Showing posts with label hip hop. Show all posts
Showing posts with label hip hop. Show all posts

MTV Unplugged No. 2.0 Review

MTV Unplugged No. 2.0
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MTV Unplugged No. 2.0 ReviewI LOVE this CD. Ms. Hill walks us through her spiritual journey. If you don't want to go, get off this train now. She won't mind 'cause as she reiterates time and time again she is doing her own thing. Ms. Hill feels no pressure from the industry and it shows. This cd is absolutely nothing like Miseducation of Lauryn Hill. This cd is, as she states on her cd,"a tub that stands on its own bottom."
She is a poet. Her track "Just Like Water" is awesome. The metaphorical references to water and relationships blew me away the first time I heard it. Not only does she work her magic with an acoustic guitar and her distinctive voice, she works your soul with her spiritual revelations. As a listner you are required to become reflective. Even if you do not like the music you WILL walk away with an understanding of self. And if not with an understanding, than surely with questions.
This CD is inspiring, revealing, honest, healing, thoughtful, insightful, gritty yet delightful. In case you don't know it yet, I am vibin' this in a Big way.MTV Unplugged No. 2.0 Overview

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Ready (Special Edition with Bonus DVD) Review

Ready (Special Edition with Bonus DVD)
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Ready (Special Edition with Bonus DVD) ReviewTrey Songz has never received his just due. Arriving at a time where other male R&B artists were blowing up with reasonable or great success (Chris Brown most notably), it seemed as if Trey Songz's fine I Gotta Make It went unnoticed. This is most sad as Trey Songz has an exceptional, well-nuanced voice that competes with the best of them. I GOTTA MAKE IT was a good, new/old-timey urban album with solid production and overall strong songwriting. It debuted at #20 on the Billboard Album Charts and tanked. 2007's Trey Day showcased a better showing (#11, 73,000 copies), though even the incredibly commercial "Can't Help But Wait" couldn't propel the singer to gold sales. Hopefully 2009's great and well produced Ready will help to propel a talent such as Trey Songz to the level of commercial success he should have already been receiving. If quality were the only indicator and not economy, Trey Songz could easily have a platinum album with this excellent third showing, arguably his best.
The album opens up with "Panty Dropper (Intro)", which prepares the listener to what ends up being Songz's most sensual, sexualized album. Despite this theme, Trey never goes over the edge like say R. Kelly at his most sensual, which means that the album is generally in good taste even though it is risque subject matter. "Neighbor's Know My Name" is an excellent first song - sensual, urban in sound, and well written. It's a song that R. Kelly would've taken to the next level (in a more twisted way that is) and Trey Songz does a phenomenal job with it. Catchy, kinky, and unrequited perfection describe "Neighbors Know My Name". Even better is the proceeding "I Invented Sex", which by title alone sounds like it should be the dirtiest, horniest song of the album. In fact, it turns out to be deceptive and is much more tame than its 'shock value' title. "I Invented Sex" turns out to be a catchy, hip-hop leaning urban song that is more insinuative than explicitly detailing 'the deed'. Again, it is a great production showcase and vocal performance.
I wasn't initially a fan of "I Need A Girl" when I first heard it on the radio; I thought that perhaps Trey Songz had already sailed the 'adult-contemporary R&B' boat with his great, understated "Can't Help But Wait" (also produced by Stargate) from TREY DAY. However, since purchasing READY, I can't stop listening to it! It should appeal to a more mature R&B crowd that don't care to hear about merely 'bumping and grinding'. "One Love" incorporates more great production, intact with sick drum programming, and 'ill' sounding electric guitar, and sensitive harmonious piano. Again, "One Love" is above average by all means and sets quite the standard for READY. "Does He Do It" similarly finds Songz at his best, supported by nothing less than top-notch production by Sean Garrett.
"Say Aah" featuring Fabulous (Loso) is one of the catchiest of the entire album. The production is high quality, Trey sounds among his best, filled with swagger, and Loso's verse is one of the best I've heard from him in a while. "Say Aah" is 'poppin', for lack of a better word. The unique "LOL :-)" is nothing less than fun to listen to, with appearances from rising rapper Gucci Mane and Soulja Boy Tell 'Em. "Ready To Make Love" serves as the 'intro-lude' for the souped up "Jupiter Love", another fine track finding Songz at his most sensual ever.
"Be Where You Are" is solid, but one of my least favorites. With that said, it isn't mere filler; there is no filler on this album. "Successful" featuring rising rapper Drake for the second time of the album (he also appears on "I Invented Sex") is one of the top tracks. The production is mysterious and cool at the same time while Trey's restrained vocals are exceptional here. Drake's verses are top-notch as always, building even more buzz about his debut album. "Black Roses" is another production showcase with its "huge" drums. No, it isn't the best of the album, but it is still a great song, which is key. "Love Lost", similar represents itself well. "Hollalude" serves as an intro-lude to the solid, though not earth-shattering "Holla If You Need Me". The album closes, solidly, though not revolutionarily with "Yo Side of the Bed". Again, even the 'second-rate' songs are solid at least, and most are above average.
There is very little to quibble about with READY. I think it Songz's best set of songs to date. Here, his swagger is really captivating in a way that it hasn't been before. 4 stars, easily.
A Grammy nomination for best contemporary R&B album would be nice.Ready (Special Edition with Bonus DVD) Overview

