P R E S S   R E L E A S E   F O R   I M M E D I A TE   R E L E A S E
Contact: Rolanje Armstead
rojay@...
www.middlechildpromotions.com

   May 17, 2006
Middle Child Promotions Celebrates Four Years
With All New Layout and First Ever Interviews

(Huntsville, Alabama) - Middle Child Promotions (MCP) is marking their
fourth year on the web this month with a redesigned layout and new
exclusive interview with Jagged Edge, and KING Magazine and Rides Magazine
Editor-In-Chief, Datwon Thomas.

Since its inception in 2002, Middle Child Promotions has served as a
promotional urban e-zine. The initial goal of the site was to give local and
regional talent the same opportunities of exposure as received by
mainstream urban artists. Over the four years the site has been in operation, it
has grown to includes music and video streams, and interviews with up
and coming music artist as well as established artist including Lyfe
Jennings, Chili of TLC, Amerie, and Kandi. The interviews have also
expanded to include actors such as Bokeem Woodbine, Datari Turner, and
Terrell Carter and magazine editor-in-chief, Datwon Thomas who talked about
his exclusive interview with Dame Dash.

Middle Child Promotions has grown to be one of the largest e-zines on
the net with nearly 2 million visits per month, and site founder and CEO,
Rolanje Armstead, is thrilled at the overwhelming response to
MiddleChild Promotions. “I cannot express my excitement over the success we have
seen. We have grown from a little website that no one knew about, to
one of the most popular places on the web. I couldn’t be happier.”

For more information on Middle Child Promotions:
Visit:  www.middlechildpromotions.com
Or contact Rolanje Armstead at rojay@...
















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You didn't buy this album did you??

   Ray J: Radiation  “The Persistent Brother”  An Album Review by Nfared
   Brandy is a superstar in her own right. In the process of making herself a
music mogul she has cast something of a huge shadow. Her brother Ray J seems to
have spent most of his career trying to step out of that shadow. His struggle to
develop a consistent image is made obvious as he continues to flip-flop styles,
switching from singing on his first album “Everything You Want” to not really
singing but not really rapping on 2001’s “This Ain’t A Game” back to singing on
his current release “Raydiation”. He still has his work cut out for him.

   DarkChild’s signature fast paced sound highlights “Keep Sweatin”. Ray J
though, sings with too much effort (the spit is almost visible as he says, “now
Push it back/Push it back!). Lyrically he is no better, “Then I felt someone
grab me/and say ain’t you from Cali/then say welcome to Miami/and yeah/she was
on me heavy”. Expressing his feelings on “What I Need”, he is less forceful, but
nasal to the point of frustration. Frustration goes to irritation with “One
Wish”. Ray J sings in an unbearable high-pitched tone that displays little vocal
control and sounds like constant whining. The production adds to the frustration
with a disturbing speed change at the line. “I’d be O.K. if I get one”. The ear
catching production of the ballad “Melody” brings a little satisfaction and
finds Ray J singing in a less nose pinching tone on the chorus, “Melody/said
that I love/Melody/said that I/adore you/Melody/said that I/need you.” Sister
Brandy lends vocals on “War Is Over”. While the
  message about ending war is relevant, the song suffers from an odd combination
of a confused sounding Ray J. and a subdued Brandy; this track is a far cry from
their enthusiastic duet, “Thank You” on Ray J’s first album.

   Needle Meter  With his track record, it’s a slight surprise that Ray J has
managed to put three albums under his belt. In a painfully obvious effort to be
unlike his sister, he has created a sound and image that even he does not seem
totally convinced of, and one that is more than likely to change by the time he
decides to drop another album. Come out come out Ray J, wherever you are.
   One Needle














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Here is a throwback for you! I don't recommend the album though!!

   Paul Wall: The People’s Champ  “The Grill Of Houston Speaks”  An Album Review
By Nfared  Musically, Houston has been making noise over the past few years.
From Lil Flip to Chamillionaire, Texas making a name for itself in the way of
southern rap music. At the head of the pack, or at least in eyeshot is Paul
Wall, with his debut release “The Peoples Champ”.  Joining Hip-Hop’s latest
theme of royalty titles, he deems himself, “King Of The Parking Lot”. With a
reputation that precedes him, including his grill designs and mixtape work, he
has definitely paid dues, but in the words of a Christian related song, “Who
could imagine a king?”

   George bush flirts with stupidity (he actually makes love to it, but follow
the analogy) and Paul wall flirts with mediocrity on “I’m A Playa”. The
uninspiring chorus rides over a mystic yet catchy beat; “84’s/candy
paint/switchin lanes/sippin drank”. If the “Keep it Simple” theory could ever
have a way of going wrong, it’s at the beginning of Paul’s verse, “It’s Paul
Wall baby/yeah that’s me/these h*** wanna know what I’m bout/princess cuts all
on my neck and on my wrist and in my mouth.” It goes from bad to worse with
Paul’s third verse, “I got a deep freezer up on neck/and snow cones up on my
ear/a ice tray up in my mouth/I’m looking something like a chandelier…” Less
yawn inducing is “Riding Dirty”. The guest appearance of Trey Songz on the
chorus though, is the only thing that saves this track from total disaster as he
flows coolly, “Pimpin h***/slammin cadalliac doo’s (already)/shawty understand
this is how we roll (already)/parking lot pimpin on fo’s…/Va to H-town
  you already know.” On “So Many Diamonds”, guest T.I. is more noteworthy than
Paul; “That s*** you hear on Gangsta Grillz is real b**** chill/fo you wake up
wit some gangstas in yo grill/get killed…” The Salih Williams produced “Sittin
Sidewayz” is a speaker shaking track with it’s deep bass line and light strings.
Paul? He seems to be on repeat as he flows, “Say cheese and show my fronts/its
mo carrots than Bugs Bunny’s lunch.” What delivers this album to Hip-Hop’s
dumpster though is “Internet Going Nutz”. Yes, this is actually a song. Let the
first few bars kill—eh-hem, speak for themselves, “I’m coming straight up outta
that chat room/and live from the message board/I’m at the crib all by
myself/chattin online when I’m board.” This should definitely summon up an error
message with not possibility of a reboot.

   Needle Meter  There is the mention of diamonds. Then there is the mention of
diamonds in his mouth, and on his neck, on his watch, on his wrist, on his nose,
and his shoes. Well o.k. not on the nose and shoes, but mention of them
permeates the entire album to the point of eliciting boredom and, almost
sickness. The several guest appearances compound the problem giving more of a
mixtape feel then that of an album belonging to one artist. In fact, saving the
album would mean taking Paul out and leaving the guest appearances in. Paul
designs what many rappers and fans consider amazing grills. Sadly his rapping
skills are more dull than shiny.
   Two Needles

















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This is tuning up to be a good year for rap, particulary from the south. First
T.I. and now Da BackWudz. GOTTA GET THIS ONE!!

   Da BackWudz: Wood Work
   “The South Does It Again”  An Album Review by Nfared
   Southern rap has long been denied its relevance. For years every coast except
the south has celebrated musical success, even though artists out of the south
were working just as hard. In recent years though, southern hip-hop has grown to
the point that New Yorkers have to look twice. T.I., The Young Bloodz, Young
Jeezy and others have helped bring an appreciation for music below the Mason
Dixon never seen before. In keeping with this movement, Da Back Wudz has
released their debut album “Wood Work”. The rap duo, natives of Decatur,
Georgia are facing a bar that has been set very high.

   Borrowing from a popular Jennifer Holiday hit, “You Gonna Love Me” jumps
through the speakers with its infectious beat and high energy chorus; “It’s
Da Backwudz slamming through yo back hood/we got them thangs that’ll make Shaq
act good!” The title speaks for itself. Producers The Execs and Milwaukee
Black come together to create an extremely creative track with “I Don’t Like
The Look Of It”. While the argument goes that producers sample far too often,
sometimes the sampling rides on the brink of genius, particularly when it
combines the world of hip-hop with, of all music, the Willy Wonka soundtrack.
“Oompa Loompa-De Do” lives on through rap. Who would have fathomed?
”Making Money Counting Hundreds” is probably the average “bling-bling”
song, yet with slightly more personality; “Shawty look at my pinky rang!”
There are also the “Do-do-do-do’s” that give this track a life of its own.
On “The World Could Be Yours”, the group
  ponders women that can’t deal with the success of their rapping mates. The
group marks the beginning of the relationship and then, how things can change;
“At the start of our journey together/you couldn’t tear us apart… but hol
up/you flipping the script/say I f*** around/but you talking nonsense/like a gat
wit no clip.” They then take a Keyshia Cole-ish approach with, “that’s why
a ni*** jump ship/I might as well do my thang…” Is all fair in love and
Hip-Hop? “See you don’t know my life/unless you’ve read my book…”
begins the soulful “Whatcha Know About My Life?” This track shares some of
life’s major truths and chronicles the other side of bling-bling that goes
ignored, like “man I can’t get a nine to five…plus yo kids gotta eat/the
struggle it runs deep… my mother barely paying the bills…” Ever diverse,
“Lock And Load” screams Rock and Roll thanks to production by label
president Dallas Austin. It is almost like the
  Jay-Z Linkin Park phenomenon, but with more intensity and vigor.

   Needle Meter  Though the new millennium began six years ago, it rung in a
hip-hop trend of “lets all sound that same”. While this trend is slowly
starting to fade, it will not end fast enough. Da BackWudz, with their
innovative production and “we didn’t just come up with this to sell
albums” lyrics are a testament to hip-hop with a mission. This duo has created
a sound that will carry the pride of southern music on into the future. The bar
has been raised, and Da BackWudz has risen to the occasion.
   FIVE NEEDLES!! CLASSIC ALBUM!!



















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Lil Wayne: The Carter II
   “After The Storm”  An Album Review By Nfared
   Both Bow Wow and Romeo have decided to drop the “lil” from their names,
perhaps in an attempt to appeal to an older crowd. One rapper though, who has
been thrust into a huge role of responsibility, is keeping his prefix, yet at
the same time not losing sight of the road ahead. With Katrina practically
destroying his hometown and his musical family in disarray, Lil Wayne is facing
a pivotal moment in his musical career. Lil Wayne: The Carter II is the product
of a rapper with an insurmountable weight on his shoulders. While some may
consider it time to quit, he still wants to raise the bar.

