Bun B - Trill O.G. CD

Trill O.G. CD music With Recovery, it becomes obvious that Eminem's richest albums aren't necessarily his most structurally sound, which isn't much of a surprise when considering the rapper's full-on embrace of flaws and contradictions. This lean, mean, bipolar machine began life as Relapse 2, but when Shady decided he wasn't really Shady at the moment, and that he was no longer keen on Relapse -- or the last two albums, as he states on "Talkin' 2 Myself" -- it became Marshall Mathers time again, so damn any 11th hour issues. This results in an album where a shameless but killer Michael J. Fox punch line ("The world will stop spinnin' and Michael J. Fox`ll come to a standstill" from "Cold Wind") is followed by a song with another, less effective MJF joke ("Make like Michael J. Fox in your drawers, playin' with an Etch-A-Sketch"), although that song is the lurching heavy metal monster "Won't Back Down" with P!nk, and it could be used as the lead-in to "Lose Yourself" on any ego-boosting mixtape. Ignoring these contradictions, fans can feed on the energy, the renewed sense of purpose, and Marshall doing whatever the hell he wants, up to and including shoehorning a grand, D12-like comedy number ("W.T.P.," which stands for "White Trash Party") into this emotionally heavy album. It's fascinating when Em admits "Hatred was flowin' through my veins, on the verge of goin' insane/I almost made a song dissin' Lil Wayne" and then "Thank God I didn't do it/I'da had my ass handed to me, and I knew it," before sparring with said Weezy on the Haddaway-sampling "No Love." When the recovery-minded "Going Through Changes" gets back on the wagon by sampling Black Sabbath's very druggy "Changes," it's a brilliant and layered idea that's executed with poignant lyrics on top. Add the man at his most profound (the gigantic hit "Not Afraid") and his most profane ("You wanna get graphic? We can go the scenic route/You couldn't make a bulimic puke on a piece of corn and peanut poop" from "On Fire") plus one of thickest lyric booklets out of any of his albums and the fans who really listen are instantly on board. It may be flawed and the rapper's attitude is sometimes one step ahead of his output, but he hasn't sounded this unfiltered and proud since The Marshall Mathers LP, so to hell with refinement -- bring on the hunger and spirit of 8 Mile. ~ David Jeffries Recording information: Ajax, Ontario; Area 51 Studio; Avex Honolulu Studios, Honolulu, HI; Black Chiney Studios, Ft. Lauderdale, FL; Effigy Studios; Encore Studios, ...

Trill O.G. album for sale By the time of the release of Drake's first full-length album, the Canadian rapper was already a star thanks to his huge single "Best I Ever Had," his celebrated mixtape and then EP So Far Gone, and his spots on hits by Young Money and Eminem. Thank Me Later had the tough assignment of living up to the anticipation and further Drake as an artist, and it totally lives up to the hype. Thanks to the rich and nuanced production and Drake's thoughtful, playful, and intense lyrics, Thank Me Later is a radio-friendly, chart-topping collection of singles but also a serious examination of Drake's life that holds up as an album. Most of the record finds the young rapper (23 at the time of release) conflicted about his growing stardom and fame. Whether it's a relationship splitting up as on the melancholy "Karaoke," worries about the fame changing him ("The Resistance"), fears that so-called real hip-hop fans will find him manufactured ("Show Me a Good Time"), or the difficult nature of romance when you're a star ("Miss Me"), Drake isn't afraid to examine what the past year has done to his life. He's also not afraid to talk about how great life has become as well, dropping plenty of lines about the money, the women, and his own prowess as a rapper. His belief in his own skills is well-founded, as the list of collaborators lined up to work with him attests. T.I., Swizz Beatz, Young Jeezy, the-Dream, Jay-Z, Alicia Keys, and Drake's mentor Lil Wayne all drop by to add verses, sing hooks, and produce tracks, and their presence sometimes serves to liven things up and keep Drake away from his melancholy nature. The T.I./Swizz Beatz track "Fancy" is a fun and sassy summer jam with a huge hook, his track with Jay-Z ("Light Up") is a fierce takedown of the Industry and the damage it can wreak, and the Nicki Minaj collabo "Up All Night" is a tough-as-nails boast that features Drake at his most insistent. Elsewhere, Lil Wayne's verse on "Miss Me" is his usual breathtaking verbal roller coaster, the-Dream's vocals on the verses of "Shut It Down" are heartbreakingly sincere, and Jeezy adds some welcome ferociousness to "Unforgettable." It's like all the guests had to bring their best game to keep up with Drake, and they didn't want the youngster to show them up. He never shows anyone up exactly (though Jay-Z's verse sounds kind of out of breath compared to Drake's), but he definitely proves that he belongs at the very top of the game. His nimble flow is impressive; his words are heartfelt, brainy, and surprising; and while his singing may not be the best, it shows a vulnerability that is rare in rap circles. Indeed, it is this willingness to be introspective and honest that makes Drake unique and helps make Thank Me Later special. It is the rare album, rap or otherwise, that follows through on the artist's potential and the fan's anticipation. ~ Tim Sendra Recording information: Avex Recording Studio, Honolulu, HI; Blast Off Studios; Blast Off Studios, New York, NY; BLD&DSTRY, Toronto, ON; Cherry Beach Studios, Toronto, ON; Gee Jam Studios, Portland, Jamaica; Glenwood Studios, Los Angeles, CA; Lexington, KY; Metalworks Studios, Toronto, ON; New Orleans, LA; Nightbird Studios, W Hollywood, CA; Roc The Mic, New York, NY; Takeover Studios, Houston, TX; The Hit Factory, Miami, FL; The Setai Hotel Recording Studio, Miami, FL; Triangle Sounds Studio, Atlanta, GA. Photographers: Anthony Mandler; Jonathan Mannion; Philip Golebiewski.