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After the Music Stops Review

After the Music Stops
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After the Music Stops ReviewI have been following Lecrae since his first album. He is perhaps my favorite Cross Movement artist, and he continues the trend on his new album "After the Music Stops."
Let me begin by saying that so much of Christian rap has a disconnect of emotions and earnestness that exists in the best secular rap (old DMX, Tupac, BIGGIE, even Eminem). They either have good convicting lyrics and half done beats, or great beats with watered down lyrics. Cross Movement and Lecrae are exceptions to this rule and are a blessing to Christians who love rap.
In Lecrae's work you can hear a man who just as easily could be playing on the other side, so to speak. The man is in touch
with his carnal side, in that he is aware of his weakness and his need of Christ. Many times he illustrates this by
contrasting a life in the streets with a life of a Christian and it's challenges. He also has music that pulls a powerful convicting witness.
On his previous album the song "Take Me As I Am" was one such tune. On his new album Lecrae brings the heat of conviction in the songs "Prayin' For You," "Death Story," and "Nobody." These songs are powerful and are part of a take no prisoners ministry that the man presents.
For those who are unfamiliar with Lecrae his musical style is probably closest to a Dirty South style including Houston and
Memphis. The only weakness, in fact, of this album is that while the beats are good (with CMRs stable of producers) there is not necessarily a consistancy of style that runs through the album as you might find with a Dr. Dre album for example. The
CMR producers do not seem to have a definative style that is recognizable. This is not bad, just an observation, and really
it's nit-picking considering the quality of this record.
Now for a quick rundown of each song (NOTE: any song comparisons aren't meant to imply that the beats are copped or the music is derivative, only to give an idea of the mood):
1. After the Music Stops - A good beat with distorted guitars (think Eminem's "Lose Yourself") as the man raps about our level of commitment of Chritians to go beyond listening to teaching. Very strong. "Will you open your bible's / After the music stops?" BEAT: 3/5 LYRICS: 4/5
2. Jesus Muzik - Real shades of 3-6-Mafia on the beat. A "day in the life" type song about listening to music that glorifies God. Real head bobbing. "Riding with my top down / Listenin to this Jesus Music." BEAT: 4/5 LYRICS: 4/5
3. I Did It For You - This beat sounds very similar to something off of a GAME album, specifically "Hate it Or Love it." The beat has that classic soul/Shaft feel. A testimony song. It focuses on the fact that we are all sinners and in need of God's redemption. "I wish someone had told me then / what it meant to know Christ and be born again." Powerful. BEAT: 4/5 LYRICS: 5/5
4. The Truth - Beat is similar to another Crae song "Into Silence" from his first album. The Gospel set to a hip beat. All about representing Jesus in our lives. "Every breath we breath outside of heaven is a blessing ya'll." BEAT: 4/5 LYRICS: 5/5
5. Run - This beat is one of those dancehall beats that make its way into a rap album every now and again. The beat is good. The sound is similar to No Doubt's "Hey Baby" and the song is about "running the good race" from Corinthians. It's great with one exception. The hook is done by someone who is trying to do that "rude bwoy" accent and it sounds HORRIBLE. Makes me want to stab my ears. If you take out the hook of this song it's another solid track about working for God and not the world. I'm torn on this one. BEAT: 3/5 LYRICS: 4/5 -1 for that irritating guy on the hook.
6. Send Me - another great beat, one of the best on the album. The song is about the need for missions and witness in the world and whether or not we're willing to leave our comfort zones to minister to those who haven't had the opportunity to hear of Jesus, especially in places where it might be dangerous (like China). Great club/call response hook "Send Me, I'll Go, lemme go, lemme go" BEAT: 5/5 LYRICS: 5/5