   What is one of the things Lil Wayne is thinking about? He reveals this answer
with “Money On My Mind”. He uses interesting word play to get his point
across, “Dear Mr. toilet I’m the sh***/got these other hates pissed/cause my
toilet paper thick.” Also, in an effort to settle any doubts about whether or
not he can face the challenges ahead, he rhymes, “when it comes to that
weight/I don’t struggle I just lift”. Combining the soul of New Orleans with
the sound of the islands, The Yonny produced “Mo Fire” carries an aura that
his hometown can appreciate as he flows, “I know my papa gone but guaranteed
he see us shining.” Producer Big D effortlessly combines Hip-Hop with Rock and
Roll with “Best Rapper Alive”. Wayne, having no doubt in the title of the
track, begins, “It is Weezy… got these rappers in my stomach/yummy.”
Confident, he continues, “If you sell a million records/we could battle for
your money.” Bringing some personality to
  his verses, later, he shows a silly side with the line, “F*** up with all
these rookie MC’s/WOOOO!!/smell like a bunch of p**** to me!” Lil Wayne, a
sense of humor? Go figure. Light on the production so that every word can be
heard, “Oh No” displays a strong and reassured Wayne who can still admit
that he is human; “Good grief/man this world is quite heavy on my aching
back.” He cleverly explains, “Bob Marley got me stinkin stakin figures/I’m
standin firm life’s a slinky…” With a more subdued tone, Wayne is poised
yet relaxed on “Hustler Musik”. He is introspective with a descriptive
chorus, “…I’m takin these chances/my head to the sky/my feet on the
ground/my fingers to the judge if the money don’t move/then I won’t budge
won’t budge”. Thought not a killer he claims, he wants no misunderstanding
in his courage levels, “I ain’t never killed nobody I promise/and I promise
if you try me/you gone have to rewind this track/and make
  me go back/that thang will go dlaat/that boy will lay flat so flat.” Still
honest, on “Receipt”, he speaks to a woman, summing up all of his feelings
within the first phrase of the song, “It’s kinda hard to say this s*** to
your face so I do it over snares and bass, music take me away…” The smooth
“Shooter” is an intriguing mix of rap and soul. Seemingly not in the range
of what Wayne would flow to, he fits like a glove as he starts out, “So many
doubt cause I come from the south/but when I open my mouth, all bullets come
out.”

   Needle Meter   The government showed it’s true colors with the treatment of
New Orleans residents after Katrina. The people though, responded with
resilience and pride, never giving up in finding family members and for some,
rebuilding what was once their home. In a sense, Lil Wayne carries that energy
and sense of self with him in his music. He lets the world into his life by
bringing so much of his personality to his songs. His wit, and humor add to the
other elements, making him even more entertaining. While his music and sound is
definitely not for everyone, he clearly has something to say to those that are
willing to listen.
   Four Needles















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Madea’s Family Reunion, The Soundtrack  “Music For Life”  An Album Review
By Nfared
   Tyler Perry has made Madea a household name. The larger then life grandmother
with her quick wit and out of the way wisdom has become a figure that is
questioned and admired all at the same time. With his second big film movie,
“Madea’s Family Reunion” Tyler explores the importance of family and being
with the people that are truly important. The sound track goes even deeper into
this theme providing songs for the love makers and songs for the lovers of life.

   Chaka Khan is soothing and assuring with “Keep Your Head Up”. Sing as if
from experience, she begins, “When your heart is free/it ‘s easy to make a
decision/when your head is clear/you know you have good judgment.” Knowing she
didn’t make it on her own, she continues, “but when your life is turning
topsy turvy… remember these words my father said to me/he said keep your head
up…find your power/you know you’re strong. Chaka is timeless with this
uplifting track. The versatile Kem lends his vocals on “Tonight”. Kem is
breathy and intentional singing, “Every one has heartache/and everyone gets
lonely/and every love needs another love/and yours just need mine tonight.”
Kem’s high and low tones are accented in this song providing for a listen that
flies and flows down to a register that is solid. Brian McKnight appears on the
mid tempo “Find Myself In You”. Brian is satisfyingly old school as he sings
the chorus, “I’m gonna try to keep
  myself together/til I find myself in you/before they take you back to
heaven/gonna find myself in you. Known for his gentle yet strong vocals, Brian
weaves through this song with ease. The inspirational “We’re Gonna Make
It” features a some what unlikely combination of Mary Mary and LL Cool J. Yet
the rapper and singing duo come together to make a heart moving song together.
LL remembers, “I was at rock bottom/my whole life was more problems…was at
war case the enemy was plottin…” Mary Mary comes through with their strong
as usual vocals on the chorus as they sing proudly, “Yeah yeah/we’re gonna
make it/we’re gonna make it/thank God we made it/and I mean it/yeah yeah/oh
yeah yeah.” For anyone struggling with anything, this song is a powerful
reminder that everything will be all right.

   Needle Meter  Nothing compliments a great movie better than a great sound
track. From sexy and smooth to uplifting and inspirational, the songs on this
album provide a wide range of energy and emotion resulting in a listen that goes
well with the movie, but could also be listened to had the movie not ever been
made. The shortness of the soundtrack (only ten songs) drives a longing for
more. Madea could not have said it better herself.
   FIVE NEEDLES! CLASSIC SOUNDTRACK!!














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You probably already have this one right? lol Have a good week peoples!

   Nfa

   T.I.: King  I Love Myself  An Album Review by Nfared
   To say that T.I. has no problems with self-esteem is probably a huge
understatement. For the past few years of his career, he has deemed himself the
“King Of The South”. This strong sense of self will either draw or drive.
For some fellow artist in the industry, it has driven them to a strong dislike.
For fans though, it has drawn, making his fourth CD, “King” number one on
billboard. Self-fulfilling prophecy or just luck? Either way, the music speaks
for itself.

   The Just Blaze produced “King Back” gives the album an energetic
kick-start. T.I. flows over an invigorating track with a deep bass line and
horns that symbolize an announcement, fitting for the title of the track. The
smooth yet jumpy “What You Know” has become the club hit of the album. Ever
confident, T.I. proclaims, “I got the top spot/and it will not stop.”
Producer Just Blaze goes at it again with “I’m Talking To You”. T.I. raps
with a passion that matches the power of the track as he flows in the chorus,
“Succa nigga you can stunt all you wanna stunt/I know you won’t buss a
gun/yeah punk I’m talking to you…” Showing he can change his flow, towards
the end of the third verse he is Twista fast as he remembers, “Had it out for
Chris but he still my nigga/sat down civilized/talked about it like niggas…”
To relate to fans, T.I. talks about his state of mind with the easy feeling
Keith Mac Produced “Ride With Me”.  Paying homage as
  always, he boasts, “Man I got this shit from from Simpson Road/Adamsville
Bowen Homes, Center Hill and Zone 4.” The playful “Why You Wanna” has T.I.
after a woman that does not necessarily belong to him. He is questioning of the
lady and self assured of himself in the chorus, wondering, “Gonna tell a nigga
no with an ass fat/hey why you wanna go and do that love huh? /in a relationship
you faithful to a nigga so wack/hey why you wanna go an do that love huh?”
Obviously his kingship is not the only thing he is determined about. “Get
It” is loud, fun and full of creativity from producer Swizz Beats. His days on
the streets are encountered here as he flows, “I got that get it get it/I got
that get it when you need/from soft, hard to trees/you can get it when you
need…” T.I. recounts his past vividly and in a way that can make his current
position appreciated. Showing a sense of humility, he switches up on “I’m
Straight”. He confesses, “Got a lot
  of glamour and glitz but I don’t need this/beginning was a humble one…”
Proclaiming to still be something of a normal person, he says, “You can keep
the cars the clothes/the money and the hoes/just gimmie a coupla ohh’s drop me
off at the store and I’m straight.” Even a king has a softer, gentler side.

   Needle Meter  Simply put, T.I. has put together his strongest work to date.
From a-list producers who give the album an addictive sound and energy, to his
flow that changes to suite any beat, to his take no prisoners, put self first
approach, he has definitely come to a place in his career he can be proud of. He
joins UGK on the cool “Front Back”, visits the pain of life on the streets
with the poignant “Live In The Sky”, and even flows with Common on the
Neptunes produced “Good Life”. T.I. has a self-motivation that can only lead
to the success he has experienced. Call him a king, or just a great rapper, T.I.
just wants it known that a little hard work can go a long way.
   FIVE NEEDLES- CLASSIC ALBUM!!















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Happy Reading!

   Jaheim: Ghetto Classics
   “Singing Ain’t Dead”
   An Album Review by Nfared

   R&B is by all means not what it used to be. While more emphasis is being
placed on marketability than on singing ability, the essence of what music once
was-- soul stirring, heartfelt and thoughtful—is now being lost in the shuffle
to gain profit from one amazing hit. There is though, the occasional artist that
brings back the feeling of music’s past. With his third album “Ghetto
Classics”, Jaheim, as unmusical as his appearance may appear at times is
putting his stake in the ground for, well… singers. In the words of Faith
Evans, “I know it’s not too ghetto.”

   “The Chosen One” fits Jaheim’s raspy, old school sounding tenor like a
glove. The ambient trumpets and “Ahhhhh’s” are reminiscent of music not
heard in years. Jaheim is completely in sync with the track as he admits, “all
the places I can be/and/people I could see/you’re/the only one for me/the
decision was easy to make/I choose you over everything.” Thug love? Perhaps.
Bringing storytelling back to music, “Masterpiece” is extremely vivid from
the beginning, “When she walked past the corner store I said hello/what’s
your name she said Tracy Donatello…” Jaheim flows more like he is enthralled
in a conversation with an old friend as he starts the second verse, “I know I
saw that ass before/bouncing up my block…” This track nicely combines a
lyrical edginess with surprising sincerity. Still earnest about feelings of the
heart, “I Ain’t Never” uncovers his past “I done stood out on the block
twelve o’clock still bitching/I done
  broke up bricks with baking soda in the kitchen/I done lost my religion/and
spent nights wishing I could fill up the hole in my soul/there’s something
missing…/I done lost so much my heart is boxed up.” The honesty in the
lyrics, particularly from a male singer is startling. Jaheim sings about the
love of his life with a strong conviction as he confesses he will “never ever
let her go”. The smooth, “Come Over” has a slow sound eliciting intimacy.
Lyrically though, this would not be one of the stronger efforts with Jaheim
going all over the place from taking the woman home and “wife” but then
being a “friend til the end”. Add to this the fact that someone has to
“keep that paper coming”.  The point of this song just plain gets lost.

