50 Cent -- Before I Self-Destruct

Rating: 2/5 stars

Pro: 50 eschews recent pop-music flirtations and returns to roots as a gangster rapper.

Con: Minimalist album (no big guests outside of Shady/Aftermath and first single "Baby By Me") highlights 50's flaws as a rapper.

Bottom Line: 50 hasn't been relevant since "I Get Money"; B4ISD won't change that.

Recommended Tracks:

Psycho

OK, You're Right

50 Cent tries to reconnect with his gangster rap roots on his new album Before I Self Destruct. Besides a few Dre tracks and the lead single "Baby By Me", the album has a consistent and monotonous sound -- harshly melodic beats with hard pianos and drums behind them. With no other guest rappers besides Eminem, the album rests entirely on 50's shoulders.

Such a bright spotlight does him no favors. He rarely switches up his flow, mostly sticking with the same gravelly sing-song rhyme scheme that sounds like he's talking out of one side of his mouth. And he's certainly not the cleverest lyricist, using lazy metaphors like "I've got more guns than a gun store" and "I'm like Will Smith in Pursuit of Happyness; in my hood we hustle in pursuit of the same shit." Eminem out-raps him so badly on "Psycho" it's embarrassing.

B4ISD is a full-throated return to the hardcore lyrics of his underground years: "You want some, come get some / It's murder one when you see my gun / I just squeeze and squeeze till the whole clip done / You just bleed and bleed until the police come." That's the most surprising part of the album -- 50 has made hundreds of millions of dollars over the past seven years, yet he doesn't sound very happy.

The only reason girls sleep with him is to "have a baby by me and be a millionaire." Even his usually witty one-liners are tinged with bitterness -- banished G-Unit members Young Buck and Game are a "junkie" and a "queer" respectively. The scars from a messy custody battle with the mother of his son are still fresh: "She don't care about me, she just wants some cash / I'm thinking damn girl we used to be friends."

Anytime he shows any vulnerability, he quickly scrambles back to the psychological safety of the gangster pose. He mentions the pain he felt when his mother blamed him for the missing furniture of his crack-head uncle stole, then immediately boasts "he pistol-whipped that (expletive) till his face was purple" to retaliate.

As "Psycho" shows, a rapper as talented as Eminem and a producer as talented as Dre can make great music about nothing, but 50 doesn't have nearly the skill of his mentors. He spends most of B4ISD trying to scare us, when it really sounds like he just needs a hug.

Jay Z -- The Blueprint 3

Rating: 4/5 stars

Pro: The best-produced album since his comeback, BP3 is Jay's triumphant return to the throne.

Con: Jay's self-absorption and navel-gazing can wear over an entire album.

Bottom Line: A worthy heir to the original Blueprint.

Recommended Tracks:

Hate

Empire State of Mind

On BP3, Jay-Z boasts he's gone "from Brooklyn to down in Tribeca next to DeNiro." He's gone from bragging about how many bricks he moved out the back of his trunk to bragging about how good his seats were at the Pacquaio fight. But no matter the change in lifestyle, the underlying message remains the same: Jay-Z is still pretty damn impressed with Jay-Z.

Dubbing himself "the new Sinatra," he raps over a series of glossy, high-budget beats full of live instrumentation -- strings, trumpets and hand-claps. It's the best production he's gotten since his comeback from retirement in 2006.

BP3 follows in the vein of his first 10 solo albums -- all of which, he reminds us, have "gone No. 1"; all morphing his life (teenage drug dealer "called a camel" to multi-millionaire CEO married to the world's biggest pop star) into a Charles Dickens story. On "Empire State of Mind" he takes a contemplative ride in his new Lexus through the McDonald's parking lot in Harlem where he bought drugs to an old apartment where he stashed them.

There's no hint of the actual person behind the narrative he has constructed, nothing separating Sean Carter from Jay-Z. He only gets emotional when discussing his career, addressing the fans and critics "who want [Jay] to fall from the top" on song ("Hate") after song ("What We Talking About") after song ("Already Home") after song ("Reminder").

He notes he's "in the hall already, people compare me to Biggie and Pac already, like I'm gone already." The guest list is another glimpse at his mortality: Where the first Blueprint had only one guest appearance, the third is filled with big-name artists (Alicia Keyes, Kanye, Jeezy and Rihanna) and newcomers like Drake and Kid Cudi. His first attempt at a comeback single -- the bombastic "DOA" which called for an end to the auto-tune phenomenon a year after it had already peaked -- was met with shrugs. Kanye and Rihanna overshadow him on the first single "Run This Town", a drastic role reversal from only five years ago, when he was the biggest name on their debut albums.

The album closes with a melodramatic sample of an 80's glam-rock synthesizer balled called "Young Forever." But no one actually does, not even Jay-Z.

Jadakiss -- The Last Kiss

Rating: 2/5 stars.

Pros: Jadakiss sticks with the same formula that made him a mixtape legend.

Cons: He hasn't grown as a rapper in almost a decade, making him sound anachronistic.

Bottom Line: If you liked his last two albums (which you probably didn't), this won't be too disappointing.

Recommended Tracks:

What If

Grind Hard

Jadakiss first made a name for himself when his rap group LOX released a moving tribute to their label mate Biggie Smalls. But in the decade since, rap has increasingly shifted away from the New York mix-tape scene and its emphasis on hardcore street rhymes. Or as Jadakiss tells it "rappers is more commercially successful now but the heart's a lot weaker."

So how can one of Biggie's contemporaries remain relevant in 2009? The first single "By My Side" features a hook from Ne-Yo and an appearance from Lil' Wayne. But their fans aren't going to remember a rapper who hasn't had an album out in five years.

Jada's last album (2004's Kiss of Death) was carried by the unexpected success of "Why", an eclectic collection of rhetorical questions. So he tries to catch lightning in a bottle twice with "What If", a duet with Nas where they ponder Mayan prophecies, Michael Vick and Hurricane Katrina.

Rather than actual songs, both singles are more like freestyles, stream-of-consciousness raps where an artist is given license to ramble as long as they produce the occasional witty line. There's a similarity to his years of work on the mix-tape scene, where his raspy baritone made him a legend. But ask him to carry an idea for four minutes and you're in trouble.

Most of The Last Kiss revolves around aimless tough talk and idle boasting without any coherent song structure. So when Jada does attempt something different ("every good woman needs a thug"), it's so out of place that it seems contrived. It's the same fundamental problem that ruined his previous two solo albums, which even he admitted were uninspired. And in this climate, The Last Kiss is probably his last chance.

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.