Colour Me Peach & Black: Prince’s Sign O’ The Times, 25 Years On

31 March 2012 by 2 Comments


We found this great article on the 25th anniversary of Prince’s Sign of the Times Album. It is by far our favorite and his best work in our humble opinion. This piece, written by John Freeman of the Quietus.com sums up our thoughts. Well done sir.

I’ve only ever committed one fashion crime: buying an item of peach-coloured clothing. Prince Rogers Nelson is to blame for this gross misdemeanour. It was in the early summer of 1987 and I’d just acquired tickets for his forthcoming show at Wembley Stadium. The tickets contained a simple request: to wear something peach or black to the concert. At the time, my 17-year-old self had a wardrobe full of black jeans and black Cure t-shirts as I flirted with the idea of being a goth to try and impress the prettiest girls at my school. However, with my Prince addiction at its most fierce, I decided to branch out and purchased a horrendous over-sized, pastel-peach jacket from Stolen From Ivor in Manchester’s Arndale Centre. Tragically, bad weather forced the Wembley gig to be cancelled and the jacket never got a formal outing.

Luckily my obsession with Prince meant I had already seen a sensational show a few weeks earlier in Paris after a coach journey that involved a motorway crash in which I was injured by flying Lionel Richie cassettes. However, in 1987 this level of dedication was normal behavior. Like many, I’d fallen for Prince’s music on 1984’s Purple Rain and had subsequently devoured his back catalogue while amassing a huge collection of his protégé bands’ material (be it the glorious Sheila E or the laughably bad The Family).

By 1987, I felt I was witnessing a truly golden run of creativity; I had loved the psychedelic pop of 1985’s Around The World In A Day and the experimental funk of the following year’s Parade. These albums were being delivered year-on-year; Prince released nine albums in the decade preceding Sign O’ The Times. With a resolute belief that only a stubborn 17-year-old can possess, I also considered this new double album to be Prince’s magnum opus; 16 scintillating tracks which neatly encapsulated his outrageous, chameleonic flair for funk, rock, soul, gospel, rap and downright oddness. Then I thought Sign O’ The Times was the best album of the eighties and, perhaps, the most complete double album in pop history. A quarter of a century later my views haven’t changed much.

Less debatable is the widescreen scope of Sign O’ The Times. It seemed to ooze with the confidence a man completely comfortable with his talent. However, in 1987 life wasn’t completely peachy for Prince. Commercially, sales of subsequent albums were well down on the astonishing 21 million units shifted by Purple Rain – which is, perhaps, why Warner Brothers were a little nervous when Prince initially wanted his 1987 release to be a triple album.

Indeed, Sign O’ The Times was the distillation of several projects during a tempestuous time for Prince. After his second feature film, Under The Cherry Moon, had been rightly panned, simmering tensions had also led him to sack his backing band, The Revolution – but not before he had recorded a series of tracks with them under the project name of the Dream Factory. During late 1986, Prince had also laid down several tracks under the moniker of Camille (in which he sang in a heavily-treated falsetto, as on ‘Housequake’) and these two bodies of work, along with some brand new material were merged into the 22-track leviathan Crystal Ball. When Warner Brothers refused to release a triple album, Prince dropped seven songs and added a brand new one – the album’s weakest track, the Prince-by-numbers ‘U Got The Look’.

Sign O’ The Times was released on 31st March 1987 on his Paisley Park imprint. Having bunked off school to buy his previous three albums on the morning of their release, fate had this time conspired against me. I was returning from a school trip that day and asked my girlfriend at the time to buy the album and “to not listen to it, please.” She did the former but not the latter. When I arrived home she announced that Sign O’ The Times was “too long and had too many weird songs.” The relationship didn’t last much longer.

Two of the ‘weird’ songs my soon-to-be-ex was referring to were ‘The Ballad Of Dorothy Parker’ and ‘If I Was Your Girlfriend’. Both would become central to my view that Sign O’ The Times was the period when artistically Prince pushed himself furthest. The former is four minutes of subdued funk and nocturnal keyboards and manages the double whammy of being utterly bizarre and completely brilliant. The gloriously descriptive opening lines of “Dorothy was a waitress on the promenade / She worked the nightshift / Dishwater blonde, tall and fine / She got a lotta tips” précis a bizarre tale in which our hero takes a bath with the ‘Joni-singing’ Ms Parker.

‘If I Was Your Girlfriend’ is even better and perhaps one of Prince’s greatest songs. Over a squidgy keyboard line, and employing the androgynous Camille-style falsetto, the lyric outlines the gender tension inherent within the rules of a relationship. “If I was your girlfriend / Would you remember to tell me all the things you forgot to tell me / When I was you man?”, Prince inquires, before the song rushes into an orgasmic frenzy with him trying to “imagine what silence looks like.” Both tracks took time to unravel their genius, but were a million miles away from the drooling sex-imp personae of so much of Prince’s previous work.