   Needle Meter  Jaheim is on his third album, meaning he still has some kind of
relevance to the industry and his fan base. While all of his albums play on the
term ghetto, there is still the sense that it may be slightly more of an act to
appeal to female fans. Whatever the case, the distinction of Jaheim’s vocals
cannot be denied and while the writing on this album does veer off into an
occasional tangent, there is still much to be said about the creative effort.
Chivalry is not dead, and neither is singing. Ghetto never sounded so good.
   Four Needles















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No way I could let this one get away--- one of the most powerful artists of our
time-- next to Faith of course! lol

   Mary J Blige: “The Breakthrough”
   “Still Here”  An Album Review by Nfared  Fourteen years. Seven studio albums.
Mary J’s career is the stuff dreams are made of; good dreams and bad dreams. We
have seen her at her worst; performing under the influence, struggling with
negative relationships, since her fist album she has lived a very public life.
Yet all those years ago, it was hard to imagine that the face hidden behind the
hat on her “What’s The 411?” CD cover would become a music icon. As she releases
her eighth studio album, “The Breakthrough”, her work is at its peak. Her
newness radiates in every song she sings; even when she sings about pain there
is the feeling that she reaches to her past only to elevate others.  Her album
title is clearly more than just a name, it’s reality.

   “No One Will Do” is the song of a woman in love. She begins honestly, “Seen
many men in my time/but none of them compares to mine/I ain’t gotta knock on
wood…” She shows her commitment despite external influences on the chorus,
“Don’t let nobody tell you nothing different/you’re the only one I’m needin/I
don’t want no one but you/baby no one will do.” She effortlessly moves from
being in love to being mad with love on the DarkChild produced “Enough Cryin”.
The jumpy track begins and there is almost a question of how Mary’s strong
vocals would fit; but she joins the beat like it’s her best friend. She sings
about how she has handled herself in definitive statements, be even with these
statements, she can be heard questioning herself, “…been chasing this fool
around/thinkin he gone hold me down/I would follow his lead thinkin I would
be/the one he’d keep around.” She is introspective and resilient in the chorus;
“I’ve had enough cryin, time to say bye bye/it’s time I do something for
  me.” Almost like a story, she is at odds with herself as she falls back in love
with the next track, “About You”. She puts her soul on the table; “You’re
everything I ever wanted/everything I never wanted/and oh man can’t you see/what
you’re doing to me.” In the chorus, she speaks a love that is understood even
when not spoken, by simply saying, “You know how I feel about you.” Defiance is
the battle cry on “Good Woman Down”. She reaches out by talking at the beginning
of the song; “In my life, I seen it all…” This statement brings Mary closer to
the hearts of her fans because fans know the truth in what she speaks. She
brings the truth of her situation to the forefront with the phrase, “Felt like I
had enough/went to the edge of the ledge but I didn’t jump”. With “Baggage”,
Mary admits that she has some issues that she is still dealing with. She
confesses, “I know I do/some things that make you so confused/one minute I’m so
in love/and the next I can’t stand you.” She calls for
  help and ensures her message is clear with the phrase, “All of this baggage in
me/don’t wanna make you pay for what someone else has done to me/I don’t know
what to do.” Rapheal Saadiq provides a soulful, old school sound for “I Found My
Everything”. This slow jam track is shockingly reminiscent of an Aretha Franklin
joint as she sings over piano keys, “…and there’s no better keeper/than you.”

   Needle Meter
   It’s difficult to find words that would define Mary J’s career. Yet her highs
and lows have been an example for thousands. She has in every way, and even by
her own admission, “seen it all”, yet she has risen to the top like she was
meant to be there the entire time. She has been deemed the “Queen Of Hip Hop
Soul”. While this is fitting, what is more appropriate is the fact the she now
seems to be the queen of her own life. Her message is in her music. Just listen.
   Five Needles. Classic Album!!




















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Have a good weekend!!!!!




   Urban Mystic: Ghetto Revelations II
   “A Little Of This, A Little Of That”
   An Album Review By Nfared  With all of the pop locking, flip hitting, sideways
shoe sliding going on in R&B lately, it’s hard to fathom that artists care
about actually singing anymore. While Chris Brown has managed to bring both
words together somewhat, there is still more emphasis on the way he moves then
the way he sounds. No worries though, as there are still a few singers left,
Urban Mystic being one. His distinctive voice has no problem drawing attention
to his second release on SoBe Entertainment, “Ghetto Revelations II”. Sure,
this young artist can probably do a few moves, but his most powerful move has
nothing to do with his feet.

   “Where Were You?” is more like a memory test. The chorus elicits emotion
as the questions are posed, “Where were you/when you first heard biggie or
Pac/and you know you were blessed with the best of hip-hop?/Where were you?/when
you first drove a brand new benz/wood grained with all polished off rims…”
Each verse bring about more memories like, “…when Shaq left the magic/season
later met with Kobe and the Lakers”. This song not only marks some of the more
memorable times in history, it also in a way, emphasizes remembering the good
times. “My Block”, combines an old school and new school sound created by
producers KayGee and Tramp. The track is an appropriate backdrop for the subject
matter. The chorus reflects life in the hood; it’s almost like sitting on the
stoop and watching as Urban Mystic tells, “Cops roll through/kids
hopscotch/duck down as someone licks off shots/same thang everyday it don’t
stop/that’s how it goes down on my block.” Urban
  sings like a storyteller; he paints a vivid and believable picture adding
emotion and backing off vocally when necessary. On “Your Portrait”, his is
still telling stories, this time of hurt and pain. He is open about his feelings
as he admits, “I’m a grown man not ashamed to say/my tears been fallin like
rain baby/maybe I deserve this pain baby.” He continues with his faults, “I
was runnin round town and she caught me slippin…so busy getting to that
cash.” Her picture is all he has and he is holding on to it, but the chorus
reveals he knows it is time to move on; “I’m taking your portrait/your
portrait/your portrait off my wall.” This dispels the timeless rumor that men
don’t have feelings. “Why?” deals with baggage from the past brought into
a current relationship. Urban knows he is doing his part; “…cause I give you
everything that you need/buy you things, pull out your chair…” but knows the
woman won’t “meet me halfway”. He goes on to
  explain in the chorus, “…you got me payin the price for your
ex-boyfriend.” More detailed in the second verse, he gives examples; “You
think I’m cheatin when you know I’m at work” and “you gotta keep checkin
my phone to see there’s no one else/for what you’re putting me through/I’d
rather be by myself.” Sometimes the past is best left where it is. Trick Daddy
appears on the soulful “Let’s Make A Change”. Yes this is that corny song
about things getting better and times not being hard all the time. There can
never be enough of these though, and Trick Daddy spruces it up with his blatant
honesty; “How bout a song for the single baby mama’s with them sorry ass
baby daddies… how you gonna have kids out there and you don’t do nothing for
‘em.” A song with a positive message is a bold move; this track embodies its
title in every way.

   Needle Meter  Urban Mystic is not the average artist. His writing is prolific
and thoughtful and his voice strikes a nerve deep within. With all of this
though, his second album is lopsided. He shines on songs like “Where Were
You” and “Why”. However, the materialism on “It’s You” overshadows
the message of a woman standing by his side, “Can You Handle This” is sexual
to the point of not being believable, and “I Got That” is one of those
rap/singing combinations gone wrong. While Urban Mystic’s talent is hard to
miss, his style can be overzealous, which may cause him to be ignored.
   Three Needles














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Letoya London: Love and Life  “What American Idol Couldn’t Do”  An Album
Review by Nfared
   There is a certain stigma that comes with being a product of American Idol.
That stigma can be positive, as Idol is one of the most watched shows on
television. However, there are those moments where the show loses its wonder.
When Letoya London was voted off the show, American Idol feel from grace in a
way. Fortunately, Letoya didn’t, and in the years after the show, worked on
her debut, “Love and Life”. Letoya was determined to make something happen
it seems, despite the outcome of the show.

   Sounding “I Believe”- ish, “Waiting For You” almost brings to mind
some of the cheesy songs that are often recited on Idol. A closer listen to the
lyrics though, and a greater message is clear. Letoya begins talking to the
audience, but a message to herself is somewhat audible in the beginning;
“Sometimes you feel like you can’t go on/sometimes the road gets tough and
it’s hard to bear”. No wallowing in sorrow here though as she goes to the
inspirational chorus, “There’s a passion inside you/just let it drive
you/look inside/and let your heart be your guide/ain’t nothing to it but to do
it/there’s a whole world out there waiting for you.” Who says there is
anything wrong with being positive? “How I Love The Rain” is reflective and
jazzy as Letoya reflects on her love for a certain wet weather condition. It’s
almost as if she is watching a storm as she sings in the first verse, “Here is
comes/it’s pouring down/and all the people run and
  scatter/bundled up against the cold/as for me it doesn’t matter”. She
becomes slightly more revealing in the chorus letting out the fact that the rain
is not the only part of the equation as she says, “How I love the rain/it
brings you back to me”. Letoya sings fluidly here, almost like soft rain,
making the track complete. Definitely a different side of her, “Appreciate”
is surprisingly hip-hop feeling as Letoya switches up the subject matter,
singing, “and I don’t feel like you’ll walk away/from the way you stroke
my back/to how your muscles flex/how you so good at sex/the way you work your
lips”. Though there is a slight hint of oddness from hearing Letoya London
sing on this level, this very up-tempo track shows her versatility and that she
is willing to do something other then what fans may be accustomed to.

   Needle Meter  Letoya London’s talent is undeniable. Her voice is powerful
yet subtle, whether she is singing about rain or sex. Her emotions seem to ring
through her words, almost as if she is musically singing about her own life.
Though not much noise was made about her album, her music speaks volumes for
those that appreciate good music and a truly graceful singer. So what she
didn’t win Idol that season? With this album, she shows that no competition
was even needed.
   Four Needles














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New Artist! She has written for Monica (After The Storm album) Tierra Mari and
Jennifer Lopez. Now she is trying her hand at being a solo artist. Check her out
at www.shamora.com   she is amazing!


   Shamora: “How It Feels”  “Seamless Transition”  An album review by Nfared
   Johnta Austin is doing it. Ne-Yo is doing it. Now Shamora is joining the list
of songwriters who are stepping into the spotlight as solo artist. Having
written for the likes of Tierra, Jennifer Lopez, and Monica, it’s almost a
no-brainer that she tryin her hand on the other side of the spectrum. There is
even more. Her debut album “How It Feels” has her holding down the writing and
production, creating tracks for all but one song on her album. With such talent,
her solo career is bound to sprout wings and fly.

