Common -- Universal Mind Control

Rating: 2/5 stars

Pro: Some of the liveliest music of his career.

Con: Very little musical chemistry between Common and the Neptunes.

Bottom Line: Common finds out making club music is harder than he thought.

Recommended Tracks:

Make My Day

What A World


The pairing of Common and the Neptunes, two hip-hop legends in need of a creative spark, was an intriguing idea. Common's collaborations with label-boss Kanye West reached a dead-end with 2007's lackluster Finding Forever; the Neptunes, once the genre's premier hit-makers, haven't had commercial success in over two years.

There are only two problems with Universal Mind Control, Common's new Neptunes-produced album: their club-centric production style doesn't mesh with his lyric-heavy rapping while his style of rapping isn't suited for their futuristic-sounding party records.

Since club music revolves around beats and not lyrics, one of rap's premier lyricists is essentially wasted. There's no way to pay attention to what Common is saying with the cacophony of a Neptunes beat -- exotic drums and spacey sound effects -- overwhelming him.

On the other hand, those loud cranked-up beats need charismatic rappers with commanding vocal presences to harness them: see the Neptunes' success with Jay-Z and Busta Rhymes. Just because a song has simple subject matter doesn't mean it's easy to rap over; witty and clever lines can be as hard to write as deep and contemplative ones. Universal Mind Control is full of clunkers like "broads say you are a philosopher / Yea, yea, I'll philosophy on top of ya."

The only song Common makes his own is "What A World" where he adopts a Sugarhill Gang flow ("A little boy from Chicago had dreams to be a star / And make a way, and get some pay, and drive a fancy car") to tell a 3rd person account of his career.

The album's ultimate success will depend on the reaction to the Neptunes mix of electronic and European club music. For a rapper as accomplished as Common, it's the rarest of failures: he'll be taking the blame for something not really his.

Ludacris -- Theater of the Mind

Rating: 3/5 stars

Pros: Ludacris holds his own with some of the biggest names in rap.

Cons: His style is more suitable for singles than albums.

Bottom Line: If Ludacris wants to know why he isn't considered
a great rapper, Theater of the Mind is a good place to start.

Recommended Tracks:

Wish You Would

Do It for Hip-Hop


Over five albums and countless guest appearances, Ludacris reveled in being Ludacris. Never taking himself too seriously, he recounted a life of endless money, women and parties. He became the rapper every singer went to for hit features.

And while money and fame came easy, he found respect harder to come by. His new album Theatre of the Mind attempts to shape his legacy: "I'll be going down in rap as the MVP." He's following the lead of Jay-Z and Lil' Wayne -- if he keeps saying he's the best long enough, people might start believing him.

As a crowd-moving MC, he takes a back seat to no one. Not only is he funny and charismatic, but he can flow over almost any type of beat. He more than holds his own with two of today's biggest rappers -- T.I. ("Wish You Would") and Wayne ("Last of a Dying Breed") -- and two unquestioned legends -- Jay and Nas ("Do it for Hip-Hop").

But there's a difference between impressive on a track and on an album. That's why he has a feature on every full-length track save one. Like T-Pain, another hit-making mercenary, his albums tend to sound more like a collection of singles. His habit of using generic punch-lines to fill space ("So many acres that my crib look like Bermuda / So many diamonds my safe look like Kay Jewelers") doesn't help.

There are enough sure-fits hits, from the Jamaican-tinged "What Them Girls Like" to an ode to alcohol goggles on "One More Drink" and a Jamie Foxx-duet on "Contagious", that Ludacris will continue his streak of platinum albums. But the social commentary he began to showcase on "Runaway Love" is largely absent, as is any attempt to add depth to his musical persona.

Ludacris wants to know why he's not considered a great rapper. Theater of the Mind answers his question: rarely is so much talent used to say so little.

Kanye West -- 808's & Heartbreak

Rating: 4/5 stars

Pros: The eclectic mash-up of T-Pain and Phil Collins works.

Cons: When does the auto-tune backlash begin?

Bottom Line: Kanye's creative gamble pays off in a big way.

Recommended Tracks:

Love Lockdown

So Amazing


After defeating 50 Cent during last-year's same-day album
"showdown", Kanye West was at the top of his game. Graduation
pulled off a delicate balancing act -- on critic's top 10 lists while
producing top 10 hits.

But after a tumultuous year personally, his latest album 808's
& Heartbreaks differs drastically from his previous work. While
Graduation and Later Registration re-used songs and concepts
from his days as an underground rapper, 808's was completed
within the span of a few weeks. It's the rare album from a rapper
released sooner than expected, perhaps because Kanye isn't
rapping anymore.

For someone who rapped before he produced, his Andre
3000-like turn towards musical experimentation is surprising.
As is his decision to make a break-up album that sounds like a
mash-up of Phil Collins and T-Pain. Most surprising of all, he
manages to pull it off.