7. It's Your World - Could be a NAS/Jay-Z style beat. Praising Jesus as creator and ruler of the world and riffing on the awesome nature of creation. "It's Your World, It belongs to you, Christ Jesus" BEAT: 4/5 LYRICS: 4/5
8. Grateful - Not really a frame of reference comes to mind here, but it's slick on the beat. A beautiful song of thanksgiving. "I'm thankful for all that you are to me." BEAT: 4/5 LYRICS: 5/5
9. King Intro - An acapella rap about Christ's kingship in world and spirit. Under a minute but a tight little riff. "I know some of you dudes may cruise a 4Runner / but Christ had a dude to use as a Forerunner" BEAT: N/A LYRICS: 5/5
10. King - Jay-Z type, kind of a hammering beat. This ditty is about how Christ is the only king and everyone else claiming to be king of anything is just a pretender to the throne. Features FLAME. "Like kids playing in their daddy's clothes while he's gone / But the clothes don't fit and daddy's coming home." BEAT: 3/5 LYRICS: 4/5
11. Invisible - Another East Coast style beat. A song about touching something beyond the self when worshipping God and living a life like Christ until it's him that people see and not us. It's not filler, but I wasn't really feeling it. BEAT: 3/5 LYRICS: 3/5
12. Get Low - Similar to Flame's beat from "Sola Scriptura" with a bit of guitar in it. A great song about humility. "Get low, this aint one of those nasty flows/ I'm talking about humbling yourself before the Lord." BEAT: 4/5 LYRICS: 5/5
13. Praying For You - Kanye wishes he had this beat ;). A song about praying for someone with their daily struggles to live a Godly life. Sometimes people can have the best of circumstances and live an outwardly Godly life, but still struggle internally. Beautiful song about the struggle. BEAT: 4/5 LYRICS 6/5
14. Nobody - This beat feels a bit Wu-Tang (Iron Flag era). The song is about all the things that people try to substitute for a
relationship with God. "You can't run no more / Feel like something wrong in your soul." A soul cousin to "Take Me As I Am." Good but not great. BEAT: 4/5 LYRICS: 4/5
15. Death Story - Ouch. This is a great hard narrative about a man on his death bed struggling with a decision for Christ. Great discussion starter. This song is on a level with Ice Cube's "Dead On Arrival" and DMX's "Damien." A song about an
internal struggle and the inevitability of death. Absolutely chilling, the atmosphere is claustrophobic. Possibly the best track on the CD. The power to convict is deep. BEAT: 4/5 LYRICS: 6/5
16. Unashamed - Another club beat, makes you want to bob your head, kind of a Lil Jon vibe. About being honest and unashamed of living for the Gospel of Christ. Powerful song about representing the kingdom. AMEN. "All they rhyme is about is guns, money, sex and drugs / 80% of these dudes is fictional thugs." BEAT: 4/5 LYRICS: 4/5
17. El Shaddai - Not a rap tune. The tune is artist CAM singing with an acoustic guitar. He waxes about many of the names of God. El Shaddai, and many I can't spell come in here. Beautiful little praise song "Father, I worship you." BEAT: N/A LYRICS: 5/5
The strength of Lecrae's album, along with all his CMR alumni, is and has always been their willingness to express their
feelings about Christ without the need to water down the message. These guys don't have to hide behind clever wordplay and multiple meanings in their lyrics. These are Christian artists with an unashamed Christian message. The power of Christ crucified is on display and the beauty and power of the message is made apparent on every track. That's why the
inconsistant beats aren't a problem. These guys could slap the back of a phone book and the message would carry on.
If you love Christ and love rap, there is no reason not to get this album. The beats are diverse, the lyrics are alltogether top notch and on the level with anything in the secular (not to mention the Christian) world.
If you have non-christian friends who like rap, Crae can be a great introductory and evangelistic tool. The message is
powerful and straightforward and Lecrae jumps above his already spectacular solo debut. If he continues like this he will
easily become my favorite rapper (Christian or otherwise).
God Bless,
B.C.After the Music Stops Overview