   On “Betcha”, Shamora’s writing skills shine on a slow dance inspired track as
she explores the possibility of reversing the occurrences in her relationship.
She sets the tone immediately with the first few lines, “You say don’t ask where
you goin/you say girl don’t bother me/why you all up in my business/I got
somewhere that I gotta be.” The thoughtful chorus follows; “I betcha you
wouldn’t walk in my shoes/betcha you wouldn’t let me hurt you/so you can feel
the pain that I do/betcha you wouldn’t still care/betcha you wouldn’t be here.
Still the storyteller, “Stronger” is a song about hope. A familiar situation for
some starts off the tune, “Money got you steady down cause/the bills due on the
house and/the car notes due today…” While not like a traditional chorus, base,
if you will, is a move to encouragement. Even though the “wind of a storm” seems
“much stronger than you she sings, almost in a lullaby like tone, “I know it’s
hard/and things don’t look good right now/if you just
  believe, everything is gonna work out some how.” R&Bs new motivational speaker
has spoken. “Juke Joint”, with its track inspired by the title is a clever play
on words, creating an inviting song. She starts off as if talking about dancing,
“We’ve been doin this for years now/you always loved to get down/but you startin
to drag yo feet now…./I see those dancing feet look lazy”. There is then the
sudden realization that this is more than about dancing as she goes into the
chorus, “If it’s late and you feel you wanna leave/no longer wanna dance with
me/you need a break from this old swing/baby that’s alright with me”.
Songwriting is rarely this good. Produced by Shamora and Mike “Ese” Severson,
“Better Than This” immediately elicits a head nod with it’s strings and DJ
scratching sound. The tell all chorus is moving; “There’s gotta be something
better than this/wish I could find out just what it is/cause I can’t spend my
life/living like this/wish I didn’t feel pain like this/oh god
  please give me something to miss/oh anything/that’s better than this. In almost
the same mood, “Let Go” is about knowing when to, well, let go. In the chorus
Shamora steps out as the person who realizes it’s time to stop trying as she
flows, “Imma let go/so you can let go/cause otherwise you’ll just hold on to
me/and you and I both know that you don’t need me no more/just let go/so I can
let go/so I won’t have to hold on anymore/and it tears me up that I’m giving
up.” From another famous songwriter, sometimes you gotta, “Know when you fold
em… know when to walk away”

   Needle Meter  Writing? Solid. Vocals? Amazing. What more could be asked of an
artist looking for a solo career? Mainstream she is not, straying away from
traditional lyrics and carving out new ways to sing about old topics. R&B dreams
of this kind of artist because there are so few of them. Her wit and insight
making listening intriguing. Shamora is on a ride to the top and hopefully, she
is enjoying how it feels.
   FIVE NEEDLES! Classic Album!!
















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have a good weekend folks!     Nfa        Heather Headly: In My Mind  “The
Second Time Around”  An album review by Nfared
   Heather Headly’s first album, “This Is Who I Am”, didn’t necessarily
make a screaming debut. Then again, with the ways of the R&B world lately, does
any fully dressed woman singing about something other than shaking her ass,
really stand a chance? Mary J. Blige thinks so and so does Heather. Both are
seeing the results of their willingness to keep their clothes on. Mary J. is
seeing her highest one-month sales ever, and Heather Headly’s second album
“In My Mind” debuted at number one on the R&B charts. Perhaps music is
making a change for the better.

   The thoughtful, “What’s Not Being Said” is Heather’s instructions on
reading through the lines. The actions speak louder than words tale is made
clear with clever writing through out the song. Intuitive, she summates, “you
said baby I’m tired/musta been tired of me cause you left me”. She brings
her emotions full circle in the chorus, “If you wanted me I wouldn’t have to
guess/so I think I’m hearing what’s not being said/if you can’t find the
right words to express how you feel/I think I’m hearing what’s not being
said.” Heather begins the song a bit subdued, as if she is still assessing the
situation, but by the end of the ballad she is full throttle, “How could you
take your love and throw it all away?/guess that was yesterday/you’re hurting
me today”. An ode to having an opportunity to be alone, “Me Time” speaks
to the importance of self-revitalization.  She begins the song again, by
weighing the situation, “All things being equal/I
  always put you first/and you know I’ve been down for you for better and for
worse…” Understanding that her need to spend time alone may slightly
dishearten the person she is with, Heather also chooses to reassure with the
line, “now I’m not tryin to stop nothing, I like this drama free...”
Though not amazing exhilarating, women (as well as men) in relationships, should
be able to relate. With its bass heavy production and catchy beat “Wait A
Minute” has a distinctive sound. Heather sings with as much force and passion
as the track posses, her voice acting as a vacuum throughout the track.
Lyrically though, the subject matter of a woman who has had the last straw and
“cried my last cry” dances on the verge of boredom. The power of Heather’s
voice and the sparky production seem to go to waste on the same old same old.

   Needle Meter    Heather Headly is something of a gem to the music world. The
conviction in her voice as she sings can assuredly stir emotions. Her production
choices are an enjoyable match and she makes no missteps singing soft or hard.
Though more beautiful than historic, this album should set the tone for the rest
of Heather’s career. Through questions of what would be after her first album
disappeared, her message is clear. Persistence does pay off.
   FOUR NEEDLES














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Ok so Vibe called Chris Brown the "Future of R&B". Now I really like Chris Brown
and an extremely happy for his success at such a young age. I can also
appreciate the positive energy he has brought to R&B. I am really REALLY not
into all these titles, but if anyone is the future of R&B-- it's Ne-Yo.


   Ne-Yo: So Sick
   “No Titles Needed”  An Album Review by Nfared
   While there is no definite formula for success when it comes to the music
industry, there are those who have found a method that works. Write a few hits
for artist from Mary J. to Mariah Carey and then release an album after becoming
an established writer. While there are no guarantees that this will be the
ultimate plan, Ne-Yo has worked it like second nature. The singer/writer has put
in work as a writer for years. His debut album “So Sick” is not only the
beginning of a solo career, but also something of a culmination of all the songs
he has written for other artist. Hard work does pay off.

   The poignant ballad “Time” moves with passion and a slight fury. The
production, which is nothing more than a piano and a variety of strings, uses
very little to create a sense of urgency. Ne-Yo matches this urgency, combining
the fluidity of his voice with an intense tone. As he explains the importance of
appreciation in a relationship, there is an audible aim for thoughtful lyrical
content with his first few words, “How come you don’t make time for me
anymore/that’s the last thing she said to you/and now when you call she don’t
answer anymore….”. The strikingly vivid “Mirror” takes the average love making
song and gives it a different spin. Knowing this, Ne-Yo warns, “now mama please
don’t think me strange for what I’m about to say to you”. He then goes into the
spill the beans chorus; “Baby I love makin love in front of the mirror/so that I
can watch you enjoyin me/baby tonight lets tryin in front of the mirror/watchin
ourselves make love/girl why don’t we?”. Ne-Yo shows his
  vocal skills, using a more subdued and sensual voice. Someone, somewhere is
blushing, but at least it is not as a result of vulgarity as the track is
surprisingly tasteful. “It Just Ain’t Right” is an interesting look at hindsight
as Ne-Yo happens upon an old flame. With the chorus, he is flat out honest about
the impact this past relationship has had on his current one as he confesses,
“When I’m wit my girl/I call your name/and it just ain’t right/then I’ll be
sexing her and/I’ll call your name/and it just ain’t right/and it ain’t no
little thang that I/I call your name/and it just ain’t right/do you ever do the
same cause I/I call your name/and it just ain’t right.” The jumpy production
makes the track even more memorable, and Ne-Yo weaves through the track with an
exciting vocal prowess. Putting down the “playa card”, “Get Down Like That”
actually has an old school, playa sound on the production side. Though not as
exciting as some of the other offerings, he at least admits that
  he has a “very healthy appetite for chicks” but is willing to tell them that
when he settles down, “it can’t be like that no mo”.

   Needle Meter  There is a king of crooning, a king of R&B, and Chris Brown has
even been deemed by Vibe as the “Future of R&B”. Where does this leave Ne-Yo? If
it means title-less, there is probably no real issue with that, as Ne-Yo aims to
step off the preverbal cliff and fly on his own. His honest, to the point
writing is intriguing and creative enough to stand out in the muck of singers
that have jumped on whatever bandwagon is passing through this week. Also, while
others in Ne-Yo’s position seem to throw themselves at the projects of other
artist and slack on their own, Ne-Yo puts just as much effort into his own
material as he does for those he has written for. With a solid track record and
an extremely innovative debut album, a title would be insulting. Five Needles-
CLASSIC!















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I was really expecting her to bring it to the table with this album..... but if
you don't have it don't bother...


   Shanice: Every Woman Dreams  “Call It A Comeback?”  An album review by
Nfared

   Shanice Wilson has been gone for a long time. Since her last self-titled album
in 1999, it’s probably safe to assume that she has been busy raising her
children with husband Flex. With her release of “Every Woman Dreams” though,
it is also obvious that music has been somewhere in the picture for the past
five years. With this album comes a grown up Shanice, or an attempt to prove
herself as such. “I Like Your Smile”? Forget about it.

   Theoretically, “So Sexy” is a combination of party and seduction. The end
result though, does not jump out and say “hello”. While the snake charmer
track is attractive, Shanice and the track do not blend. Shanice’s efforts at
using a sexy tone come across as flirting with irritation. Her almost falsetto
but natural voice sounds more like a producer instruction than a natural desire.
Lyrically, the excitement meter still does not move, particularly with the
yawnable (not really a word, but play along) chorus at the very beginning of the
song, “Come on and wine and dine me/bring me flowers and candy/kiss me tell me
you love me/don’t you know you make me feel so sexy?” Shanice goes old
school with a remake of “Loving You”. Though the original version of this
song was not exceptionally energetic, Shanice does nothing to add any extra
attention to the track and just plain disconnects with the harmonizing high
notes towards the end. She slightly rebounds with
  “Things In The Movies”.  She sounds more sincere as she begins the first
verse, “Oh girl/I can’t help it that my man is so fine/but I can tell you
one thang/he ain’t thinkin bout your tired behind.” The chorus is fluid and
strong, “This reminds me of thangs in the movies/when the story’s made up in
your head…” Almost like a kid too excited with a new toy though, she
missteps with the line, “You’re lucky I’m a woman with class/cause if I
wasn’t I’d get ghetto on you fast…” Shanice, ghetto? Not hardly. “Get
Up” is the standard lets-get-out-on-the-floor-and-dance song that seems to
appear on any R&B album released after 2000. Shanice sounds slightly more
comfortable and original, and is helped by a Shelia E. appearance. While the
track is inviting, there is a lingering hope that the song will not morph into a
video with Shanice doing Ciara like dance moves.

   Needle Meter  When an artist decides to take a break for two years or more,
growth, maturity and originality should be audible on the newly released
project. After five years of absence, there would be a hope for something
groundbreaking. With this album though, Shanice does nothing but toss herself
head first into the sea of artist who are doing and singing about the same
thing. She is overly materialistic with the title track, “Every Woman
Dreams” and is too “Cater To You” ish on “Take Care Of You”. Also,
while her singing ability is not in question by any means, in an attempt to
sound more mature, she sounds-- well, weird. If this is the result of fives
years away then she should either have never left or stayed away. Two Needles



















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If you want me you can find me in the A! A! A! A!