Lately Auto-Tune, the computerized synthesization of vocal
melodies, has become inescapable. So if you've become weary
of it, be forewarned. 808's is an Auto-Tune overload, with the
vast majority of Kanye's lyrics sung through it. It's a good decision
-- Andre 3000 can carry a tune while Kanye largely can't.

The album beautifully merges the main song archetypes of modern R&B -- the up-tempo club songs and the melodramatic personal ones. He varies the instrumentals, moving seamlessly from the violin ("RoboCop") to the piano ("Welcome to Heartbreak"). Instantly catchy melodies abound; singles "Love Lockdown" and "Heartless" have several different refrains.

The one lesson he learned from his previous work is brevity; 808's clocks in at only 11 songs. It's aiming to be larger-than-life, with music meant to be blared from stadium speakers. As Kanye noted in an interview, he spends the majority of his time touring the world in stadiums and auditoriums.

He's become one of the rare rap stars -- like Eminem, Jay-Z and Snoop -- so successful they're bigger than rap. 808's is a reaction to the absurdity of pop stardom: "Chased the "Good Life" my whole life long / Looked back on my life and my life gone." It echoes many of the same themes of Britney Spears prescient hit "Lucky", where she bemoans how unsatisfying fame is and how it overwhelmed her previous identity.

His lyrical meltdown was triggered by personal tragedy -- the untimely death of his mother and a broken engagement. The result is a string of break-up songs that wouldn't be out-of-place on an emo album, as Kanye swings from triumph ("I'm not loving you the way I wanted too / Where I'm going I don't need you") to heartbreak ("lost his soul to a women so heartless").

Such vulnerability is unusual in the macho world of rap, where the perils of fame and heartbreak are often ignored. The genre’s roots in the lower class make it harder for rappers to complain about their success. And while Kanye’s raps on a bonus track don’t vary lyrically from the rest of the album; they come across as more petulant and self-absorbed.

Where he goes musically after 808’s is unclear, but the album ensures the spotlight won’t be leaving him anytime soon.

TI -- Paper Trail

Rating: 4/5 stars

Pros: T.I. and his producers are at the top of their game.

Cons: First three gangsta rap songs don't fit with rest of album.

Bottom Line: T.I. finds creative inspiration from stark legal trouble.

Recommended Tracks:

No Matter What

On Top of the World


Four hours before he was supposed to perform at the 2007 BET Hip-Hop Awards, T.I. was arrested trying to buy machine guns. A convicted felon caught violating multiple federal laws, his life was basically over. He went from sitting "On Top of the World" to possible being "in jail until 2027." His new album Paper Trail tells how he got there.

He established his artistic identity on his breakthrough 2003 album Trap Muzik. The fiery swagger he brought from his time as a drug-dealer fueled his anthemic singles, while his introspective lyrics dissected the downsides of that lifestyle.

His combination of star-power and lyrical ability made him an industry superstar. But as his fame grew he faced a dilemma of many successful gangsta rappers -- his best came music came from the contradictions of the gangster lifestyle, a lifestyle increasingly incompatible with the success his music brought. So he began staying "in trouble just to let these suckers know I was serious."

On one hand, he was rap royalty (see "Swagger Like Us" with features from Jay-Z, Kanye West and Lil' Wayne) starring in Hollywood movies. On the other, he was constantly violating probation, culminating in a 2006 shoot-out after a club performance that left his best friend dead.

He tried to square the circle with 2007's "TI vs. TIP". There were two sides to his personality: TI (the mature businessman) and TIP (the hot-headed gangster). Throughout the album, they had to accept that they needed each other. But as he found out, the resolution to his existential conflict ended up being quite a bit messier.

Recorded during house arrest, Paper Trail is a sober reflection of the consequences of his decisions. He defiantly defends his need for protection while recognizing "how much better life would have been if I had slowed down / Maybe I'd have been Kanye / instead of seeing gunplay."

The album's title refers to his return to writing down his lyrics, instead of just putting them together in his head. By his own admission, writing helped him "concentrate" and the improvement is dramatic -- every song has a clear concept and each line pushes it forward.

Another welcome return is DJ Toomp, his longtime producer whose absence was sorely felt on TI vs. TIP. Paper Trail is chock full of big-budget faux-epic synthesizer jams ("Whatever You Like", "Live Your Life") modeled after the Toomp-produced "What You Know".

Several times in the album, T.I. compares himself to Tupac -- another superstar rapper whose reckless lifestyle fueled his rise and contributed to his fall. Soon after he released Paper Trail, T.I. will go to jail for a year, a situation Tupac faced after Me Against The World. But after he got out, Tupac doubled-down on his behavior -- joining Death Row Records and recording two legendary albums that cemented his legend. If T.I. really is a "changed man" than Paper Trail may be his last great album.

John Legend -- Evolver

Rating: 2/5 stars

Pros: Legend begins to modify signature piano-based sound.

Cons: Andre 3000's guest appearance highlights Legend's charisma deficit.