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Message in a Box Review

Message in a Box
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Message in a Box ReviewThe Police were the closest thing the late 70s/early 80s had to the Beatles: smart songs with pop hooks and commercial appeal and plenty of juicy licks by great instrumentalists. And they were photogenic. A little something for everyone. And by and large, all of their music is worth hearing. Unlike Led Zeppelin, whose great box set is a little all over the place, the Police were smart enough to keep it more or less in chronological order. It works especially well for them since their albums have distinct feels to them. And there are a bunch of tasty treats to boot, such as the spooky "I Burn for You." People who think of Sting as a pompous blowhard should listen to tracks like "Demolition Man" or "Canary in a Coalmine" and realize that there was a time when his priority was rocking out, not yoga or 7/8 time signatures. At the same time, the band had an extraordinary sense of space and never felt the need to fill every possible bar with their prodigious instrumental abilities. See "Walking on the Moon" or "Voices inside my Head" for examples. And Stewart Copeland is one of rock's all-time premier drummers. His crisp, fluent attack brings the music to an exaltant level, a level which is rarely reached in Sting's often pretentiously self-aware solo work.Message in a Box OverviewThe definitive 4-disc collection of Police recordings from 1978 to 1983 including Every Breath You Take; Roxanne; Wrapped Around Your Finger; Murder By Numbers; King of Pain; I Burn for You; Invisible Sun; Driven to Tears (live), and more. 78 tracks total.

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Just A Rolling Stone Review

Just A Rolling Stone
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Just A Rolling Stone ReviewVery Impressive Debut & its Way Beyond your Typical R&B. Just picked up the album and listened through the whole thing and i must say this is an amazing album. There's probably about 1 or 2 dud tracks, but overall almost every song on the album is a winner. The lead single is a great song but it's such a shame Diddy had to RUIN it and sing along. Diddy can stay behind the scenes but there's no need for him to do a duet on every lead single for everyone from DK, to Day26, and Donnie. He just RUINS everything. Anyways Donnie co-writes many of tracks on this album & even co-produces, he truly is talented and i am glad he has made contribution on his debut album. In a world full of boring typical R&B, Donnie has made himself stand out from the crowd. This album doesn't just have slow jams, its slow jams with addictive beats & blazing up tempo tracks that take things to a new level. There were a few songs on his MySpace page that didn't make the final cut of the album which was a bit of a disappointment. Other then that i really enjoyed this CD. It's one of the few CDs in the world where i can listen to the whole thing without skipping. I am sure over time Donnie will improve as an artist as i feel he was forced into being R&B because he is on the BadBoy label. I must say that i was disappointed with a few R&B CDs this year & it's nice to know this CD breaks the mold & balances R&B Pop very well. Usher, DK, DAY26, and a few other singers released a bunch of boring albums but this one is far from it. I am still wondering why it took Danity Kane almost 5 months before they released their 2nd single, does that make any sense? Hopefully this will not be the last time Donnie fans hear from him and I look forward to him evolving as a singer and churning out more pop songs as well. He has a great voice & should utilize all of his talents.Just A Rolling Stone Overview