   Big Boi Presents: Purple Ribbon All Stars  “The Southern Wu Tang Clang”  An
album review by Nfared


   Rap groups of more than three or four members are something of an anomaly,
particularly to the mind of the average music fan that is accustomed to three
member groups, four tops. Anything more than that is just plain difficult to
fathom. The unimaginable does happen though as it did with Wu-Tang Clan. Big Boi
Presents: Purple Ribbon All Stars is a formation of singers and rappers that is
not necessarily a group, but giving it that title makes it a little more easier
to deal with, and makes it easier for the newer members to get some exposure.
The ten-member outfit, with their varying talents and styles, give new meaning
to the term, “group effort”.

   Appropriately placed at the beginning of the album, the two-minute “Dungeon
Family Dedication” does a lot in such a short time. Killer Mike gives a history
lesson, “Before Lil John had the grill in his mouth/Jo Goodie had the dreds with
the grill in his mouth…” raises somewhat startling comparisons, “Is it only
me/or does Pharrell sometime remind niggas of Sleepy Brown back in ’93?” and
points out unbelievable moments, “Damn man I’m still amazed/them boys had the
nerve to boo Big and Dre/when they hit the stage/too accept their source award…”
Earning the award for crunk song of the year, Kryptonite has an addictive sound
provided by producers Beat Bullies. Along with the beat is a mantra that
resonates throughout the body, “I-I-I-I-I be on it/all night man I be on it/all
day straight up pimp if you want me you can find me in the A! A! A! A!” Keeping
with the excitement, “Body Rock” is more of a slow crunk song, but crunk
nonetheless. Singer Scar provides the vocals for “U Got Me”.
  While the attempt to be different can be appreciated here, everything about
this track, from Scar’s vocal sound, to the production, all scream Rapheal
Sadiqq, so much so that it almost takes a second listen to ensure it is not him
singing. Sounding more like no one else, singer Janelle Monae flows smoothly on
the track “Time Will Reveal”. Attesting to the notion that true feelings will
always come through, she sweetly suggests, “The special love that’s deep inside
of us/will all reveal in time.” As if they were never gone, Goodie Mob appears
on the encouraging “Hold On”. The Organized Noise produced track is in perfect
Goodie Mob tradition, with its mysterious and intriguing sound. Cee-Lo, back
with the group, sums up the mood of the song with an end of the song chorus,
“Hold on/be strong/it ain’t gone be that long/yo folks won’t do you wrong/the
name of the song is hold on…” Giving new meaning to the term “blunt” Konkrete
intends to be takin very serious on the sharp, “Shit Ya
  Drawers”. The chorus is daring; “You can’t fuck wit me cause you ain’t got the
balls/I’ll snatch yo heart out and make you shit in ya drawers/punk bitch”. Any
questions? Konkrete then goes on to display a more sensual side (if that’s
possible) on the still assertive, “Lovin This”. About as romantic as a skunk in
a basket and about as lyrically thoughtful as anything by Chingy-- well that
surely says enough.

   Needle Meter  Big Boi and Dre are probably two of the more intelligent and
thoughtful rappers in the industry. They are always thinking of ways to go
beyond the conventional forms of musical entertainment. With Purple Ribbon All
Stars, Big Boi combines a firestorm of talent and unstoppable production that
result in an album that is consistent without being boring and energetic without
being mindless. Something for everyone, period. Five Needles



















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Shhhh. I know it's late! lol


     Lil Wayne: The Carter   A Family’s Legacy  An Album Review by Nfared

   At their peak a few years back, ubiquitous would probably be a fitting
description for Cash Money Records. Almost the epitome of a real musical family,
they seemed genuinely happy with their unity and sharing their success with one
another. Then the rumors started, and then almost as quickly as they popped up,
they were not the happy family that started out as. Lil Wayne seemed to position
himself in the middle, wanting to move forward, but not wanting to leave behind
the family effort. His fourth album, The Carter is a reflection of this
dichotomy, and the signs of a young artist finding his way into manhood.

    With current trends in music, sometimes it just helps to understand that
every song won’t necessarily have a point. The chorus to “Go DJ” is clearly
dedicated to its producer Mannie Fresh; “Go DJ/that/s my DJ!” Yet the verses
switch focus to Lil Wayne; “Now you know I play it/like a pro in the game/naw
betta yet a veteran a hall a famer…” Musical tennis is now in session. Keeping
the ball moving, “I Miss My Dawgs” is surprisingly emotional as Lil Wayne shares
his reluctance to move on with his career while at odds with Juvenile. His
honesty blares through the track as he admits, “…and I know that ain’t you wit
that dissin on me/that’s why I never replied and never will… if you ever died/I
swear to God I got your kids homie/what’s mine is theirs”. Still anxious to
display he is all grown up, he shares his self-reliance with “On My Own”. He
clearly has no problem pushing himself; “… on my way to the east to the
laundromat/gotta wash that money and get on my ass/gotta flip bricks it
  be gone so fast/I gotta do something I done blown my last…”.  Keeping it family
related “Cash Money Millionaire” erases all doubt about who Wayne is with,
despite the controversy. The chorus is adamant and almost defiant in a sense,
yet very simply put, “who you think you fuckin wit/who you think you fuckin/Imma
muthafuckin cash money millionaire.” “Ain’t That A Bitch” is self-explanatory,
especially with the almost humorous chorus; “Cops is watchin/the streets is
talking/yo hoes is unfaithful/your family ungrateful/you nigga ain’t loyal/you
niggas ain’t lawyers/and everybody say you/and ain’t that a bitch.”

   Needle Meter  While his tone may switch from that of a three year old to that
of an adult all in one phrase, it is definite that Lil Wayne is coming into his
own. The turmoil seems to have matured him; looking past the seemingly standard
“Bling bling ohh look how much money I got”, his lyrics are more thoughtful and
sincere. Whether or not Cash Money Records will survive the discord among them
remains to be seen. Lil Wayne though, is determined to stay relevant. 3.5
Needles


















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Juelz Santana: What The Game’s Been Missing!  “Yes, there are 22 tracks”  An
album review by Nfared
   Lately, a great amount of stress has been taken out of trying to describe
things that are difficult to understand. The thesaurus has been replaced with
the phrase, “It is what it is”. While this adage has been used to describe a
variety of things, it screams Dipset. This group, which is being called by some
a movement, can be seen and heard almost everywhere, even if exactly what they
are is somewhat indefinable. Individually though, each of it’s members are
slightly easier to wrap the brain around. Juelz Santana is not an industry
stranger, having appeared on mixtapes out the wazoo before recording solo. His
second album is a mouthful all the way around, from the title, “What The Game’s
Been Missing!”, to the whopping 22 tracks. If the game is truly missing
anything, 22 tracks on one album should just about cover it.

   “Rumble Young Man Rumble” is a combination of fiery, almost rock n roll
production by J.U.S.T.I.C.E. League and a fiery delivery by Juelz. He is
passionate from the very first scream, “A!” through the reflective chorus, “I
was taught be smart stay humble/I was taught be hard don’t fumble/I was taught
in this concrete jungle rumble young man rumble.” The title of the song can
almost be heard mentally, coming perhaps from the mind of an older person
sharing wisdom with Juelz, who vividly brings that message through the track.
While the subject matter of “Oh Yes” is not totally clear, the sample being used
in the chorus, “Oh yes, wait a minute Mr. Postman” will definitely draw an
attentive ear. While the words “touching” and “rapper” are usually not
associated with each other, “This Is Me” creates a comfortable union for the
two. Juelz speaks what he has seen with the ease of a casual conversation, “Look
now/another dead another born/vice versa/another here another gone/pay
  attention/another smile another morn/another funeral/another baby shower goin
on/that’s just life in the hood/you earn scars/you earn stripes in the hood…”
The variety of “Make It Work For You” makes the unexpected entertaining. There
is the hyper flow of Juelz, the lackadaisical flow of Young Jeezy, and the child
sounding Lil Wayne. Move past the thought of these three on one track. Listening
is required for it to make sense. The west coast sounding “Gansta Shit”,
produced by Big Biz Music is probably meant to be intimidating, but comes across
as funny at a few points, one being the end of the chorus, “We stay G’ed up/we
make these bucks/we make things jump/no thanks to you.” Then there comes an
instruction that just does not fit with the title of the track, “Shake your
toushie if you like gansta shit.” Would Crypt Walking count as “toushie
shaking?” Listening to “Lil Boy Fresh” is more like witnessing a movie. The
track is a complete story with no chorus or bridge. Juelz relaxes
  his tone for the nostalgic “Good Times” The track stirs the soul with images of
the past; “Remember them good ole block parties and cookouts/everybody on the
block party and cookout/nobody get shot durin the cookout/maybe a fight/niggas
box durin the cookout….” Those definitely were the good ole days

   Needle Meter  Juelz Santana is a member of a group. By the very nature of
groups, a leader will at some point emerge. While at first glance it would seem
as though Cam’ron is the leader of the pack, his uninspiring lyrics and almost
boring delivery makes him blend in with the myriad of rappers that are trying to
make a name for themselves. Juelz displays a skill level of rap that is
versatile and inviting. Dipset, Diplomats, what or who ever they are, one thing
is clear, Juelz Santana is the one to watch. Four Needlez


















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This is for all of those that were alseep when this album came out last year
(and for myself cause I clearly was sleeping as I don't remember sending this
review out. lol)

   HOLLA!

   Nfa


     Nfared Reviews:
   Vivian Green


   Most people don’t know who Vivian Green is. Her debut CD, A Love Story
dropped with very little hype or promotion. Her second CD, Vivian, seems to be
following the same trend. Her first single, Gotta Go Gotta Leave, has been sent
to radio and there has been a Soul Train appearance, but not much else. 
Ironically, with all of these quiet debuts, there is nothing at all very quiet
about Vivian. The beauty and power of her alto somehow reaches beyond the ears.
Her style is so distinctive it’s odd that she has not made more of a name for
herself. Hoopla or none though, Vivian’s talent cannot be ignored.

   Vivian wants people to be able to relate to her and what she has been through.
She creates this connection by using everyday terms as her song titles. With
this in mind, it’s probably not hard to grasp the subject matter of Under My
Skin.  Simply put, Vivian has a love interest that is trying to get on her
nerves. There is an emphasis on “trying” here though. Refusing to play the
role of the weak woman, Vivian clearly tells what she is going through, but
declares she will not back down. In the battle cry like chorus she firmly
states, “Keep tryin/but its alright/there’s no way I‘ll let you take what
I have found within/tryin so hard to get under my skin/this is a battle you
won’t win….” Vivian is obviously not the girl that will sit in the
bathroom and cry for very long time, and if perhaps she is, she is writing a
song like this in the midst of her tears. The production adds to the urgency.
Strings usually bring a sense of calm, but the violins and guitar on this
  track take on the task of displaying Vivian’s strength as she proclaims,
“There’s no way I’ll ever be unhappy again.” Long live happiness.

