Rick Ross - God Forgives, I Don't

First things first, this is the first Rick Ross album I have listened to. Ross has steadily become a big player in the mainstream rap game and was named 'Hottest MC in the game' by MTV in 2012 and this is underlined by the heavyweight guests he has attracted to God Forgives, I Don't.

Ross' rap persona is almost cartoon like as the self-styled Florida drug kingpin, especially when you consider his correctional officer background. Although far from the greatest rapper to ever grace a mic you cannot deny that his husky delivery has a certain style to it that can make for enjoyable listening. Except plenty of references to bricks, keys and triple beams, Pirates and Triple Beam Dream, as Ross depicts the lifestyle of character while enjoying the fruits of his labour, So Sophisticated and 911. Ross, the character, also spends some time looking back at where he came from on Ashamed and Ten Jesus Pieces.

Ross refers to himself as 'the Christopher Wallace of my time', which if meant as comparison of technical ability may well be most delusional line of the year. What he may mean is Biggie's storytelling ability which although inferior to Biggie, Ross is at least in the same ballpark as.

Production is handled by J.U.S.T.I.C.E League, Cardiak and Jake One among others and provides some cinematic style landscapes (Triple Beam Dream and Ten Jesus Pieces) along with some typical heavy Southern style tracks (911, So Sophisticated and Hold Me Back) for Ross and his guests to work with. Helped by Ross' stories in places but let down by the tracks, vocally and production-wise, that fall flat God Forgives, I Don't ends up as a mixed bag. The mixtape style 'Maybach Music' voice-overs are a seriously unnecessary annoyance.

The eight minute duet with Andre 3000 Sixteen is definitely worth checking out.  

Best guest: Andre 3000

Stand-out track: Pirates

Best bars: (Rich Forever):
Big face Roley, rose gold cost 40
Platinum 21, it's time to go and spoil shorty
You only live once I'm screamin YOLO in the V.I.
Time flies fast balling with my n**** T.I
Ciroc, no glass, smilin women in my presence
Tall supermodels always fall in my possession
Atlanta housewives takin pictures in my section
But I only got a thing for young bitches with aggression
Show me that affection that a D-boy craves
Rich forever in my D-boy ways
So dope, blue jeans, new J's
Sold dope by any means all day

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GOOD Music - Cruel Summer

Having spent a few years assembling artists to his GOOD Music label, Kanye West chose this summer to release a group album showcasing the talent acquired. Unfortunately, the album is hit and miss, and most of the hits are due to Kanye himself or guests from outside of the GOOD Music roster. Such is his charisma and reference-heavy rhymes, West is more often than not the highlight of the seven tracks he features on, unintentionally overshadowing the roster he tries to promote simply through greater talent.

The album starts with To The World, an R-Kelly song with Kanye verse. I saw this collabo and thought of Jay-Z and R-Kelly's unsuccessful The Best of Both Worlds but the song is a strong start to the album, complete with Kanye referring to himself as 'the God of rap'. Next up are the singles, Clique, with Kanye, Big Sean and Jay-Z and Mercy with Big Sean, Pusha T, Kanye and 2 Chainz. Don't let the name fool you, Mercy is actually a bragging song with heavy references to the famous Lamborghini model. I'm surprised the whole album isn't sponsored by Lamborghini with the absurd number of references to Aventadors, Murcielagos or plain 'Lambos'. New God Flow is the best track on the album, finding Pusha T and Kanye with decent verses but more importantly an appearance from Ghostface Killah. 

All in all the album seems in-cohesive especially when compared to Kanye's solo material, Common gets less than 16 bars in total and one of John Legend's appearances is for about 20 seconds via a talkbox. Most critically though, Kanye is let down by the roster he is trying to promote. Big Sean and 2 Chainz are the album's main beneficiaries with four and three appearances respectively but they don't take the opportunity to stand out. All they do is leave you begging for more Ghostface, Raekwon or Kanye. Part of the problem is their mimicking of Kanye with regards to bragging on cars, clothes and money. Sorry, how many albums, let alone platinum albums have you had each? Also, someone needs to tell Sean to stop referring to himself as B.I.G., that jersey is retired. Pusha T is more miss than hit when compared to his hot verses on My Beautiful Dark Twisted Fantasy.

The album starts well but fades away into mediocrity and by the time you reach the later tracks you have moved so far away from the promising start that you lose interest and the artists at the end, Kid Cudi and John Legend can't reignite the enthusiasm.

Best guest: Ghostface

Stand-out tracks: New God Flow, Clique

Best bars: (New God Flow - Ghostface)

600, Cuban cigar and the big tub
Medallion on, ducks soak on the French cut
With soap suds on the Mac-11
My big lion haven't ate since 12, it's half to 7
We feed the nigga like 40 chickens
His tail wag when I send him a bag with just one victim
Uh-huh! Now let me show you what my closet on
Gems in the display case, call it a rock-a-thon
Ock, I got soccer moms prayin for cock
Asians get it from behind while they cleanin they wok

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DJ Quik - The Book of David

DJ Quik returns with his first solo album since his 2005 effort Trauma. The Compton resident seems to be content enough with his place in the West Coast game. Never a household name in the vein of LA alumni like Dre and Snoop, Quik has always been a distinctive and well respected producer and a decent emcee to boot.
The title of his album suggests a grand and introspective offering and Quik does deal with some issues close to heart, namely the relationship with his family who he goes hard at on Ghetto Rendevous, but that apart its really just typical West Coast subject matter told with Quik's individual and irreverent style.

Quik's production is as refined and well crafted as ever and the album combines disco and G-funk alongside some more contemporary beats. He's gifted at interlacing the production with smatterings of saxophone or xylophone to create a genuine summer feel to tracks. Combined with some of Jon B's crooning, Quik creates some smooth and mature R&B on Real Women and Hydromatic. Only the bass heavy Poppin' doesn't quite gel with amongst the other tracks.

The album does not feel packed with guests although 10 of the 19 tracks feature rappers contributing verses. Personally I don't really feel that too many of the guests add that much value to the album. Bizzy Bone seems out of place, Kurupt isn't on top form, and the "20 years in the making" collabo between Quik and Ice Cube is hugely disappointing, mainly due to Cube's verse. Suga Free is always worth listen, although it's a surprise to hear him straying from his usual pimp related rhyming. BlaKKazz K.K (long associated with Quik through 2nd II None) is the regular guest (on four tracks) and seems a natural accompaniment to both Quik's rhyming and production. Although I personally preferred the regular pairing of Quik and AMG on Under Tha Influence.  

A really solid album from Quik packed with far more standout moments than filler.

Best guest: Suga Free

Stand-out tracks: Killer Dope, So Compton, Nobody

Best bars: (Fire and Brimstone)

I am unique so you can keep your $20 you ain't gotta buy my cd muthafucka not a problem
That's why I'm a recluse, not the one you set loose
Muthafuckas in this game use my name to get juice
Say it, David Blake, a maven, amazing
B-b-brighter than the forest when it's blazing
Asteroid, past the void, keep it pushing, that a boy
Gotta get it hotter than oven cooking, that's a joy
For these last four bars I take it easy
But you still a muthafucka and you're cheesy
Don't trust your memory
Write down what you feel about me
If yo head ain't rocking back and forth then doubt me

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