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The Fall Review

The Fall
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The Fall ReviewDamon Albarn talked about retiring Gorillaz, but instead he made a new album, almost immediately after Plastic Beach. The Fall is low-key and concise, the shortest Gorillaz album. It only has one guest vocalist (Bobby Womack on "Bobby In Phoenix"), and even Albarn's presence is muted. His lyrics are often simple, fragmented chants (e.g. "little pink plastic bags blowing on a highway") that barely seem to rise above the music. Many songs sound like vignettes: only one is over four minutes long, and seven are under three.
What this means is, The Fall is as close as Gorillaz have ever come to making a pure electronic album. For the first time, we get a chance to focus on all those weird sound clips, effects, textures and layers that were always bubbling beneath the surface of Gorillaz albums. They come to the forefront and inspire a new emphasis on atmosphere. The instrumental opening track "Phoner To Arizona" starts with a fuzzy digital bass sound, fairly close to Plastic Beach, and adds some synth beeps from the same album, but also brings in dark, uneasy strings and a rhythmic hook that sounds like it was made by distorting the pitch on Albarn's voice and then chopping it up.
You can hear Plastic Beach in the rhythm section, the beats have the same tinny, cheap drum-machine sound. Maybe Plastic Beach was actually recorded on an iPad, too! But, surprisingly, the music on The Fall actually has more detail. Even the idyllic acoustic guitar line in the beginning of "Hillbilly Man" is more technically and rhythmically interesting than any ballad from Plastic Beach. The best tracks are the instrumentals. The biggest stand-out is the strutting, cinematic, horn-driven "The Snake In Dallas." But the breezy synth lead in "Detroit" is adorable and gentle, and the interplay between bright keyboard background and moody minor-key organ in "Shytown" (with some vocals, but it feels like another instrumental) creates a delicate mood, thoughtful but not gloomy.
The pacing is excellent, and short as the songs are, they reveal a surprising amount of variety. "Hillbilly Man" switches gears completely from acoustic guitar to trip-hop beats, dirge-like synths and scraping noises, but the same downbeat tone persists through the entire song. "California And The Slipping Of The Sun" kicks into a pretty great techno groove, but only close to the song's end. The production (but not the composition) is fairly simplistic and one-dimensional, the instruments sound compressed and artificial, but they are often manipulated in interesting ways, for example the desolate synth-chirping in "Little Pink Plastic Bags." Somehow the garish production style matches the somber mood and the album's overall concept. Apparently, it was recorded while on tour, and it has an atmosphere of transience and impermanence, sitting in some anonymous hotel room, looking out the window onto the usual highway, city or airport views and just killing time until something happens. "Slipping Of The Sun" even has what sounds like clips from a news broadcast or PA announcement.
It'd be a miracle if there wasn't any filler. "The Joplin Spider" is blaring synth noise (that can be good, but not with this flat production), and "The Speak It Mountains" takes too long to get going, with nearly a full minute of voices repeating "it is the dawn" before any music shows up. But even those two songs aren't a total loss. "Spider" brings in more melodic keyboards in the second half for a more trance-like sound. It fades out almost immediately on arrival, but what can you do? And "Mountains," once it gets over the voices, has a very relaxing two-note synth loop. It sounds like a nice intro to a song about the dawn, which unfortunately does not show up. "Aspen Forest" is a pleasant bit, not very memorable at first, but then a cascading harp-like phrase livens up the ending.
A couple of songs are basically just typical Albarn ballads: "Amarillo" sounds like "Herculean" from The Good, The Bad And The Queen," whereas "Revolving Doors" is a shuffling mope like "Rhinestone Eyes." I don't suppose we can blame him for playing to his own strengths. Over the past ten years, he's become an amazing crooner.
This may become a very under-rated album. There is no big single (in fact, no obvious single at all), the promotion is relatively modest, and yeah, the album was made in a month. One might be tempted to dismiss it as an insubstantial EP, collector bait like G-Sides or D-Sides. In fact, The Fall might even be better than Plastic Beach.The Fall Overview