   Frustrated is the name of the song, but Vivian never utters the word, almost
forcing a second listen to try and pinpoint where she may have said it. 
Avoiding the normal route of stating the obvious, the lyrics culminate different
instances that would warrant frustration. Take the chorus, “Cause no matter
what I do/it’s never enough for you/I break my neck/but you don’t see/I
blame myself/I think it’s me/no matter what, what I say/you’ll never feel
differently/you want me here/but you don’t like what you see/when you look at
me.” Writing this good, this thoughtful is endangered. Vivian shows depth and
creativity without being bland or overly insightful. The track, while catchy,
may be slightly disconcerting, with its almost country western sound. Vivian is
so vocally in tune with the track though, that a country western feel may have
been the intent. She sings with such passion it seems as if who ever she wrote
the song for is standing right next to her. Frustration
  here is perhaps more than just a song.

   Vivian’s commanding voice dares unbelief. She sings each song on the CD as
if from first hand experience. Her production is a innovate blend of classical
music and soul. There is an almost abnormal amount of discontent on Vivian
though. With song titles like “Damn”, “Cursed”, and “Mad”, a Prozac
run may be necessary after listening a few times (get some for yourself as
well). Though it seems as if Vivian has been through more bad than good, she
seems unscathed and more than willing to share her experiences. Her singing in
fact, is more like story telling. Sit Indian style, close your eyes, and listen.
Four Needles
















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I hope everyone has a prosperous new year!! HOLLA AT YA BOY!!!!



     Slum Village  “Learn How to Play The Middle”  An Album Review By Nfared
   Rap has many different faces. Artists like Fifty Cent continue to receive
mainstream success despite their disturbingly negative lyrics. Intellectual
rappers like Common and Mos Def are becoming more visible but still suffer from
poor promotion. Then, almost smack dab in the middle is Slum Village. They are
not on a campaign to kill everyone on the block, but they are also not on a
campaign to be the most conscious group in the industry. Their third self-titled
album is like a statement of regularity; there is nothing wrong with being
normal artist, even amidst some slight drama.

   As the pages turn in a dictionary at the beginning of the first track “Giant”,
the words “slum” and “village” are defined. The song, with its deep bass line,
goes on to describe the journey of the group up to the present.  There is no
mistaking the honesty, particularly with the line “And this me speaking from me
heart so I ain’t usin my lips…” Bringing to light some of the commotion that has
happened in the group, there is even more honesty, “So we didn’t get a second
single/or a video… I guess we didn’t need em/thanks for the freedom/and every
time we see em, we let the finger greet em…” The excitable “Set It”
   resonates thanks to a snare that refuses to be ignored. The track is slightly
under three minutes and while the energy makes it enjoyable, it also makes the
song go even faster leaving slight disappointment that there is not more. An ode
to self-identity, “Can I Be” maintains that internal peace starts with internal
recognition. The song questions the obvious, tossing around rhetorical questions
that are already answered; “Can I be me/can I do what I do/can I/freak my style…
you are not me and I’m not you.” It never hurts to be reminded. The catchy
“Multiply” is almost unforgettable from the start with it’s almost nursery rhyme
flow; “Come on you and/me and/we can/multiply/come on you and/me and/we
can/multiply/and grow.” The song looks at sex and love in a childish yet mature
manner without being overly explicit. Of course though, there are some vivid
images, “Ass so right I got to do it…” and “…suck me really? /How can I argue?”
The telling “Def Do Us” is an emotional release.
  Obviously personal, the song starts adamantly, “I done witnessed our come
up/felt wit the heartache/just as long as we got here/don’t matter if it starts
late… you walked through the flares and flames/wishing the wind blew.” The
chorus conveys their musical objective clearly, “Def do us/we gone to it to
def/til the lord takes our breath and shorten our steps/we gone do it do it do
it do it to def.” If ears could do a double take, the stringy production on
“Hell Naw” would definitely make them “look twice”. The track is an exploration
of different sexual encounters with women, and in some instances their sisters.
The story line gets complicated leading up to the chorus, “Hell Naw/we ain’t
goin out like that/we ain’t goin out like that”.

   Needle Meter  No horrid violence. Minimal bling-bling. An almost scarce amount
of hoes and bitches. Contrary to what seems to be popular belief, these elements
do make a good album. Slum Village has created a project that explores these and
other areas without going to irritating extremes. DJ Premier can be seen with a
T-Shirt that says “Real Hip Hop is not on the Radio”. With this in mind, perhaps
these boys from Detroit can kiss their airplay goodbye. 4 Needles.

















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I went back a lil for this one-- Happy reading and Happy New Year!!!

     Houston: It’s Already Written  “Really, He Had A CD Out”  An Album Review By
Nfared

   Some people become famous, but not necessarily for the reasons they intended.
While Houston was well on his way to what was a promising career with his first
album, “It’s Already Written”, it was not the popularity of his first single, “I
Like That”, that earned him notoriety. His attempted suicide/eye gouging
actually did more for his career then his music (funny how the industry works).
This though is not to say anything negative about the album. Music fans are
just, well—weird like that.

   “Ain’t Nothing Wrong” smells like it could have been the next single. The
sensual production by The Underdogs screams bedroom talk. Though not the most
amazing ballad lyrically, the chorus brings home the feel of the song, “Ain’t
nothing wrong/when we be freakin it babe/ain’t nothing wrong/if you be into it
babe/ain’t nothing wrong/scream if you gotta boo/ain’t nobody mad at you babe…”
Singer Letoya appears on the inviting “My Promise”.  Proving that he is above
the standard, he proclaims “Most guys wouldn’t say the words that I’m sayin to
you/but I’m not afraid to show, compassion and be real with you”. Letoya is in
full support at the bridge, “Baby I need you you/I feel the same way too…” The
similarities in these two voices come together to make a convincing love song.
“Keep It On The Low” is more about the Jamacian feel than about subject matter.
Don Yute lights up the track as Houston completes the vibe of the song. Though
the speed of this track and the next, “What You Say”
  are totally different, the transition is seamless as Houston proposes a
committed relationship. Jazzy Pha’s personality is all over the bassy
“Allright”. Houston adds to the vibrancy of the track in the chorus as he
chants, “Fast little chick walkin in a skirt/shorty on fire like she got that
work” (last word in a high falsetto). Ending the album is the soothing “She Is”.
An ode to a woman, or perhaps all women, the song encompasses several different
emotions. Though slightly lengthy the chorus is fluid and passionate, with an
especially memorable line, “…the wind that blows/my heart/it beats in her
body/you know she is/the moon the stars/the light/the dark/I see/when she/is
with me.”

   Needle Meter  Vocally, Houston is slightly better than Omarion but not as Good
as Mario. Lyrically his album could use a little more thought. However, the
project is exciting without being flashy, and smooth without being overly
sensual. The production throughout the album is magnetic and Houston uses his
voice appropriately for each track; whether fast or slow he does not miss a
beat. A second album surely will do the trick for his career, that is, if people
can get past the hype. Solid Album. 3.5 Needles
















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Nice Album! The perfect stocking stuffer! *Looks at calendar--- OOPS! Oh well,
but it anyway!!

     Dwele: Some Kinda  The Musical Smart Guy  An Album Review by Nfared

   There are several industry artists that have the musical talent of a small
fly, yet they constantly bombard the airwaves, magazine covers, and local
billboards. They just never seem to go away. In the meantime, artists that
deserve the ad nauseam exposure appear every once in a while, make a little
noise, and then disappear. This rule would surely apply to Dwele, who waited a
full two years just to release his second album, Some Kinda. Perhaps he was
having personal issues, or perhaps it was a part of some strategy to build
anticipation. Whatever the reason, he is not in the business of bringing forth
any small fly reminders.

   Producer G-1 went for an 80’s feel and sound with “Know Your Name”. Body
movement is instantaneous, even if it is only a head nod as Dwele deals with the
intricacies of meeting a lady in the chorus, “Want to know what you eat what you
speak want to know your name…” Dwele is bold as he contends, “…I can’t help if
he don’t move you like you need to be.”  The soulful “My Lova” is simple on the
production with little more than a bass line, a few snaps and handclaps and
intermittent horns in the chorus. Dwele is flirty throughout, singing in long
and short phrases. The last few minutes of this song is an infuriatingly short
track creating an uncomfortable situation as Dwele is in bed with one women,
only to have another woman call. As the one lady leaves the room, his phone
rings and he sings to the second lady, “Call me in the morning/just to wake me
with the sun/I only do this for my lova…” The complexity of the situation bleeds
over into the jazzy “Flapjacks”. Exploring the
  difficulties of labeling a relationship, Dwele strives to make it non
problematic as he begins, “If I got a girlfriend, you got a boyfriend/We got a
love thang, everything is fine.” The dreamy “Lay It Down” showcases Dwele’s
production talent as he encourages, “Just let go/and lay it down/and enjoy
yourself if only for the night”. The track moves fluidly as Dwele sings behind
the rhythm of the beat creating a relaxing mood. The vulnerability of “I Think I
Love You” gives machismo a punch in the stomach with the admission,  “Ain’t no
sense in lyin to you, or to myself.” The chorus is heartfelt and sincere; “I
know it’s early/I know it’s soon/but truth be told/I think I love you/it’s
unexpected/out of the blue/but I gotta let you know/I think I love you.” The hip
winding 44 seconds of “Continuation” is an enjoyable island tease that flows
into “Keep On”. The song’s serious display of saying one thing but meaning
something else is inviting with the sensual chorus, “Movin your hips
  right/my lova keep on smackin your lips right/my lova keep on callin me papi…”

   Needle Meter  Why is Dwele smart? Simple. After two years of what ever it was
he was doing, Dwele has reappeared with an invigorating project that manages to
keep his soulful, laidback style in tact. Tastefully sexy, Some Kinda is a
testament to an artist that can be sensual without being tacky and explicit.
While the album may not inspire a physical run through the house, the
thoughtfulness of the lyrical content will be exciting to the mind. Wake the
baby. Why? Because Dwele is back. Four Needles
















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This year in music is rounding up pretty good!!

     Anthony Hamilton: Ain’t Nobody Worrying  “True, Serious Music”
   An Album Review by Nfared
   R&B music seems nothing more than a plethora of sexed up lyrics over a “hot
beat”. As a result, the number of successful soul artist can be counted on one
hand. The amount of soul artist that have actually had an opportunity to have
their music exposed to a decent percentage of the listening public can probably
be counted on a few fingers. However many fingers this leaves, reserve one of
them for Anthony Hamilton. His new release “Ain’t Nobody Worryin” has slipped
into stores far too quietly, but has arrived nonetheless. Where is good
promotion when it is needed?