Full Article here.

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Common – “The Dreamer/The Believer” Album Review (Track-By-Track) by Jay Fingers

20 December 2011 by 2 Comments

By Jay Fingers

The Dreamer/The Believer marks the first time we’ve heard from Common in a while. That’s not to say he’s been in hiding; in fact, we’ve seen more of the native Chicagoan than ever before thanks to high profile acting roles in film and television. (Common can currently be seen on AMC’s Hell on Wheels.)

But Common has been relatively quiet on the music front. Perhaps that’s a result of the less than enthusiastic reception for his 2008 effort, Universal Mind Control. It largely divided critics and fans and some questioned whether Common still the ability to make the type of hip-hop he’s known and loved for.

Well, rest assured, he can still bring it. The Dreamer/The Believer is a stellar album. Produced entirely by his long-time friend and collaborator No ID, the album is a jazzy and soulful affair that celebrates success

1. “The Dreamer” featuring Maya Angelou: A-

Common celebrates his successes with this energetic ode to achieving one’s dreams. The lyrics are flashy—when’s the last time you heard a “conscious rapper” boast about Ferraris, parties in Miami, and exquisite thick bitches?—but supremely clever. Maya Angelou ends the song with a poem about the power and resilience of dreams. “Dare to let your dreams reach beyond you,” she says. A great way to kick start the album despite the recent disappointment expressed by Angelou for the song’s use of the N-word.

2. “Ghetto Dreams” featuring Nas: B+

Chi-Town’s finest links up with the QB Street’s Disciple for another paean to dreams. The song’s title sums it up perfectly. Riches, women, fame, these are the things young cats in the ghetto dream of attaining. Though the song isn’t the earth-shattering bomb we’d hoped for from these two lyrical titans, it does whet the appetite for their rumored collaboration album Nas.Com. The production is top-notch, with No ID utilizing scratches, high-pitched strings, and beautiful sounding horns to create the song’s sonic backdrop.

3. “Blue Sky”: A-

Common explores both of the album’s themes (dreams and faith) on this inspirational, feel-good song. The MC recognizes and is thankful for his blessings, and he hopes that he can inspire others as well. Seems like a spiritual successor to Talib Kweli’s “Get By,” and that’s not a bad thing at all.

4. “Sweet”: A

“How can I say this?/Fuck it I’m the greatest/I am the A-list for all these great debaters.” And that’s how Common begins the nastiest, most vicious song on the album, which serves to remind both the listener and any potential competitors of his lyrical prowess. Hmmm, I wonder who some of those subtle verbal jabs are directed toward.

5. “Gold”: B

Over a dope, old-school beat, Common rhymes about how he achieved his dreams by forging his own path and remaining true to himself. “Writing my own scripts like I’m Tennessee Williams,” he says. The message: you don’t have to sell your soul to get what you want out of life.

6. “Lovin’ I Lost”: B+

It sounds so soulful, don’t you agree? Over a reverberant Curtis Mayfield sample, Common reminisces on his past romances. “Never played a game/But I heard about them sisters,” he rhymes. I see what you did there, Com.

7. “Raw (How You Like It)”: A-

While the “la, la, la” hook can be a bit annoying, the old-school vibe of this funky track make it the perfect beat for Com to get his Max Julien on. He spits game so wicked, referencing fashion designers like Martin Margiela, Stella McCartney, and Tom Ford and kicking witty lines like, “‘Bout to get that invite to a night over Egypt/She said, ‘You rap?’/Yeah, mummy/I’m Tutankhamun kicking and spending this rap money.”

8. “Cloth”: B-

A unique concept: Common takes the phrase “cut from the same cloth” and applies it to a romantic relationship over the course of this track. Again, it’s a creative idea, but something about it doesn’t quite work.

9. “Celebrate”: A-

It’s exactly what you’d expect a song titled “Celebrate” to be about and sound like. Common takes you back to Chicago, where he and his friends are together, having a good time, and celebrating the splendor of their lives. Another feel-good jam.

10. “Windows”: B-

A smooth, mellow track in which Common uses another well-known phrase (“the eyes are the window to the soul”) as the song’s concept. It really takes on special meaning in the second verse, when the rapper speaks about his daughter and how he’s determined to guide her through life the best way he can.

11. “The Believer” (featuring John Legend): B

Take ‘em to church, Com! Another inspirational song, this one with much more of a gospel feel thanks to John Legend’s piano abilities and the ethereal choir singing in the background. Common knows he’s been blessed, and his faith is unwavering. Oh yes, he believes: “I know that God watches/From one King’s dream/He was able to Barack us.”

