A.T.I.

Hi-Tek
Hi-Teknology 2: The Chip
Babygrande Records


A half-decade after his debut album Hi-Teknology, vetrean producer Hi-Tek is back at the helms of his second solo project, the sequel to his debut- Hi-Teknology 2- The Chip. Throghout his career, the underrated beatmaker from Cincinatti has been recognized for his soulful soudscapes, and for his focus on consistency in his work, as Tek is never quick to reach for single material when it isn't in his grasp. His second time around the block spawns a solid soundtrack, backed by his expectedly strong production and a bevy of big-name guests.

Hi-Tek has always had the ability to use elements from both the old and new schools in his production, and he shows off his Rawkus side on the Dion, Q-Tip, and Kurupt collaborated "Keep It Moving," which leads into the somber "Can We Go Back," where Tek and his former partner in crime Talib Kweli reminice about past relationships. 2006's top MC Ghostface Killah is brought along for the soft-drums laced "Josephine," where Ghost narrates the story of the title charcter's mishaps in the projects. "Where It Started At" is a Andy Williams-sampled anthem for the NYC, as hometown heroes Jadakiss, Papoose, Kweli, and Raewkon display the lyrical bravado common to all NY rhymeslayers, "All I got is my word and my nuts, man, I got Brooklyn in my balls/So you could see Bed Stuy is you lookin' in my drawers". While Tek and The Game both fail to illuminate the G-Funk style of Dr. Dre on the annoying "1-800 Homicide," Hi-Tek tones down the album for the soulfully quiet "So Tired" and the years best collaboration "Music For Life," where Nas and Common drop jaw dropping verses creatively describing their affection for hip-hop music, "Givin the ghetto a taste of what freedom was like/I reached the point of my life where I was needing a mic".

While The Chip is mostly void of any major flaws, the solid production can sometimes come off as overly-similar, and with guests showing up left, right, and center, Hi-Teknology 2 seems like a well put-together mixtape instead of a solo project. Although Hi-Tek doesn't make any major changes to the production style appreciated by underground fans and mainstreamers alike, The Chip shows that he doesn't have to, as Tek has mastered a style that has put him in the ranks of some of rap's best producers.




Method Man
4:21... The Day After
Def Jam Records


In a year in which Wu-Tang member Ghostface Killah put out not one, but two albums that put most mainstreamers to shame, most Wu fans would expect if not two, then at least one set of quality music from fellow clan member Method Man- sadly, The Day After fails in comparison to the work of Meth's hard-working brethren. Still trying to catch up to his high-skilled debut, Meth uncharacteristically falls victim to the problems of today's common emcees, filling his newest album with bogus cuts that not only makes the album a sub-par effort, but more importantly, takes away from the focus he attempts to work off on The Day After.

Meth, whose lyrics, usually introspective and humorous, fall flat one too many times on The Day After, as he resorts to filling his bars with humorously bad quips such as "my shit is hood bitch, that means I'm hood rich". Not be mistaken for a lack of skill, the half-hearted rhymes fail in comparison to Meth's few flashes of brilliance, which include his ripping to shreds, guitar-laced, and Lauryn Hill-aided "Say," which is not only the album's finest cut, but also one of the best of 2006 in general. But too often, the album is flat-out boring, and even true Wu faithful will grudgingly accept that this is far from Meth's best work. Tracks like "4:20" and "Let's Ride" sum up the album, the first being plain and un-engaging, the latter being a mediocre, radio-friendly joint. Even the lyrically simple "Ya'Meen" provides much needed energy to an otherwise mundane release, and "Everything," as well as the RZA-laced "Presidential MC" serve as examples of what Meth could have accomplished with a more focused and balanced project.

While Meth is rarely at the top of his game on The Day After, he still carries the charisma to allow the better moments of the disc to overshadow some of the disappointments. Meth's career is far from over, and if the bright spots on his latest LP are any indication, there is still enough left in him to eventually catch up to the more mature and settled Ghostface. And by the way, where’s the Ghost collabo?


The Roots
Game Theory
Def Jam Records


The Roots, as great as they are, have never been given the credit that they deserve for their contribution to hip-hop music throughout their 15-year career. Even when the multi-talented group seem to catch a break, the majority of the hip-hop community has repeatedly questioned the integrity of the veteran Philly-based crew. After what has seemed like an eternity, The Roots have shot back in the form of their hard-hitting Def Jam debut, Game Theory.

After their signing to Def Jam, many Roots loyalists worried that the group’s new music would take a more commercial, watered-down approach, but The Roots crew are as insightful as ever on Game Theory. The album’s opening tracks “False Media” and “Game Theory” see Black Thought at his most casual, laying down the politically conscious rhymes which fans have come to expect. The album then moves into the stellar first single “Don’t Feel Right”, featuring a Lauryn Hill-esque chorus from little-known vocalist Maimouna Youssef that blends effortlessly with Thought’s sharp rhymes.