   The title track, “Ain’t Nobody Worryin” is calm and collected, probably
intended by Anthony as he sings about unconcern for issues that should have
people up in arms. He starts off slowly, telling the story; “Ain’t nobody
worryin’/when the shots fly high and the sirens start to ring…ain’t nobody
prayin/when they kneel down low/all they doin is tyin they show strings/ain’t
nobody worryin no more, no more, no more, no more." Anthony sings with
understanding and compassion, then suddenly with anger and urgency as he says,
“these are our precious times/diseases takin lives/Medicaid ran out…” Still
storytelling, “Preacher’s Daughter” cleverly conveys the message that everything
is not what it seems.  Anthony is to the point from the start with (that is
after a somewhat lengthy intro), “she had a habit that she couldn’t really
stop/needed money so she had to hit the block….” Easily putting the scene
together as if he had spoken with the young lady, he continues, “nobody knew
it/so she
  steady had to play her roles/went to church/but surely tearin up her soul.”
This song has sex, drugs, and everything that would fit what seem to be the
requirements for a number one hit. Then again, there is that positive message.
Anthony lets loose with the endearing “Sista Big Bones”. With the chorus, he
talks about his attraction to a certain woman in a unique way, “Sista Big
Bones/Can a brotha I walk you home?/look like a plate of neck bones/I’d like to
keep yo body warm.” Whether or not this song would attract the lady that has his
attention is somewhat of a question, but at least his effort to stray away from
standard greetings can be appreciated.

   Needle Meter  Anthony obviously wants to be different. It’s in his bones; so
much so it is speaks in almost every word he sings. He manages to create feel
good music that actually has a purpose beyond the exterior. Anthony’s brand of
soul is a musical experience, but more so a learning experience; he clearly sees
a need to induce thinking among the fan base. This is accomplished by writing
that is clear, concise, and honest, without being overly abrasive. Is that
called Neo-Soul? Educational Soul? Whatever the title, it all comes down to just
plain ole good music. Those fingers? Anthony gets the first one. Five Needles















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Jamie Foxx: Unpredictable  “It’s About Time”  An Album Review by Nfared

   They say that things get better with time (it’s funny how “they” never seems
to be an identifiable group). The music industry is probably not a screaming
example of this, with most of its successful artist being under the age of 30.
It would seem odd then that at almost 40 Jamie Foxx, at the height of his acting
career would start over his musical career with this release of Unpredictable.
Almost akin to the rapper turned actor situation, there is the looming question
of whether or not his on screen skills will translate to on wax success. His
singing ability is obvious and judging from the actual singing aptitude (or lack
there of) of many current male singers, he has a great starting point.

   On “With You” Jamie deals with a common relationship issue: stay or go? He
starts off the song with an earnest question that borrows from his funny side,
“I’ve been thinkin for the longest time/are you blowin trees or on that wine?”
Still combining honesty with a bit of humor, he admits to his own vulnerability
with the line, “and every time I try to walk away/you put that ass on me and
make me stay.” Here Jamie uses his acting skills to bring himself beyond the
speakers with a familiar situation. Showing an appreciation for old school
music, Jamie does a duet with Mary J. on the remake “Love Changes”. While the
effort can be appreciated, the sound is more awkward than pleasant. Jamie sings
in a laid back tone meanwhile Mary sings in attack mode. While there is nothing
wrong with the two, together, Mary drowns out Jamie almost completely with her
wails. In the end, the song does not flow. More fitting is the beautiful and
simple, “Heaven”. The soothing ballad is a match for Jamie’s
  quiet tenor as he observes, “At times it seems we take for granted/how precious
how life can be…” The smooth “Warm Bed” is also more Jamie’s speed as he
reassures with the chorus, “Baby if we leave the club/it won’t be nothing but
good lovin/cause I got a warm bed/I got a warm bed.” The song though, rides a
fine line between clever and uninteresting as he starts, “Damn its hot/the
phone’s locked/I can’t believe all the ass that you got…” The track and the
chorus actually save this song from being a total loss.

   Needle Meter  Jamie has had a fascinating acting career, one that he probably
felt more strongly for as he flirted with music in the early nineties only to
leave the effort behind for television. While he has probably picked an
excellent time to try his hand at music again, this album does not satisfy the
high level of anticipation that has preceded it. Vocally Jamie seems as if he is
holing back in an effort to be smooth and cool. For some of the songs on the
album this approach works, but for other tracks it rolls into boring. However,
if Jamie keeps at it, he may have better luck musically in the future. After
all, they do say, things get better with time.  Three Needles

















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There are two rap albums out this year that you must have if you are a rap fan
and they have NOTHING to do with Fiddy cent:

   Little Brother, which I reviewed a few weeks back

   YoungBloodz, the review that follows

   These are hands down two rap classics for 2005!!


     YoungBloodz: Ev’rybody Know Me  “Rap Music At It’s Best”  An album review by
Nfared
   Though probably a cliché at this point, there is still something to the adage,
“Hard work pays off in the end”. If this saying were in some sort of quote
dictionary, there would probably be a picture of Atlanta rap duo YoungBloodz
next to the statement. Though only three albums deep into their career with the
release of “Ev’rybody Know Me”, members Sean Paul and J-Bo have been pounding
the musical pavement in Atlanta for years. The determination of artist from the
south, it seems, can not be stopped.

   “Chop Chop” is about identity, confidence, and excitement. The chorus is an
announcement, one that is either received with open arms by friends or hated by
foes, “Chop Chop/yeah I’m back on the block/we got it ready for ya straight out
the pot/Chop Chop/chop chop/yeah I’m back on the block/yeah we got it ready/yeah
we got it ready”. With the sound of aggressiveness, J-Bo declares, “Now despite
of what you heard/I’m the got damn truth… now run and tell yo mama how yo shit
is weak.” Thought slightly more laid back vocally, Sean Paul is at his partner’s
side, “… Talk big shit/nigga swang big thangs/when that trunk pop/that thang go
chop mayne.” Still clearing up any character confusion, “Datz Me” is descriptive
and inviting. The fast paced track with its simulated horns, provides an
appropriate backdrop for the chorus, “Stay fresh/white tee/sharp crease that’s
me/in the chevy grippin grain drippin paint that’s me/in the club bout drunk
stay crunk that’s me/represent the A-town best
  believe that’s me…” With this song, the group manages to capture their own
image while simultaneously representing for their hometown. The title track,
“Ev’rybody Know Me” almost imprints itself into memory with the sing songy
chorus, “I make big money/I drive big cars/everybody know me…” Sean Paul makes
no apologies for his lifestyle as he explains, “This Sean Paul/remember Shake Em
Off?/was only seventeen when they first broke me off/and every since then I been
working stackin bread….” Going even deeper into their personal escapades, “Spend
Some Change” is an ode to Atlanta’s strip club scene. The track, purposely
reminiscent of “pole music” paints the picture clearly as different clubs and
popular strippers are identified, “Blue Flame/Magic City/Body Tap/ Pink Piny
White Chocolate/ Strawberry/come get this money from me/hop, hop on the pole and
do the damn thang…” Note: local dancing facility owners will be seen smiling
from ear to ear.

   Needle Meter  Oddly enough, people still doubt rappers from Atlanta. Even with
the growing national popularity of several artists and producers from the area,
some still calm an inability to make sense of music below the Mason Dixon.
However, while some are still trying to figure it out, TheYoungBloodz are
showing that there really is no puzzle. Combine extremely high energy, clever
and entertaining lyrics (several rappers have a hard time doing both), and
stimulating production, and the answer becomes obvious. The YoungBloodz have
etched out their place in the industry without sacrificing their style to fit in
with the mainstream. Peep game. Show respect. Five Needles: Classic Rap Album
















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Goapele: Change It All  “Change Really Is Good”  An Album Review By Nfared
   Lately it’s hard to imagine that music can still be insightful. The latest
trend in music seems to be centered about who can make the most pointless song.
Meanwhile music with substance is being lost in the balance. In an attempt to
even up the playing field, Goapele comes back with her second album, Change It
All. Both quiet and thoughtful, even though her name is a little difficult at
first glance, her message is strikingly clear; forget the loud beats and
bothersome lyrics, someone is making music that means something.

   When a track is described as beautiful, some may ask what makes it so. While
capturing beauty in a few words is not the easiest thing because of its
relativity, “First Love” would have to be some where in the picture. Produced by
Jeff Bhasker for Skyblaze Music, the midtempo track, with its strings and piano,
is peaceful while at the same time begging for a second listen. Goapele uses the
track to reflect on love as she starts the song, “Summer was ending/you were
walking/it seemed my life was falling/but in the season we were friends.” She
sings softly yet with a purpose on into the chorus; “I never thought you’d be
the only one/I dreamed of fairy tales that’s how we begun/but I was waiting for
some magical moment that would prove to me/forever would be far
   /meanwhile my first love/was standing first in line.” She skillfully uses her
voice to fill the track while choosing not to over sing at any point. Her power
lies in her softness.

   “If We Knew” is a precious reminder of learning the lessons of life. The track
is soulful and almost childlike, perhaps on purpose as she begins, “There was a
boy/bout 2 years old/that’s much to young/to see what would unfold”. Goapele
sings in a way that almost makes the child visible. She continues to paint the
picture of this story, starting the second verse with a different character,
“There was a girl/bout three years old/to laugh and play/should have been her
goal/her family moved from place to place….” Giving the song a more personal
touch, she moves on to self-reflection, “I was the girl/who felt so strong/bout
anything/in this world/that I saw wrong.” Goapele is an intriguing storyteller;
her voice is almost mystifying, hypnotic in a sense. Her music is akin to
listening to a grandparent with years of wisdom. Listen and learn.

   Needle Meter  Goapele probably won’t soar to the top of the charts. She
probably won’t be remembered for singing over trendy beats and singing senseless
hooks. This being the case, Goapele deserves credit for not only appreciating
her craft but for doing something useful with it. Admittedly, this is one of
those albums that almost requires a certain kind of mood to listen to. However,
very few artists make a conscious decision to create music that does not follow
current trends. When someone finally comes alone with the intestinal fortitude
to take the path less traveled ears should be open and hearts should be
receptive.  Four Needles
















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If you can remember her.....

     Shawnna: Worth The Weight
   “The CD No One Heard”  An Album Review by Nfared

   Some artists are remembered for their instant hits, powerful performances, or
award show takeovers. Then there are those who are remembered because of how
quickly they were forgotten. Over a year ago, Shawnna was experiencing serious
hype, being marked as one of the next female names in Hip-Hop to have a strong
impact. However, her debut album “Worth The Weight” was not worth much weight in
the music industry numbers arena, and as a result, she vanished. One of the most
forgettable music industry facts though is that bad numbers does not necessitate
a bad album.