12. “Pop’s Belief”: B+

Closing out the album, Common’s father, Lonnie “Pops” Lynn, comes through with a nice spoken word piece extolling the virtues of faith. “Life becomes belief/Belief becomes live/Live the life you believe/The American dream/The Black American dream/The universal dream.”

Overall Grade: B+

Our Recommendation: BUY

Our Favorite Tracks: “The Dreamer,” “Blue Sky,” “Sweet,” “Celebration”

 The Dreamer/The Believer is a great piece of work, and certainly one of the year’s best hip-hop albums. Its lyrics are poetic and inspirational, and the beats, culled from samples of Kenny Loggins, Electric Light Orchestra, and Curtis Mayfield, are true-school hip-hop wonders. The album, as a whole, is a testament to following one’s dreams, holding steadfast to one’s faith, and believing that anything is possible.

What are your thoughts on The Believer/The Dreamer? LEAVE A COMMENT BELOW!

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The Roots – “Undun” Album Review (Track-By-Track) by Jay Fingers + 2 FREE ROOTS MIXTAPES MP3 DOWNLOADS

5 December 2011 by Leave a Comment


By Jay Fingers

Concept albums are rare creatures to be found in the world of hip-hop. In fact, the last notable rap album to bill itself as such was Jay-Z’s American Gangster, and while it was critical and commercial success, it played hard and loose with the very rules that define exactly what a concept album is supposed to be. Thankfully, when the crown jewel of Philly hip-hop, The Roots, announced their upcoming project Undun was to be a concept album, their efforts proved to hew a little more closely to our expectations.

According to press materials, “Undun” is an “existential telling of the short life of one Redford Stephens.”

As Questlove stated on Okayplayer:

[It] is the story of this kid who becomes criminal, but he wasn’t born criminal. He’s not the nouveau exotic primitive bug-eyed gunrunner like Tupac’s character Bishop in Juice… he’s actually thoughtful and is neither victim nor hero. Just some kid who begins to order his world in a way that makes the most sense to him at a given moment.

The tale begins with Redford’s death and tells his story in reverse chronology, exploring the circumstances and decisions the character made which led to his untimely fate. It’s certainly a story we’ve all heard, read, and seen before, but perhaps not in this manner. Exploring themes of free will and predestination and drawing inspiration from a variety of sources, including (but not limited to) the work of Sufjan Stevens and HBO’s The Wire, Undun is quite a compelling work.

TRACK-BY-TRACK REVIEW

01 “Dun” – N/A
The album’s first track is merely the sound of a flatlined heart monitor. That’s not a spoiler—from the beginning, we already know Redford, the album’s protagonist, is dead. What we’ll find out after this track is how he got there.

02 “Sleep” – B
With its Hitchcock, Public Enemy, and Geto Boys references, the horn-driven “Sleep” begins Undun on a rather paranoid note. The ending couplet is powerful in that Redford wonders if he will be remembered by his loved ones after his death.

03 “Make My” (featuring Big K.R.I.T. and Dice Raw) – B+
Mississippi everyman Big K.R.I.T. assists Black Thought and Dice Raw in this rumination on whether life and its struggles are worth the effort. As the hook proclaims, “They told me that the ends/Won’t justify the means/They told me at the end/Don’t justify the dreams/That I’ve had since a child.” A very soulful, if melancholic, track.

04 “One Time” featuring Phonte and Dice Raw – B+
Phonte opens up this hard-hitting, piano-driven track which explores the pressures of street life. Dice Raw not only sings the hook but contributes a verse at the end, but the song belongs to Black Thought who communicates Redford’s point of view with inventive imagery. “Capture this moment in time/It’s smash and grab.” It’s nearly impossible to leave criminal thoughts behind.

05 “Kool On” featuring P.O.R.N. and Truck North – A-
Perhaps the funkiest and most upbeat song on Undun, BT is flanked by newcomers Greg Porn and Truck North guest starring as street hustlers celebrating their newly acquired riches. But really, is there anything worth celebrating? Even with a “gentlemanly gangsta steez beyond the 70s,” Redford knows he’s still got to watch his back. The song is built upon an infectious and incredibly funky guitar loop and filtered vocal sample.

06 “The OtherSide” featuring Bilal and P.O.R.N. – A
Redford knows he deserves the finer things—and dammit, he’s going to go after them. Black Thought’s energetic flow and hungry delivery put us right in Redford’s mind, detailing his desire to “make an entrance” and get “cheese like omelets,” even if the consequences leave him hellbound. Bilal’s gospel-tinged hook has a double meaning: “Always felt like I deserved more/But when I make it to the other side/That’s when we’ll settle up the score.” The other side, as in leaving the “have-nots” and becoming a “have”? Or, as in leaving this life and going to the next?