Bottom Line: Legend fails to live up to his potential with mediocre album.

Recommended Tracks:

Green Light



If You're Out There



John Legend’s debut album Get Lifted seemed like the start of something big. It had an inventive new sound (a fusion of neo-soul, gospel and hip-hop) backed by both critical acclaim (three Grammy’s including Best New Artist) and commercial success (2 million records sold). Most importantly, it had “Ordinary People,” a star-making turn that featured only a piano and rightly became his signature song.

But in the years since Legend hasn’t quite lived up to his name. After his debut’s success, he branched out on his own, leaning less on mentor and producer Kanye West. His last album, 2006’s Once Again, came and went with little fanfare and even fewer memorable moments.

His new album Evolver is more of the same. It has all the trademarks of a John Legend album - the understated ballads, the earnestly soulful voice and, of course, the ever-present piano. There are a lot of impressive musical moments; yet somehow “Evolver” is less than the sum of its parts.

He tries to incorporate a more uptempo and less piano-reliant sound, most notably on first single “Green Light.” His smooth vocals give it a danceable melody, but as soon as Andre 3000 starts rapping, Legend’s vocals are pushed into the background. 3000 adds the star-power and charisma largely missing from Legend’s recent work: One thing you ain't consider / I heard you when you told your girl he could get it / Admit it, you did it."

Legend said Evolver is a collection of good songs without any over-arching lyrical theme. It’d be a shame if his career turns out the same way.

Ne-Yo -- Year of the Gentleman

Rating: 3/5 stars

Pros: Great song-writing: almost every song is vividly written with a clear melody.

Cons: Feels like a collection of cover songs -- very little of Ne-Yo is ever revealed.

Bottom Line: Very well-done and by-the-book modern R&B album.

Recommended Tracks:

Closer

Single


Ne-Yo's new album Year of the Gentleman opens with a burst of energy. An unnamed girl catches his eye on two up-tempo club songs, one of which is stand-out single "Closer."

Then on "Single" he reveals her identity -- she's every single woman listening to his music. He comforts them: "You don't got to be alone, I'll be your boyfriend / I'll be your boyfriend until the song goes out." Like any good romantic comedy, Year of the Gentleman is about feminine wish-fulfillment.

So over the next nine melodramatic and earnest ballads, Ne-Yo plays the part of the apologietc boyfriend. He's a stand in for every man whose wronged the listener, every man who made "her come by herself tonight, because he wouldn't pick up the phone."

He doesn't care that she's been cheating on him ("Lie to Me") or that she's marrying someone else ("Fade Into the Background"). He misses "her funny little laugh or the way you smile or the way we kissed."

So what has done to deserve this self-inflicted misery? The best answer he comes up with is not helping around the house on "Why Does She Stay". But that's not really the point. He's an idealized creature, and actually admitting to any real wrong would ruin the illusion.

He wrote hits for artists like Beyonce and Rihanna before he became a star himself. His strengths as a songwriter are no surprise -- each song is vividly written with a clear melody. But as a performer he never stretches himself vocally, sticking to the same gentle baritone throughout.

As a professional songwriter, he is so used to writing in the voice of another singer that even when he writes for himself, there is still a layer of artifice. "Year of the Gentleman" doesn't pretend otherwise. It's a good act, but after the song ends, we don't know if any of it is real.

Young Jeezy -- The Recession

Rating: 3/5 stars

Pros: Sounds exactly like his last two albums.

Cons: Sounds exactly like his last two albums.

Bottom Line: If Jeezy wants to become a great rapper, he'll eventually have to stop re-making Thug Motivation 101.

Recommended Tracks:

Put On

My President


The introduction of Young Jeezy’s new album “The Recession” features newscasters talking about gas prices and the economy. The album ends with a song about Barack Obama (“My President”) featuring Nas. Otherwise, it’s basically indistinguishable from his first two albums.

He still raps about crack dealing as self-actualization (“I can show you how to make a mil right now”). He sticks to the same dark, epic orchestrations of his previous hits (“Soul Survivor”). And he faithfully uses his trademark flow - raspy, slow and ad-lib heavy - throughout.

The rare track that varies at all from this formula, like the soul-sampling “Circulate,” stands out as a result. “The Recession” is an 18-track album that seems to contain less than half-a-dozen distinct songs.

But specialization has its benefits. He only makes one type of song, but he makes that song very well, and the customer can count on that same level of quality every time. So if you like the ubiquitous lead single “Put On” you’ll like “The Recession.”

The chorus to his Obama song sums up his philosophy pretty well: “My president is black, my Lambo is blue / And I’ll be (expletive) if my rims ain’t too / My money’s light green, and my Jordan’s light grey/ And they love to see white, now how much you trying to pay.”

He sees the prospect of a black president as inspirational, not to change society, but to make more money. It’s the album’s underlying theme: Times may be bad, but the bills still have to be paid. He may not know Obama’s message very well, but he sure knows America’s.