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New Danger Review

New Danger
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New Danger ReviewLet's be honest and say this off the bat. Black on Both Sides was a Hip-Hop classic. The New Danger is an experimental album, showing creative genius far from what you expect out of hip-hop. The album was primarily recorded with Black Jack Johnson, Mos Def's all black rock band. In fact the title of the album was supposed to be named that until the other Jack Johnson became popular. This album will surprise you, Mos Def fan or not.
The album starts off with the soulful poetic "Boogie Man Song." Fans can expect something along the lines of "Climb" from Black on Both Sides. "Freaky Black Geetings" is a rock/funk song, with barely any vocals from Mos. He doesn't rap or sing on this one, just kinda sounds like he's jamming out to the music. "Ghetto Rock" is a hard bass thumping track with distorted guitars. Mos raps on this one, but it's more rock-rap than hip-hop. The lyrics aren't too challenging, nor is the flow, but the song still is nice. "Zimzallabim" is just a straight up rock song with Mos rapping over it.
You might be wondering at this point where are all the straight up hip-hop tracks on a supposedly hip-hop album?? Finally Mos gives those fans what they want, although it's a bit disappointing once you here the opening of the "Rape Over". You'll be quick to note it's basically a remake of the first verse to Jay-Z's "The Takeover". The exact same beat, the flow and lyrics are meant to match and play off Jay's song also. Plus it's only a minuet and a half. This song really should have been left to a mixtape, it's not really original and certainly falls short for the first rap track. "Blue Black Jack" borrows a Muddy Water's guitar riff and attempts the whole Blues genre. (If you haven't noticed the track titles are all too descriptive of the song). The next track is more of a laid back, jam session again containing little vocals by Mos Def. "Sex, Love & Money" is a bass thumping, concert featuring what feels like a full orchestra! Mos Def drops a rap here showing off a real nice flow on this one.
"Sunshine" finally shows off the Hip-Hop in Mos Def. From the opening you'll just know Kanye West produced this one. A nice track, with some solid lyrics, but the two have done better together. "Close Edge" you might recognize from his spot on "Chappelle's Show" from season one. Mos drops some really nice conscious lyrics, although the track is really over-produced with background sounds. Still a solid track. Mos Def get's back on the Soul tip with "The Panties" which uses some violen samples with a subtle electric guitar and eventually some bass. "War" is pretty self explanatory as far as the subject matter, has several tracks of Mos's vocals chanting together the lyrics. About halfway through the song the beat changes into a hard rock song similar to the second half of "Rock & Roll" from his first album.
The next track is all too similar to "The Rape Over" as Mos Def & new-comer Minnesota rap over Nas's "No Idea's Original"... it's good, but you still just feel kinda like your listening to a mixtape with this one. Speaking of Minnesota, he handles a solid chunk of the production on this album (You might remember seeing his first production credits on Ghostface's Pretty Tony Album). With these two recycled tracks it makes you upset that unreleased tracks like "What's Beef?" wasn't put on here instead.
"Modern Marvel" has Mos again coming back to soul and appropriately singing over Marvin Gaye samples of Flyin' High & What's Going On. Mos kick some raps on the second half of the track taking the Marvin Gaye theme to the next level, asking What would Marvin think if he could see today? This is a powerful track and certainly one of the best. Following is another classic "Life Is Real" produced by Molecules. Now this is what most of you were expecting from this album. On the same page as Black on Both Sides, yet a step-up. A great sample and some real deep lyrics on this track.
"The Easy Spill" sounds like it has to have been recorded live, it's another rock track. This one gets a bit more repetitive than the other rock tracks. Chances are you'll want to skip it to check out the "The Beggar" which is a combination of Soul with the elements of a rock ballad. If you're familiar with Cody Chesnutt (wrote and sang The Roots' "The Seed", it's really similar to one of his tracks. One of the better tracks.
The album ends on a similar note to his last, with an 88 Keys track. This time, Mos Def raps over the beat, sounding more like a track on his last album. Excellent way to end the album, bringing it home with a solid hip-hop track.
I'll be honest, this was not what I was looking for at all. So, people be warned cause you'll get blown away. This is a creative experimental album, and in that sense comes off as a pretty solid effort, however it still is missing something. The music quality is really good (Mos Def can actually sing, unlike Andre 3000). I was a little dissapointed because I was waiting for a follow up to his last album for five years, but what you get is completely different. If you like N.E.R.D. or Cody ChesnuTT, chances are you'll enjoy this effort too. If you're looking for a Black on Both Sides follow up, as I was, you might have to wait another five years.
In the sense of a pure hip-hop album you might be disappointed. But, if you like good music no matter what kind of genre it is, you'll be satisfied with this album, it has almost every genre you could think of.New Danger OverviewMOS DEF has proven he is truly the renaissance artist of the 21st century by using his multiple talents to achieve success not only in music but also crossing over into Film (The Italian Job, Brown Sugar), Television (Def Poetry Jam, Something the Lord Made), and even reaching critical acclaim on Broadway (Top Dog Underdog). Mos Def returns with his very highly anticipated sophomore album The New Danger, an eclectic album that contains elements of hip hop, funk, rock, alternative, R&B and includes production by Kanye West and Warryn Campbell.