07 “Stomp” featuring Greg Porn and Just Blaze — B
On this guitar-driven track, Redford’s just about had it with his situation. He’s tired of living and barely surviving, so he’s about to do whatever it takes to get ahead, even if his family won’t understand his decisions. Just Blaze provides a stellar, thunderous backdrop for BT and P.O.R.N.’s rhymes and gets his filtered rant on during the hook.

08 “Lighthouse” featuring Dice Raw – B-
A rumination on lost friendships and, as a result, having no one in your corner, especially when you need them. “And no one’s in the lighthouse/And it seems like you just screamed/It’s no one there to hear the sound/And it may feel like there’s no one there/That cares if you drown/Face down in the ocean.” Noteworthy for the strong performance from Dice Raw.

09 “I Remember” — A
One of the best songs on the album, this brooding walk down memory lane finds our protagonist reminiscing on past friendships, old stomping grounds, and (maybe) his complicity in a friend’s murder. “Now I can never chill/What’s keeping me from breaking out like Benadryl/When my baptism of fire resulted in a kill/Sometimes it’s as cut and dry as a business deal/You gotta cause the blood of a close friend to spill/But you remember still.” Chilling stuff.

10 “Tip The Scale” featuring Dice Raw – B
On this track, Redford lets you know right away what his M.O. is—he’s trying to tip the scale in his favor: “I never take off cause I got a job/Rob Peter to pay Paul/Now I realize it’s the winner that takes all/Do what I gotta do because I can’t take loss.” Survival, by any means necessary.

The album closes with a four-song suite of instrumentals that sum up the stages of Redford’s life.

11 “Redford (For Yia-Yia & Pappou)” – A
It’s a simple yet beautiful piano medley.

12 “Possibility (2nd Movement)” – B+
Another piano melody, accompanied by heartbreaking strings.

13 “Will To Power (3rd Movement)” – B
A cacophonous track that doubtlessly represents the fear, paranoia, and general chaos of Redford’s life.

14 “Finality” — A-
And in death, Redford is finally at peace … or is he?

Overall Grade: B+
Best Tracks: “Kool On,” “The OtherSide,” “I Remember”
Our Recommendation: (MODERATE) BUY

Though Undun is a sobering cautionary tale, it is, as stated earlier, one we’ve heard countless times before. Yet the strong lyrics, no-frills delivery, and commanding mic presence from Black Thought, the dope production, and the album’s focus on the character’s existential struggles make this album stand out from the pack.

Liner Note and other related images from Undun:



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Trey Songz – “Inevitable” EP Review (Track-by-Track) by Ron Worthy + 4 FREE DOWNLOAD TREY SONGZ MIXTAPES MP3

29 November 2011 by Leave a Comment

By Ron Worthy

I have to admit that it took a loooong time for me to be like Trey Songz’s brand of bare chested, testosterone filled Thug-N-B. However, after strong performances on songs like “I Bet The Neighbors Know My Name” and “Love Faces”, I gave this dude another chance.  That said, I came into this new project with an open mind.

From the beginning of this short offering, I am all at once struck by the juxtaposition of Trey’s humility with his confidence and bravado.   However, I am also confused.  Who is Trey Songz?  At times, he shows signs of greatness and comparison’s to R. Kelly or Aaron Hall vocally and lyrically but then it seems that he wants to be a rapper or thug.   Then, at other times, he is simply vocally lazy and needs to put more work in with his vocal coach to smooth out some of the pitch issues that he and many of his peers seem unconcerned with.  Just sing the damn lyric!  Why do so many R&B singers oversing lyrics like they are looking for the proper key and pitch?  Really grinds my gears.

Also, what does the title of this project suggest?  Are we to assume Trey has been working his entire career to release a 5 song EP?  Is this the inevitability he is referring to?  We aren’t sure about that one.  A better title would have been “I Had Some Time Off…So I Made a Few Songs” or simply “Lazy.”  Just saying.

And finally, why not spend some time on a proper album cover?  Trey’s creative team simply chose to repurpose and photoshop his “Just Gotta” cover rather than come up with a new concept.  Sure, he has evolved and rid himself of the younger looking cornrows. Perhaps, we are to assume this physical change will be reflected in his music.  Not sure he accomplishes that in spades but at least he makes an attempt to grow up.

Overall, even with the apparent creative laziness, we did manage to enjoy the EP and think his stable of female fans will eat up at least a couple songs on this project.

