roar.” It’s hard to narrow done your favorites because there’s a melody for each mood. No details about each song. But my favorites are “Halo,” “Diva,” “Sweet Dreams,” “Hello,” and “Smash Into You.” I suggest buying the deluxe edition. Rather or not Beyonce is or is not Sasha Fierce, one thing we do know there is no box when it comes to gold and glitter—and her fans love her for it. Written by Kaia Karamoko __________________________________________________________________________________________

Get your cups ready for Kool-Aid and plug your energy to the street poles. I proclaim “what is an ear if it doesn’t have a Q-Tip in it.” On November 4, 2008, Q-Tip, his Quest-ness released what is called “The Renaissance.” Prepare yourself to bob your head for 44 minutes of pure, calm, natural Hip Hop. Such words can’t possible positively describe Q-Tip’s work of art but it does. There are no preservatives or poisonous additives. You hear the beats, you see the mic, and lustfully receive the lyric. For those whose eargasms have been premature and quite frankly false; Q-Tip is a third of the phenom “A Tribe Called Quest.” Q-Tip is an emcee’s dictionary in human form. The reason Jay-Z asked the question “Can I Kick It?” Collaboration is at a minimum but cautiously considered. Raphael Saadiq supplies the vocals on “We Fight/Love,” a track that explores the extremities of loving and hating and losing who you are in the process. Amanda Diva is “manwomanboogie.” Norah Jones talents “Life is Better.” I have been rockin’ with Ms. Jones since “come away with me” and I must say I love her in this outfit; the doorknob earrings are gorgeous compliments. Lastly, Mr. Brown Sugar himself lends his God-given pipes to make us “Believe.” If you are one of the many thirsty for more cruisin’ by all means cop “The Renaissance. Spin the bottle and choose and track to begin your journey. I could be biased since I’m puritanical when it comes to my ears, but you’ve heard “Getting Up,” so move. Move is one of my favorite track. “The Renaissance” is not quite “Amplified” nor “The Low End Theory” but a balance between the two: “music that you can quote.” _____________________________________________________________________________________

It’s hard to actually even listen to the album without believing that what husband and wife, Fatin and Aja, are singing about only exist in some Utopian world stuck behind a wooden armoire. More importantly the music sounds like your parent’s music—a time when only real instruments produced music. Kindred The Family Soul is a deeply intertwined strangely talented duo. The first single, “Can’t Help It,” warms you up and let’s you know that the love Kindred gets down with is for real not a smothering of intercourse or lacks chemistry and struggle. “Pressure” is terribly honest about the inner happenings about a relationship: bottled up emotions, unclear intentions, and losing your temper and taking it too far. “The Love We Share” and “No Limit” are the ultimate ovation to love. These two tracks are the perfect testaments of commitment. Chicago-born spoken word poet, Malik Yusef, brings poetic interlude and finale to Philly’s beautiful couple love movement. You can add this album to love songs appropriate for weddings. And that’s not by far meant as an insult. Other worthy songs are “Set Free” and “Hey.” Notice that I have basically given a shout-out to the entire album Show them some love and make sure you play it on a Sunday morning. __________________________________________________________________________________________________________

Fun house. The house is fun. Thrill rides, amusement, insanity, and slightly sadistic depending on whose house you’re in. But according to pop rock, soul rocker Pink, who knew that it was so sad in the fun house? If fans were hoping for a fun house, this is a different fun house. It’s Debbie Harry meets Heartbreak Hotel. Earlier this year, Pink parted ways with hunk husband, motocross racer, Carey Hart. Thus, naturally music is imitating life. First to hit the sound waves is Fun House’s smash hit “So What.” “So What” is the expletive anthem, the perfect song for you and your girls to stake claim to the dance floor. It’s not snappy, but very empowering. Next single is, “Sober.” On “Sober,” P!nk asks, “how do I feel so good sober?” This song is more of a ballad than club friendly. Beyond the clear lyrics of P!nk, her strong pipes are always apparent. Fun House is a roller coaster of P!nk’s recuperating methods and it sounds like the cure. Any song can easily be her next single because it’s relative message. It appears that the good people at LaFace Records finally laced production that fits P!nk and not radio. I hope the single is “I Don’t Believe You.” Maybe she truly is a rock star and we all were missundaztood. __________________________________________________________________________________________________________