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Harpistry Review

Harpistry
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Harpistry ReviewFor whatever reason, I've had a rash of musical CD's in which a competent performer has fallen into a pattern of over-hype, including excessive production values, extensive professional websites, promises to keep and an output that is miniscule in comparison. Often the performer is worth notice, but the hype tends to promise more than can be delivered, and the musician suffers in the comparison.
This is the case with Julia Thornton, whose sole recording is this disk of music, of which only a few were originally for the harp. Many are quite pleasant, and a few are a bit eye-opening, but for some reason her producer, Craig Leon, has decided to mix in angelic choirs and other gimmicks that make the music hackneyed and a bit too 'new age.' On such case of this is 'Gassenhawer,' and another is Couperin's 'Les Baricades Misterieuses' which is overdone enough to be upsetting.
On other cases - the Vivaldi 'Largo' and the Handel Sarabande Julia is reduced to simple striking of the notes, nothing that shows of either the harp or her capabilities. On the other hand, the Bach Goldberg Variation and the Pescetti Andantino are a bit idiosyncratic, but very musical and interesting. Obviously there is more to Thornton than the album offers, but the album often suppresses these qualities in order to appeal to the popular audience.
The Adagio from Beethoven's Concerto No. 5 is problematic. Your ears will say 'interesting' but your mind will find it a far cry from Beethoven's original intentions. She comes so close to the percussive sound of the piano that it catches you up when she stops disguising her instrument. She does an excellent performance of the Tchaikovsky Lullaby, as well as Debussy's 'The Sunken Cathedral.'
The only piece that was originally written for harp is 'Chanson Dans La Nuit (Carlos Salzedo), which is something of a signature piece for Thornton. I can't say I found the various rattling and thumping which accompany the play very compelling, but they are Aledo's idea, not Thornton's. Chanson is a technical show off sort of thing and a bit to dry compared to the rest of the album (other than the Satie).
In sum, Thornton is an interesting harpist, but hardly the brilliant and inventive advocate of the instrument that the liner notes and website make her out to be. She is not the equal of players like Marisa Robles or Yolanda Kondonassis, and one shouldn't listen to her music expecting that kind of performance. On the other hand, as light listening the album is quite good and hopefully signals more to come.Harpistry Overview

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