| | Debbie Friedman Shanah Tovah CD Debbie Friedman Discography of CDs
Shanah Tovah Review
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Shanah Tovah CD music
$9.59 Still a teen at the time, J-Kwon scored the pre-summertime smash of 2004 with the ode to underage drinking, "Tipsy." The album that followed, HOOD HOP--a built-around-the-hit patchwork of a record released on Arista--harbored few moments nearly as delirious as his signature single, and J-Kwon semi-retired from the industry for a few years. He re-emerged on his own terms, following the self-released, internet-exclusive HOOD HOP 2 , with the all-new (despite the semi-misleading label) major-label return HOOD HOP 2.5. On 2.5, J-Kwon seems sharper, his flow more devilish, more potent, and slightly more swaggering even (if that's possible). The St. Louis rapper is at his best when he's name-checking his hometown as he does on opening single "Louie Bounce (I Smacked Nikki)," a smoothed-out dancefloor jam with nary a sound or syllable out of place as he speeds up and slows down at will. If you don't think about it too hard, it's a fun celebration for a record which shows a gleaming dollop of promise for an MC who seemed a one-hit wonder.
Still a teen at the time, J-Kwon scored the pre-summertime smash of 2004 with the ode to underage drinking, "Tipsy." The album that followed, Hood Hop, a built-around-the-hit patchwork of a record released on Arista, harbored few moments nearly as delirious as his signature single, and J-Kwon semi-retired from the industry for a few years. When he re-emerged, it would be on his own terms. In early 2009, he self-released Hood Hop 2 exclusively on the internet. That record garnered enough critical head-nods and impressive-for-indie sales for Gracie to bring J-Kwon back to the majors for the all-new (despite the semi-misleading label) Hood Hop 2.5. The hiatus pays off to an extent; J-Kwon seems sharper, his flow more devilish, more potent, slightly more swaggering even (if that's possible). The St. Louis rapper is at his best when he's name-checking his hometown as he does on opening single "Louie Bounce (I Smacked Nikki)," a smoothed-out dancefloor jam with nary a sound or syllable out of place as he speeds up and slows down at will. For much of the album, however, J-Kwon is feast-or-famine (and in an odd way, it often balances out). The silly, worn sex rhymes of "Close Your Eyes" are offset by borderline enthralling production, and swirling '80s new romantic keyboard loops, made ...
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