It happens often. It’s hard to top your premiere projects, to represent the same sleepless, heart-wrenching sound of your demo days. But that’s just the thing. John Legend has proved time and time again that he’s soulful. Sadly, fans are selfish and want more. “Green Light” featuring Mr. Versifier himself, Andre 3000, muscled its way in the speakers of downtown lounges late this summer. I played evolver over and over searching for evolution and found stillness. Standout songs are “Quickly,” and “No Other Love.” “Quickly” is a duet with former R&B princess, Brandy. It’s very melodic and sounds like the song you’d sing if you wanted to be loved with haste and in flight. Legend croons perfectly “I know we just met, but baby could you love me quickly…” “No Other Love” he tapped in the talents of Estelle, together they produced a calm, rhythmic melody that conveys the notion of experiencing an ultimate love. A collaborative LP from these two would sell like hotcakes. The two mesh well; who knew a Pittsburgh and Hammersmith fusion would construct such beautiful music. “Satisfaction” and “Take Me Away” are reminiscent of why we love Legend’s soul in the first place. John we just want to get lifted. You taught us how to fly, now teach us how to soar or at least coast enough so that the other birds don’t clip our wings. No hard feelings. By Kaia Karamoko ___________________________________________________________________________________________________________ It seems that the prophetic rapper, Tupac, has become influential even in spirit. Artist no matter what genre or what label, have somehow received the bright idea to release unreleased material. And we are left hoping that these awesome tracks had positive reasons for not making the cut. Musical icons come to mind when you consider this marketing treat to delectable. How great would an unreleased Marvin Gaye or Queen album be? October 14, 2008, Ashanti, Murder Inc.’s dethroned princess will release “The Vault” a joint venture with AJM Records and Murder Inc. “The Vault” comprise of 12 previously recorded tracks from Ashanti’s 2001/2002 entry into her vault. (Insert laugh here). Are the items in her vault valuable? Producers, Miguel “Migs” Baeza, Nocko, Kenny Flow, and Kidd Kold add the finishing touches on the project. Heavy sounds and feminine prose. Whatever female roller coaster, tumbling of emotions, enraged period in your life you’re currently experiencing this is your soundtrack. “Mrs. So So” and “Don’t Need You” are fed-up anthem. “Let’s Do Something Crazy” featuring Flo Rida is natural club banger and should’ve been released this summer. The first track, “Imagine” and “Show You” are ultimate Ashanti records, sound production and original lyrics. I’ve never been the one to be her fan. But for all nostalgic As hanti fans by all means show her some love. By Kaia Karamoko _____________________________________________________________________________________ With Ne-Yo’s third studio album he has proven once again why he truly is a gentleman. This album is solid from track one to track twelve and true Ne-Yo fans will be pleased to see how he has delivered potent lyrics and smooth ballots as he did within the In My Own Words and Because of You albums. Vocally and lyrically Ne-Yo never disappoints. His lyrics have substance and he provides situations that we all can relate to. It’s almost as if he is speaking to you directly when he sings. This is important because his music quickly allows you to reminisce or even get through certain encounters in your own life. In this album his words are providing encouraging words to females while he also touches on relationships. In So You Can Cry he encourages a young lady that it will be okay even though her relationship has failed when he says “I’ll ask the sun to shine away from you today so you can CRY if that’s what you want alright.” He tells her how her tears won’t bring a man back and that time heals all wounds. Ne-Yo explains how her heart has a pace, but how long is she going to bear the burden of that heartbreak. In Why Does She Stay Ne-Yo starts off song saying “she hates that I don’t do dishes even though I mess up the most. She begs me all the time to help her but I am lazy so I don’t”. At least he is honest right? In this track Ne-Yo talks about how he does not deserve the love that he receives from his girl where he reflects on selfish antics that some males and yes even females can do to distance their significant other. Of course Ne-Yo could not have fulfilled his gentleman duties without having a couple of up-tempo tracks. He brings that with his current single that all the ladies love Miss Independent, Closer, Nobody, and Fade into the Background. Overall, this album is pretty good and it should definitely be added to your collection. Ne-Yo has displayed that not only is this the year of the gentleman but also the year for good music. By Kim Rene