Trill O.G. buy CD music Losing none of the momentum put in motion by his 2009 effort, Deeper Than Rap, Rick Ross keeps a very good thing going on Teflon Don, arguably his best album to date. You want rap-style luxury? Then Deeper is the better fit, but Teflon plays up the chilled and soulful elements of its predecessor, meaning Ross has graduated to a level where words like "organic" and "poignant" come into play. The former is best represented by "Mayback Music III" and it's swirling, `70s-flavored dreamscape created by the J.U.S.T.I.C.E. League production team. Ross allows guests T.I. and Jadakiss to go first on the cut, then grabs his cigar for an uplifting story of ghetto triumph that goes from pushing to pleasing the folks ("Parents never had a good job/Now it's black American Express cards"). When it comes to "poignant," the evidence is dotted throughout the album with the rapper reflecting on where he's been, and he often questions his own lust for fame. He chants the title to the opening "I'm Not a Star" as if it was a remindful mantra, but it's his new love of contrasts that's really interesting, following Kanye's swaggering on "Live Fast, Die Young" with "Seems to me we gettin' money for the wrong things/Look around, Maseratis for the whole team/Look at Haiti, children dyin' round the clock/I'd send a hundred grand but that's a decent watch". The familiar party and thugging tunes work too with "B.M.F. (Blowin' Money Fast)," "No. 1," and the mixtape favorite "MC Hammer" -- now with added Gucci Mane verse -- all coming correct. Add all the Illuminati references in the Jay-Z team-up ("Free Mason"), a decent smoking song ("Super High"), and a track where Cee-Lo's performance just might make you misty ("Tears of Joy"), and it's obvious Ross' albums are no longer just vessels for his singles. ~ David Jeffries Recording information: Avex Recording Studio, Honolulu, HI; Blakeslee Recording Company, North Hollywood, CA; Bull Dog Studios, Sag Harbor, NY; Circle House Studios, Miami, FL; D-Block Studio, Yonkers, NY; F.A.T.E. Music Lab; PMCK Studios, Toronto, ON; Roc The Mic Studio, New York, NY; Solitaire Studios, Atlanta, GA; We The Best Studios, Miami, FL; Westlake, Hollywood, CA; Zenith Studios, Atlanta, GA. Photographer: Jonathan Mannion.