“If you can conceive it in your mind, you can achieve it in the physical” – Trey Songz

Track-by-Track Review

01. Top Of The World – B
We like the motivational sentiment in this cut.  Trey waxes poetic about his paper and accomplishments while extending the hope to his community. For some reason, we believe him, but a looking a little sideways at the delivery.  Really Trey?  Personally, I could have done without the ignorant sounding soliloquy at the end.  It just ruined an otherwise heartfelt message in my book.


02. What I Be On (feat. Fabolous) – B-
The beat ain’t bad.  Unfortunately, this is the requisite club banger for the fellas with (sub)standard overused themes: booze, weed, money, women. Yawn.

03. I Do – B
I just like this song.  It’s clever and straight to the point sex driven R&B.  This is that late night soundtrack that you have come to expect from Trey.  Lyrically, it is reminiscent of Drake’s Marvin’s Room, where Trey is making a plea to a lover that he is more capable than her other option.  Well done for the most part even though it reeks of an R. Kelly knockoff with less thought put into production and arrangement.

04. Outside (Part. 1) – B+
I love the mood of this sex-fueled ballad. The lyrics are clever and sung with purpose without too many of the usual vocal machinations that simply get on my nerves and don’t impress.   However, I could have done without the ubiquitous Drake “Uh” which we hear WAY TOO MUCH on his own projects.  It just didn’t add anything to this song except the thought that Trey couldn’t actually afford a Drake cameo perhaps?  We don’t think that is the case, but the absence of any real contribution seems a bit out of place

05. Sex Ain’t Better Than Love – A-
I love the sentiment of this song as well as the production and performance by Trey.  Nice message to those youngsters out there who haven’t figured this one out yet.  He should be getting a decent amount of Quiet Storm love from this one.

Overall Grade: B

While we enjoyed the EP, we are not sure it will resonate with everyone, which is fine.  Trey’s most loyal fans will find something they like in this short player, while those not as familiar will likely be left a bit confused.  Pick and choose with this one.

Best Songs: Outside, Sex Ain’t Better than Love

Our Recommendation: (MODERATE) BUY 

What are your thoughts on “Inevitable”?

LEAVE A COMMENT BELOW!

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Drake – “Take Care” Album Review (Track-by-Track) by Jay Fingers + Liner Notes

25 November 2011 by 5 Comments


By Jay Fingers

Last year, when Drake dropped his debut album “Thank Me Later”, all eyes were definitely on him. The Canadian hip-hop artist had garnered acclaim for his now-classic and influential mixtape So Far Gone, scored an indisputable hit record with “Best I Ever Had,” nabbed Grammy nominations, and received near universal accolades for his emotive blend of rap and R&B.

Then, a funny thing happened on the way to the top of the Billboard charts. People expressed dissatisfaction with “Thank Me Later.”  Let’s not be mistaken, the album went platinum and spawned several hits, including “Find You Love,” “Over,” and the brilliant “Miss Me.” But it just didn’t have the impact of classic hip-hop debuts like Doggystyle and Get Rich Or Die Tryin’—critically or sales wise.

Which is why Drake supposedly titled his sophomore album Take Care. “I didn’t get to take the time that I wanted to on that record. I rushed a lot of the songs and sonically I didn’t get to sit with the record and say, ‘I should change this verse,’” he said in a radio interview. “That’s why my new album is called Take Care because I get to take my time this go-round.”

Featuring an impressive roster of guest artists, including Stevie Wonder, Andre 3000, Rihanna, Rick Ross, The Weeknd, and labelmates Lil Wayne and Nicki Minaj, and boasting production from Just Blaze, Boi-1da, and long-time collaborator Noah “40″ Shebib for production, Take Care is Drake’s attempt at giving listeners the classic album they’d expected with his debut. Was he successful?

Track-by-Track Review

01 “Over My Dead Body” featuring Chantal Kreviazuk – B+

The album opener finds Drake addressing the naysayers, competition, and anyone else who questions his ability to match (or even exceed) his previous successes. His clever lyrics, aided by Canadian pop chanteuse Chantal Kreviazuk’s ethereal vocals and piano stylings, make this one a winner.

02 “Shot For Me” – B

An intoxicating torch song, “Shot For Me” finds Drake talking to one of his pre-fame loves. It didn’t work out for whatever reason—she thought Drake was cheating during their courtship—but there’s still quite a bit of affection between the two. The SWV sample is the icing on the cake.

03 “Headlines” – B

Take Care’s lead single is arrogant, bombastic, and bumpin’. Over punchy kicks, wobbly synths, and a frenetic snare, Drake once again reminds his detractors that he’s hip-hop’s reigning It-Boy for a reason. But that’s something they already know. They know, they know, they know….