   Genius producer Just Blaze works it out on the invigorating “Let’s Go”. 
Shawnna is creative, “…when I pull up to the club at 11 in my quarter to
eight…”; a mind reader, “they all wanna debate/what cost more the be the purse,
or shoes or the gun on my waist…” and attention getting, “Kevin Lyles like
Shawnna you ill/we ain’t had a real bitch on our team since Fox….” R.P.M.
displays a versatile Shawnna rapping at Twista like speeds. The speed rapper
himself then makes an appropriate appearance in the second verse making the
track complete. Timbaland shows he has not lost his touch, providing production
for “Shake That Shit”. Shawnna dares disrespect as she requests, “Most of ya’ll
chicks gotta impress me/you say you got skills/put em up lets see.” The smooth
“What Can I Do” is an ode to drinkers and all things alcoholic as Shawnna starts
out with the woes of being drunk; “I’m fucked up again/and I think I’m finna
thrown my guts up again…” Makes drinking sound--- exciting. While “So
  Real So Tight” falls short of being lyrically interesting, the mid tempo track
produced by Bryan “B-Crucial” Morton is relaxing yet captivating with a Ginuwine
sounding Trey D singing the hook. Shawnna switches up her vibe on the bedroom
track, “Superfreak”. The chorus is backed up by a saxophone and xylophone, and
interesting combination that actually comes together to create a sexy tone.
Shawnna can cuss and fuss in more ways than one.

   Needle Meter  Is Shawnna the next Foxy Brown or Lil Kim? Honestly, no. While
she can hold attention with her “you better listen to me” flow, she has a long
way to go before she can be cast into the net with the heavy weights she is
instantly compared to. This is especially the case now that she has disappeared
with no sign of a resurface. Whether or not she decides to try again, she did
make a mark, even if it was a small, fleeting one. Three Needles



















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HAPPY TURKEY EVERYONE!!!!

     Ginuwine: Back II Da Basics  “Do Things Get Better With Age?”
   An Album Review By Nfared
   Ginuwine is not necessarily what you would consider young by music industry
standards. Out of his twenties, he is a seasoned artist who has seen a career in
music from all angles. This time and experience comes together as he releases an
album after being on hiatus for two years. Back II Da Basics finds a thirty
something Ginuwine competing with the likes of Chris Brown, Omarion, and Ray J,
all male singers who have youth on their side. Fortunately for Ginuwine, he has
had the time to establish a solid fan base. Though there is a slight risk in
being gone for a few years, if the product is right, the fans will not forget.

   “Want U To Be” is dreamy and smooth. The vacation like sound sets the tone as
Ginuwine tells a certain young lady she would be, “better than ever when you
finally get my love inside your body”. Though a bit overzealous; “And if you
decide you digging me enough to make love on the first night/then that’s a good
look”, he is sincere, “Girl your beauty it could fill a book/one glance was all
it took.” A little less sincere “She’s Like” is reminiscent of a certain hit,
“You Remind Me Of My Jeep”. The chorus takes bling bling to a whole other,
perhaps more disturbing level as Ginuwine compares, “She’s like the spinners on
them big things/she’s like the diamonds in my pinkie ring….” Has creativity
become so difficult that women are now trivialized to the comparison of material
objects? Maya Angelou would probably have some choice words for the singer that
basically said to her, “Baby, you are my everything, just like my car.” He
almost bounces back with “Betta Half”, as he admits he
  can’t find enough ways to “…thank the lord for you.” Off track again, he goes
on to the use of the old 90s phrase “You are my homie/my lover/my best friend”
then throws in the seriously over used “my dime”. Sometimes it’s just easier to
say, “I’m In Love”. With this ballad, Ginuwine moves away from the strange
comparisons and truly begins to internalize his feelings, “As the day goes by I
am always thinking of your face… you got me going on a high I have never felt.”
Making the feeling all the more real, he continues, “I never knew love could be
so real until I met you girl”. More heartfelt and genuine, this is one of those
love songs that can bring an artist back with a bang.

   Needle Meter  By all means Ginuwine has what it takes to make a come back.
With four successful albums under his belt, he clearly has an understanding of
what it takes to be a major player in the male R&B field. However, Back II Da
Basics is almost too basic, especially for a singer of his caliber. The
production on this album fits Ginuwine well, but after being gone for two years,
there is an expectation of songwriting that is slightly more advanced and
creative. While it is probably impossible to pinpoint the place in a record deal
where it says growth is a requirement, some things should not have to be in
writing.
   Three Needles
















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Ladies and Gentle this is real hip-hop. Forget Fifty and them you need to mess
with Little Brother

     Little Brother: The Minstrel Show  “Less Of The Same”  An Album Review by
Nfared
   Hip-Hop has many faces. Some, like Tupac, Biggie, Nas and Jay Z have been
engrained in memory with their timeless individual contributions to music.  Both
dead and alive, these music greats explored the outer limits of their craft,
creating with thought and extreme ambition. Traveling on this same road, “Little
Brother” has apparently set their sights on being remembered because of their
strong ability to be inventive. Though still not widely known after two albums,
their third release “The Minstrel Show” could very well be the charm, depending
of course on the promotion efforts Atlantic Records, their label home. Hopefully
the marketing folks are not asleep at the switch.

   “Cause even though the birds ain’t singing/and the sun ain’t shining/it’s
still a beautiful morning”. This chorus captures the essence of the perspective
behind “Beautiful Morning”. The stringed, up-tempo track produced by 9th Wonder
for The Planet, Inc is more reminiscent of a New York sound then it’s North
Carolina origins. Lyrically, this track is almost uncontrollable with
back-to-back one-liners, particularly towards the end as Phonte reflects, “The
way I almost broke down and got a nine to five/cause I had more pressed than
sound scans.” He continues skillfully, “Told Niggas from the getup/we three the
hardway/and Broadway’s the only place you’ll ever through a set up/speechless is
what you’ll be if we ever met up.” Mocking almost every ballad ever written,
“Cheatin” shows a humorous side of rap rarely seen. The chorus sets the tone,
“You was cheatin/caught you creapin/to the window to the wall skeet skeetin/You
dirty bitch/heavy breathin/now I’m leavin…” From there on the
  song goes like a comedy routine; “She called from her mama house and maybe her
number changed…”, and the laugh out loud ending, “Let me count the ways I love
you…. 11, 12, 13, 14, 15/can’t think of nothing that rhymes with 15/the
background singers just messed up/well Percy I don’t give a fuck….” The high
energy “Say It Again” with it’s magnetic rhythm starts out solid with Big Pooh;
“I’m overweight/rap is fat to death/obese when these beats catch wind of my
breath.” Phonte steps in and keeps the flow going; “…the only thing they would
do is outfit us/when clothes fit strange…” Phonte chimes in again later, this
time perhaps taking a shot at a popular mainstream rap song; “Yo my girl’s a
grown woman who ain’t tryin to get her eagle on/she’d rather be in the bed
getting her Kegel on.” Displaying subtle arrogance, “Lovin It” assumes the
response of listeners without ostracizing them through bragging about material
possessions. The surprisingly moving “All For You” explores parenthood
  from the perspective of a son reaching out to his father while tryin not to
repeat the mistakes of his father. The thoughtfulness is intriguing; “it’s
misery/I hate to see history repeating/I thought you were the bad guy/but I
guess that’s why/me and my girl split and my son is leaving.” The strain of the
relationship between mother and father and the desire to do right by the child
is conveyed clearly, “trapped to this girl by the two year old that carried my
name”. A powerful ending for the album, “We Got Now” displays fury; “My attitude
is real shitty/temper short/my mind is cluttered like the streets of New York…”,
reality, “I mean you could be the shit today/then tomorrow wake up/fame blown
away” and observation, “now they heard some of your songs/and peeped you from
the side/and watched your videos and seen the car you drive/chill/and we know
what to expect my nigga/done seen it all before/I ain’t impressed my nigga.

   Needle Meter  The recent movement in hip-hop is more like a disappointing
regression. Artists are determined to do more of the same and unfortunately the
fan base is eating it for breakfast, lunch, and dinner. For this reason everyone
won’t hear about Little Brother. People who are serious about what they do, and
serious about forward movement seem to get missed. Are they ahead of their time?
Or are the fans scared of change? While both are valid questions, imagine music,
or a world even, where everything remained the same. Five Needles
















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GO!! RUN!! GET THIS ALBUM!!!!!

      Floetry: Flo’Ology  “True Talent Never Dies”  An album review by Nfared
   They are probably one of the most uncommon duos ever, yet their music speaks
to the common heart. Since their debut, Marsha Ambrosius and Natalie Stewart
have been on a mission to take everything normal about making music and throw it
out the window. Their emotion and passion for what they do is clearly audible
and their sound gives new meaning to being distinctive. With their third project
Flo’Ology now in stores their saga to be inconsistent with current industry
trends continues.

   There is healing in the admittance of being wrong, as demonstrated by “My
Apology”. The soulful, up-tempo track puts emotion square on the table and pride
out the back door with a telling chorus; “I know you’re feeling hurt because of
what I did to you/if it’s blame I’ll take it/baby we will make it through/cause
I love you/I love you/think about it baby.” The word play is sophisticated yet
clear. Phrases like “Never been this wrong before/never stood my ground and
breathed it in before…” and “Accepting the space I’m in/growing out of the phase
where I just wanna win” give sincerity true meaning. “I’ll Die” is actually
about a rebirth of self through the release of a lagging relationship. The
“truth hurts” chorus almost stings with the phrase, “It’s fair to say/that we
tried/you know I wanna stay/but if I do/I’ll die/I’ll die”. Marsha and Natalie
flow through the track beautifully; a brush with death has never sounded so
sweet. “Lay Down”, the next single from this project, speaks
  volumes to the importance of quality time in a relationship. The song begins
with a familiar conversation, “How are you? /well I’m just fine/I missed your
call/around five/I’m getting back to you cause you were on my mind/I wanna know
can I see you tonight.” The track oozes sensuality through innuendo; the word
“sex” is never even mentioned. The chorus almost drips from the speakers, “Let’s
just spend a little time/do a little more/share what’s in our hearts/give each
other more…” Lost in the song and perhaps in her own memories, Natalie reels it
in with the phrase, “This kind of reminds me of forever.”

   Needle Meter  With the one sidedness of the music industry, it is a pleasant
surprise that Floetry has not been completely drowned out by all the noise and
nuance. The creativity embraced by this duo is astounding, groundbreaking in a
sense. They show no restraint in their love roles. Whether victim or victor,
their ability to convince is almost unparalleled. They were told by their label
that the reason they get little airplay is because their music is not “radio
friendly”. With that being the case, “radio should have more enemies. Five
Needles
















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