UGK/Underground Kingz/Jive In a year of sub-par albums, this is one of the best — by far. This Underground Kingz album is long overdue, but Pimp C and Bun B make amends with patient UGK fans on their 26-track double album. Disc one alone, highlighted by instant classics like “International Players Anthem” featuring Outkast, “The Game Belongs To Me” and “Quit Hatin’ The South” has more than enough standouts for this release to be considered one of 2007’s best. On disc two, the Texas tandem continue to kick Down South lyricism over soulful production as they trade coke tales with Rick Ross on “Cocaine,” floss whips on the Jazze Pha produced “Stop-N-Go” and take some time out to honor down ass chicks with Talib Kweli on “Real Women.” Although this double disc does have a few repetitive rhymes and some questionable guest appearances, Underground Kingz is a Southern masterpiece full of vintage UGK music from the legendary Port Arthur, TX duo. This album is sure to please diehard fans and earn them some new ones along the way. This is shit you can ride to; country rap tunes. Chuuch! — Randy Roper
Boyz N Da Hood/Back Up N Da Chevy Block Ent./Bad Boy South Instead of sending Boyz N Da Hood back up in the Chevy as a three man crew, Block Ent. CEO Russell “Block” Spencer brought in a hood figure to full the void left by Da Snowman. On BNDH’s second album, Gorilla Zoe fills in nicely as his chemistry with the remaining members is recognizable on tracks like “Bite Down” and “Everybody Knows Me.” When sticking to what they do best the Boyz make quality street music, but the group struggles to make things work on the Don Cannon-produced “Jump.” The ever-present T-Pain helps smooth things out on “Table Dance,” as BNDH gets the dollar flying in the strip club. Rick Ross, Yung Joc and Ice Cube appear on the album but filling Jeezy’s Air Forces is a tough task. Still, dem boyz manage to keep it gangsta the second time around without Mr. 17.5. — Randy Roper
Tum Tum/Eat Or Get Ate Universal Republic/T-Town Music
Plies/The Real Testament/Slip-N-Slide/Atlantic Plies’ take on many subjects are straight to the point on his debut album, where he makes his disdain for “pussy ass crackers,” “police ass niggas” and “pussy ass niggas” clear on songs like “100 Years,” “I Kno U Workin’” and “Keep It Too Real.” But none of those tracks are exactly good, especially since Plies tends to rap offbeat at times as if he couldn’t hear the sound coming through his headphones during recordings. Plies seems at his best when paired with R&B vocalists like Tank (“You”), Akon (“Hypnotized”) and T-Pain (“Shawty”) for explicit tales of sexual escapades. This Slip-N-Slide/Atlantic debut album from the Florida newcomer is one the South’s most anticipated releases of 2007. But anticipated doesn’t always translate into acclaim as Plies’ debut suffers from a lack of mic skills that isn’t helped by the album’s bland production. — Randy Roper
Tum Tum claims to make “Caprice Musik,” but really, this is kind of shit you listen to right before you’re about to beat somebody’s ass. It’s fight music; it’s motivational. This would definitely be a good CD to play on an overnight road trip, because it’s impossible to fall asleep to. At times, Tum’s flow and subject matter sounds slightly too similar from track to track. The high energy and boisterous lyrics can also be a bit much, and this album doesn’t offer much for the ladies either. But overall, Tum gets his “Mission Accomplished.” He successfully captures the Dallas sound while still having mainstream appeal. And with production by such all-stars as Mannie Fresh, Play-N-Skillz, and Scott Storch the only question that remains is whether or not Eat Or Get Ate will be embraced by a nationwide, mainstream audience. — Eric Perrin
Common/Finding Forever G.O.O.D. Music/Geffen
Trae/Life Goes On/Rap-A-Lot/ABN Trae’s major label debut, Restless, was a dark, brooding album which introduced the rest of the world to the Houston rapper’s rapid fire delivery. Although the album did please his core fanbase, many new fans were surprised at the overall darkness which wasn’t displayed in the singles “Swang” and “In Da Hood.” On his latest effort Trae attempts to keep old fans pleased while gaining new ones. Tracks like “Smile” and “Screwed Up” show the Houstonian holding his own alongside lyrical heavyweights Lil Wayne, Styles P and Jadakiss. Meanwhile “Give My Last Breath” and “The Truth” have Trae in his element as he laments on fallen friends and the pressures of life. Often times hardcore artists come off as watered down when trying to appeal to new fans, but Trae successfully creates an album that is sure to please supporters as well as the newcomers. — DeVaughn Douglas
Khujo Goodie/Mercury/Day One Music Sean Kingston/Epic/Beluga Heights
Jamaican artist Sean Kingston blasted onto the scene seemingly overnight, but he’s been on his Myspace grind. It paid off when he consistently messaged producer J.R. Rotem about checking out his music. Through the commute to Los Angeles and eventual link-up with the producer, the artist slides onto the scene with his summer love anthem “Beautiful Girls.” This debut album offers a huge scoop of love infused lyrics, a touch of Hip Hop and pop beats, a dash of rap and a large amount of island flavoring which once mixed together, gives you a lot of love ballads. And too much of anything can make you sick. — E.L. Berry
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The game definitely needs more Common Sense, and with that said, Finding Forever’s 12 track’s simply aren’t enough. Though FF displays that real Hip Hop everybody said was dead, it’s still doesn’t live up to the quality that’s expected of Lonnie Lynn, nor does it contain any tremendously spectacular stand-out tracks. Don’t get it twisted, Finding Forever is a classic album. You certainly won’t feel the need to press skip at any point during the CD, but you also won’t find any “I Used to Love Her” type tracks on this Kanye produced offering either. Common’s seventh LP seems more like a beat making experiment for Ye than the gem Com fans have waited over 2 years for. Still, on Common proves his flow and lyrical ability are second to none, and even if he never releases another album, he’ll still be one of the greatest emcees ever to ever touch the mic. Let’s just hope he hasn’t found forever yet. — Eric Perrin
As one-fourth of Goodie Mob, Khujo is credited as a rapper that helped pioneer the Dirty South movement. But Khujo’s solo music is a different direction from the Mob’s political and social relevant sound. On his second solo album, the opening track “Ultimate Hustler” is the only Goodie Mob remnant. Instead, Khujo opts for edgier tracks like the confrontational “We Ain’t Askin,” the strip club-influenced “She Killin It” and the play-no-games “No Brown Nosin’.” While Khujo’s distinctive flow is still the same, the gritty music on Mercury will have Goodie Mob fans wishing for a reunion. —Randy Roper