04 “Crew Love” featuring The Weeknd – A-

When OVO and XO link up, you can be sure the result will be nothing short of amazing. Drake’s protege, Canadian R&B wunderkind Abel Tesfaye aka The Weeknd, opens this spacey little ode to bromance. The brotherly love is evident—Drake’s gonna make sure all his people are taken care of, and The Weeknd will supply his boys with a never ending procession of Polish girls. One of the best tracks on the album, “Crew Love” will have you feeling the love.

05 “Take Care” featuring Rihanna – A-

Did they or didn’t they? If the rumors (some of which fueled by Mr. Graham himself) are to be believed, they did. Maybe that’s why this duet works so well. Drake and Rihanna lament their lost love over a melancholic dance track produced by Jamie xx.

06 “Marvins Room” featuring Kendrick Lamar – A+

Initially a throwaway track recorded for fun, the plaintive “Marvins Room” finds Drake drunk dialing an ex and telling her to dump the zero she’s with and get the hero that our protagonist has become. Sure, it could construed as a “hater’s anthem,” but it’s such an honest admission of one’s feelings, you can’t help but to root for Drizzy. It’s hands down one of the best songs of the year, and contains what might be the ultimate bootie call line: “I need someone to put this weight on.”

07 “Buried Alive Interlude” featuring Kendrick Lamar – B

A storytelling interlude by Kendrick Lamar in which the Cali rapper details the first time he met Drake and how he covets his peer’s success. It’s pretty damn clever.

08 “Underground Kings” – B+

Drake has always been reverent of Houston’s hip-hop culture—notice the number of songs on Take Care alone that reference or sample some of the scene’s unsung heroes. While this uptempo track pays subtle homage to the 3rd Coast innovators from whom it takes its name, the song is mostly a chance for Drake to exercise a rapid-fire flow while reminding us that he is this era’s underground champion made good.

09 “We’ll Be Fine” featuring Birdman – B

Typical braggadocio raps from Drizzy, capped by a rambling Birdman at the end, exhorting the listener to give Drake respect for being one of “the realest niggas with the realest flow.”

10 “Make Me Proud” featuring Nicki Minaj – A-

Drake’s not fooling anyone—he is in love with Nicki Minaj, and really, who can blame him? The rapstress owns this collaboration with a verse that details her merchandising deals, exhibits Sagittarius pride, and salutes Dolly Parton. What the Harajuku Barbie is saying is this: she, too, can just be as successful as the boys and she can do it on her own terms. Drake is off to the side, admiring and showering Nicki with praise: “Umso, umso, umso, umso, umso proud of you!”

11 “Lord Knows” featuring Rick Ross – A+

By now, it should be a foregone conclusion that if Rick Ross is a guest on an album, he will appear on the best track. Case in point: “Lord Knows” is a banger of the highest order. Just Blaze manned the boards on this one, which boasts gospel-inspired vocals and the producer’s trademark hard-hitting drums. Drake blacks out for the first three minutes, spitting rhymes that are simultaneously inspirational and vicious. The Bawse wraps things up, reminding us that “you only live once.” By far the album’s best song, only one can truly describe it: EPIC.

12 “Cameras / Good Ones Go (Interlude)” – B-

There’s an internet meme that says, “May your life be as awesome as you pretend it is on Facebook.” That’s pretty much the theme of this song—”She look like a star,” Drake rap-sings, “but only on camera.” It’s a cool, funny tune, but not a standout by any means. The interlude that follows, however, is yet another smoky elegy for love lost.

13 “Doing It Wrong” featuring Stevie Wonder – B+

Another ballad, one in which Drake says that the current generation doesn’t know how to love or stay together for the sake of love. It’s a sobering sentiment, one made all the more sad by a beautifully mournful harmonica solo from Stevie Wonder.

14 “The Real Her” featuring Lil Wayne and Andre 3000 – A

This track sounds like it would have been right at home on So Far Gone, which is apropos given it references one of that mixtape’s most memorable songs, “Houstatlantavegas.” Wayne’s verse is cool, but it’s Three Stacks who really shines with his lyrical pontifications on love and heartbreak: “Niggas that are married don’t wanna go home/We look up to them, they wish they were us/They want some new trim/We lust for some trust.” The grass really ain’t greener on the other side.

15 “HYFR (Hell Yeah Fuckin’ Right)” featuring Lil Wayne – B+

Over rubbery synths and caffeinated drums, Drizzy and Tunechi spit some clever verses just for the hell of it. It’s one of the very few stream-of-consciousness songs on Take Care, but as that is typically Weezy’s M.O., it’s not as jarring as you’d expect.

16 “Look What You’ve Done” – B

This song is saccharine, to be sure, but it’s one of the album’s most heartfelt jams. Drake’s thank you to those who believed in him, specifically his grandmother. Her soundbite at the end is manipulative; if this song doesn’t make you think of your own mother or grandmother while at the same time making your eyes well up, you clearly have no soul.