Game Theory is indeed as dark as The Roots promised it would be, and the middle part of the album, including “Baby”, and “Take It There” reflect that with low, rumbling drums behind consistent, yet somewhat non-engaging vocals from Black Thought. The album picks up the pace on the high-energy tracks like “Here I Come”, while “Long Time” is one the albums highlights, with smooth production backing Thought and Roc-A-Fella member Peedi Peedi dropping a show-stealing verse.

The Roots have once again shown why they are one of the most innovative and consistent groups in music today with an offering that, despite a few minor missteps, will sit comfortably among their other critically-acclaimed albums.


Nas
Hip-Hop Is Dead
Def Jam


When hip-hop legend Nasir Jones announced that his upcoming album would be entitled Hip-Hop Is Dead, the proclamation caused an uproar within the hip-hop community. Many of his peers took his statement to heart, and several members of the hip-hop community have since spoke out against the Queensbridge native. The thing about Nas is-he has never taken the opinion of his nay-sayers to heart, and has impressively maintained his mainstream success for over a decade. Since the release of his classic debut Illmatic, all of Nas' following albums have been unfairly scrutinized, but on Hip-Hop Is Dead, Nas goes on the offensive, putting hip-hop on blast.

Hip-Hop Is Dead is the return of a rejuvenated Nasir Jones, as his Def Jam debut is a well-put together compilation of street tales and conscious narratives, matching Nas' consistently sharp rhyming skills with equally effective production from some of the game's best beat-makers. Sonically and vocally, Hip-Hop Is Dead is an intriguing piece of work, and Nas displays a sense of urgency early on through "Carry On Tradition," where Nas puts attention-seeking rappers on blast. The album's first single "Hip-Hop Is Dead" is a reworked version of Street's Disciple’s "Thief’s Theme," but is still manages to work as an effective title track. "Black Republican," the long-awaited collabo between Nas and Jay-Z, shows off the influence of the two best rappers of our time, and long-time Nas producer L.E.S. does an incredible job providing the backing for the historic joint.
NBA Superstar Chris Webber puts mainstream producers to shame with his creative work on "Blunt Ashes," as he laces a horn-heavy backing for Nas' story of the street's hardships. Kanye West puts haters in their place on "Let There Be Light," as Ye adds another classic record to his resume, with Nas and Tre Williams collaborating for one of the best rap/r&b collabos of 2006. Nas even gets The Game and Dr. Dre together for the speaker-splitting "Hustlers," just another one of the solid tracks from an album full of them.

Hip-Hop Is Dead is an excellent album from front to back, with Snoop's assisted "Play On Playa" being the only forgettable song on what is easily one of the best albums of year. Nas is irony at its best, because let's face it- Hip-Hop Is Dead concludes the awakening of hip-hop with a standout effort from arguably the most consistent lyricist of our era.


Kenn Starr
Starr Status
Raptivism Records



With 2007 around the corner, hip-hop heads have been scrambling around hip-hop webpages in serach of that special album that they may have slept on. While we might not get our hands on every solid release to come out in '06, Kenn Starr's Starr Status will hopefully be an album that doesnt go through 2006 unnoticed. Hailing from Virginia, Starr may not be a household name, but his debut Starr Status introduces the introspective MC to the underground world in fine form. Starr's debut is primarily a showcase of his comical, yet intelligent rhymes, which focus laregly on disecting the state of hip-hop, as well as detail what Starr brings to the game.

Starr Status takes the approach used by many Rawkus Records' artists, as Starr relies on subdued, soulful production that allows the listener to focus on his lyrical ability above all else. Starr makes it clear that he isn't your average rapper on "Against The Grain," where he details the struggle of staying true to his craft. He later sticks up the "Middle Finger" to all fake rappers, taking a cue from Lupe Fiasco with bars like, "I dont care if you did time and got a jail record/ and used it as part of your image to sell records." "Carry On" is one of the more emotional joints on the record, as Starr gets underground favourite Darien Brockington to provide smooth vocals to accent his tale of coming up from the streets. Although interesting, you cant help but notice that Starr's lyrics lack an imaginative remedy for the less than superb state of hip-hop. The latter half of the album holds some of Starr's stronger records, as piano loops back the smooth "Waitin' On You". Starr is also more uplifting as the record progresses, and the album reaches its peak with the Talib Kweli & Asheru-assisted "If," a true jam for fans of prime lyricism and soulful production.

While the production, spearheaded by Oddisee, and rhymes, provided by Starr, come off as somewhat similar throughout, Status provides enough creativity to capture the attention of open-minded hip-hop fans. Although Starr's hooks and versatility could use improvement, he is able to sound confident and inspirational more times than not, and sets the stage for what should be an accalimed career.

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'Let's get it clear like eucalyptus, if you conflicted'

Just_Blaze

10 hours later

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"tell blaze to stop it wit the embarassing posts.....he's making everything die" - Grandmaster G

A.T.I.

Blaze's time accuracy is up there with Yayo's rhymes

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'Let's get it clear like eucalyptus, if you conflicted'

Fase [Hi-TEK]

im in love with all of them