Trill O.G. songs While his 2008 effort Raw Footage brought aggression and bitterness, I Am the West leans back a bit, assured in its status and wisdom, showing hip-hop how to grow old both gracefully and gangsta. Ice Cube's first album since turning 40 masterfully lays it all out on key track "No Country for Young Men." This witty, rapid-fire damnation of the ringtone rapper generation and their foolishness declares them "bitches" with "Rappers go to jail like Oprah go to Gayle/Stedman's policy: Don't ask don't tell," along with a laugh-out-loud Redd Foxx line that shouldn't be spoiled. Making the case that his generation fought the power while the 2010 crew was just fighting itself happens elsewhere, and when you combine this with the "we've got a bigger problem now" attitude of "Hood Robbin'" -- high-tech and high-finance corporations are widening the gap between the classes -- and the sage advice of "Your Money or Your Life" -- "This world, so trife/Your money or your life/Keep your kids, keep your wife/Your money or your life" -- you've got a layered argument against misdirected priorities and their devastating consequences. Cube suggests there are more choices than burning out and fading away when he dedicates a song to his wife of 21 years and explains how she's enriched his life on "Nothing Like L.A.," but the real proof is in all the vital yet lighter cuts that keep the message-filled album from being ponderous. Flashy production drives the infectious "She Couldn't Make It on Her Own," featuring fine contributions from Cube's sons Doughboy and OMG, while big daddy himself has put an entertaining, Kool Keith-like spin on his punch lines this time out, dropping odd stingers like "Internationally known/You about to smell my cologne" ("Soul on Ice") and "You about as lethal as a mojito/Be my amigo, eat my burrito" ("Too West Coast"). Add the usual Keith David narrations and the hard-hitting, full-bodied production the West Coast favors and the album is anchored by tradition, becoming an unassailable cocktail of talent, experience, and growth. Most won't have the skills to follow his playbook, either on or off the field, but Cube's utterly unique I Am the West shows the younger generation how to cross 40 while retaining their freedom and baller status. Middle age hip-hop is born here, and if the game follows his lead, it will be one monster of a genre. ~ David Jeffries Ice Cube has remained prolific, with 15 releases as a solo artist or a member of a group (Da Lench Mob, Westside Connection), including the blockbuster release of Laugh Now, Cry Later, the most successful independent hip-hop release of 2006. It all adds up to a remarkable rap career that continues expanding and evolving. As he did with his most recent release 2008's stellar Raw Footage, Ice Cube extends his bulletproof musical legacy. " Audio Mixer: Dave "Diz Mix" Lopez. Photographer: Eric Williams.

Trill O.G. album for sale If you want to talk about bittersweet, this posthumous album begins with the voice of the late great Pimp C himself, proudly declaring that this is his real debut solo album, as the other two were put together while he was in prison. The Pimp didn't get to finish The Naked Soul of Sweet Jones before he passed, so this final version arrives courtesy of executive producers/Rap-A-Lot president J. Prince and the Pimp's wife, Chinara Butler, along with a well-chosen set of guest stars. Some tracks sound entirely Pimp, like the street-life soul number "Love 2 Ball" which features a Jo Jo Dancer, Your Life Is Calling reference, plus a beat from UGK's secret weapon, producer Steve Below. Other cuts sound more like their guest stars with "What Up?" sounding like a cousin to the flashy style one might associate with Drake, while "Midnight" is the kind of slick-and-thug hybrid you'd expect when crossing the styles of Rick Ross and producer David Banner. The highlights are numerous, the rotating vocalists keep things interesting, and the UGK for Life spirit is present throughout. The Naked Soul winds up sounding like a mixtape of the Pimp's unreleased features, but for anyone who sported a "Free Pimp C" T-shirt back in the day, that's still a desirable proposition. ~ David Jeffries

Trill O.G. CD music Jumping from Diddy's Bad Boy South label to T.I.'s more suitable imprint Grand Hustle for their eighth studio effort, 8Ball & MJG are back to their dastardly duo ways on Ten Toes Down's opening track, "It's Going Down," a syrup-slow return to form that grinds on the competition with a Drumma Boy beat. The song kicks off a ridiculously good run of original gangster music that runs six tracks long and features a killer single ("Bring It Back"), a tough highlight with David Banner as producer and Bun B as guest ("I Don't Give a F***"), plus a surprisingly filthy, surprisingly successful team-up with the previously clean Soulja Boy ("F** U Mean"). It's a dream EP for the longtime fan, but the album gets moderate in the middle with "She's so Fine" and "Spotlight," both being examples of unnecessary concessions to radio. These "for the ladies" tracks pale in comparison to the straight-up sexy and very Isleys "Right Now," which slithers between the sheets for a solid six-and-a-half minutes. Worthy nostalgia numbers and two more Drumma Boy cuts finish the set off, leaving the listener with a very good and very familiar effort that satisfies after a bit of trimming. ~ David Jeffries Recording information: Echo Studios, Atlanta, GA. Photographer: Chris Stanford.