17 “Practice” – B+

Perhaps the most controversial track on Take Care, Drake decided to pay homage to his Cash Money ancestors and remake Juvenile’s classic “Back That Azz Up.” As a ballad. Yes, you read right. But what’s even crazier is that it totally works. The subject matter is crude—Drake is telling the young woman he’s wooing that all the men she’d previous slept with were merely practice for him—but 40′s airy take on Mannie Fresh’s instantly familiar strings and Drake’s vocal interpretation of Juvy’s profane come-ons make “Practice” stand out.

18 “The Ride” – B+

Drake closes out the album by attempting to put us in his shoes. It’s a dope track, co-produced by The Weeknd and co-opting a soulful hip-hop vibe that’s reminiscent of College Dropout-era Kanye. A great way to close out a dope album.


19 “The Motto” featuring Lil Wayne – B

The first of two bonus tracks, “The Motto” has Drizzy combining powers with Lil Wayne over a hyphy-influenced track. The song, which shouts out Bay Area legend Mac Dre, is comprised of boastful verses over heavy 808s and a throbbing bassline.

20 “Hate Sleeping Alone” – B-

The second bonus track is decidedly less melancholic than the rest of the album yet still find Drake pining for a young woman’s affections over atmospheric production. While the song is decent, there’s a reason it’s considered a bonus track instead of part of the album proper. Had it been left off, it wouldn’t have been missed.

Overall Grade: B+

Our Favorite Tracks: “Lord Knows,” “Make Me Proud,” “The Real Her”

Our Recommendation: BUY 

Ultimately, Take Care succeeds because Drake has finally found his footing as an artist and is willing to give all of himself to his fans. Has he made a classic? Well, only time will tell. But one thing is certain: by finding a nice middle ground between the emotional resonance of So Far Gone and the commercial stylings of Thank Me Later, he’s created a style that is innovative and enthralling. If he continues to take care with each successive project, there’s no doubt that Drake will make music that will endure for years to come.

Liner Notes:

Drake CD Back Cover
Drake Liner Notes
Drake Liner Notes
Drake Liner Notes
Drake Liner Notes
Drake Liner Notes
Drake Liner Notes

What are your thoughts on “Take Care”?

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Young Jeezy — Thug Motivation 103: Hustlerz Ambition Album Review (Track-By-Track) by Jay Fingers

5 January 2011 by Leave a Comment

By Jay Fingers

When Young Jeezy first got into the hip-hop game, he sought to education a nation of thugs via a syllabus of his own design. The first lesson was 2005’s classic Let’s Get It: Thug Motivation 101 and was swiftly followed the next year by The Inspiration (also known as Thug Motivation 102). Thought the Snowman departed from his lesson plan when The Recession came around, but now he’s back with a new album, Thug Motivation 103: Hustlerz Ambition. Is it ambitious enough to keep Jeezy’s thug following motivated and inspired?

1. “Waiting” – C

“Sorry for the wait” is basically what Jeezy’s saying on the album’s intro. If this is any indication of what’s to come, however, perhaps a bit more time in the studio would’ve done some good. Though it would like to be, this song is nowhere near as anthemic as TM101’s title track. Jeezy’s layered hook and Lil Lody’s anemic production fails to excite.

2. “What I Do (Just Like That)” – C

Jeezy spits self-aggrandizing lyrics over horror movie pianos and whiny synths. Again, Lil Lody is responsible for the beat. This is the type of production DJ Paul and Juicy J could do in their sleep, and with much more thump and flair.

3. “OJ” (featuring Fabolous and Jadakiss) – C

Cocaine punchline rap. There’s nothing here you haven’t heard before. While coke rap can be entertaining, and even artful when done well, this track is rather lame, with limp references to the infamous O.J. Simpson murder case: “killin’ that white bitch,” “the best to ever do it and get away with it,” and “the gloves don’t fit him so they gotta acquit him.” All three have done better than this.

4. “Nothing” – C-

What is Jeezy rhyming about in this song? Absolutely nothing. The beat, while generic, does have some “get up and go.”

5. “Way Too Gone” (featuring Future) – C+

Everything about this song screams “Young Money,” from the Noah “40” Shebib-ish beat, with its muted textures and atmospheric vibe, to the no-name guest star doing a pretty bad Lil Wayne impression. Sorry, Future, but unless you switch your style up, you won’t have a future in the rap game.

6. “Supafreak” (featuring 2 Chainz) – C-

What better way to celebrate your success as a street pharmacist than to get high, get drunk, and find a promiscuous partner for the evening? Unfortunately, this uninspired song is about as titillating as a drunken rant from Kat Stacks. Then again, that may be your thing. Guest rapper 2 Chainz adds nothing memorable to the proceedings.

7. “All We Do” – B

Here, Jizzle simply praises his main chick. Rest assured, given its subject matter, the song is quite gutter; the smoothed out production, courtesy of Midnight Black, makes this one a winner. It’s funny that Jeezy has cemented his status as one of the genre’s premiere trap rappers but actually fares better when he tries different things, such as this song which he jokingly calls “love making music.”

8. “Leave You Alone” (featuring Ne-Yo) – B+

Back to back love anthems on a Jeezy album? Quelle surprise! With R&B crooner Ne-Yo on the hook, Jeezy comes strong with the type of track that was, at one point in time, de rigueur for hip-hop albums. The gothic piano chords from Warren G add a touch of menace, just enough to remind you that this playalistic song is about a thug and his bad chick. If this one doesn’t find its way to radio, something is clearly wrong.

9. “Everythang” – C+

Jeezy used to have nothing. Now, thanks to the rap game, he has everything he desires. The track aspires to be inspirational but falls short of its goal. Lil Lody is back on the boards for this one.

10. “Trapped” (featuring Jill Scott) – B+

An interesting collaboration, the first song from production squad J.U.S.T.I.C.E. League. Jill Scott takes lead on the song with a spoken word intro; she also takes command of the hook. While the subject matter isn’t anything new, what raises this song above your standard “ghetto’s got us trapped but we still gon’ make it” anthem is the contrast between Jeezy’s gravelly drawl and Jill’s buttery vocals.

11. “F.A.M.E.” (featuring T.I.) – A-

J.U.S.T.I.C.E. League blesses Jeezy with another winner, this time a collaboration with fellow ATL trapper T.I. The song’s title is an acronym for “Fake Ass Motherf***ers Envy,” and is an aural middle finger to all his detractors. The song also marked Tip’s first appearance on wax after his second prison stint and he sounds both remorseful and rejuvenated. It’s the T.I. that was sorely missing on No Mercy. Of note, “F.A.M.E.” samples the trance-music classic “Air for Life” by Above & Beyond.

12. “I Do” (featuring Jay-Z and Andre 3000) – A-

We get it. You’re married to the game. But such unholy matrimony hasn’t sounded this dope since Outkast and UGK recited their wedding vows on “International Players Anthem.” Speaking of Outkast, Three Stacks delivers a stellar verse, which is fitting since rumors abound that it was originally a song for his debut solo. Jay-Z also comes strong, as per usual, and Jeezy excels with his opening verse. The soul-drenched production from M16 utilizes sped-up vocals, horns, and xxx drums to great effect.

13. “Higher Learnin’” (featuring Snoop Dogg, Devin the Dude, and Mitchelle’l) – B

A funky, laid-back weed anthem. While both Jeezy and Big Snoop Dogg fare well, this track belongs to The Dude, who makes being in need of herb sound as poetic as Solomon’s songs.

14. “This One’s For You” (featuring Trick Daddy) – B-

This is almost a sequel to “F.A.M.E.,” albeit a bit more hardcore and direct. Jeezy and T-Double-D unleash a torrent of venomous verses upon their haters, enemies, and critic. Trick Daddy particularly seems ticked off, and it’s great to hear the Mayor of Miami come so strong on this track. Surprisingly, Lil Lody handle the production and managed not to botch it up.

15. “.38” (featuring Freddie Gibbs) – B

Jizzle hooks up with Gangsta Gibbs for a bit of anger management, thug style. Once again, Lil Lody surprises on the beat, but this song works mostly because of Jeezy and Gibbs’ gangsterisms.

Overall Grade: B-

Our Favorite Tracks: “Leave You Alone,” “F.A.M.E.,” “I Do,” “Higher Learnin’”

Our Recommendation: DOWNLOAD A FEW TRACKS

The main problem with TM103 isn’t a lack of charisma or vocal gimmickry, two things Jeezy has always relied on to satiate his fanbase. It’s that upstart producer Lil Lody handled the majority of the album’s production. Lody, a Memphis native, may be a competent producer but his unapologetic aping of seasoned beatsmiths Lex Luger and Shawty Redd reveals he’s yet to develop his own sound. That hurt TM103’s chances of being a better album. Once other producers, such as Warren G, M16, and J.U.S.T.I.C.E. League figured into the mix, Jeezy was able to craft songs that were enjoyable, memorable, and sometimes emotional.

Only about half the album, the latter half, is worth listening to more than once. If Jeezy opts to work with the right collaborators on the next project, perhaps he’ll find the motivation to make another street classic.

What are your thoughts on Young Jeezy – Thug Motivation 103?

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