Rick Ross/Trilla/Def Jam/ Slip-N-Slide/Poe Boy Rick Ross didn’t take any chances on his sophomore album. He brought in the best beats and guest rhymers Def Jam’s money could buy, coupled that with a somewhat improved flow, and released arguably the best Southern rap album of 2008 thus far. Jay-Z, R. Kelly, T-Pain, Nelly, Trey Songz, Lil Wayne, Trick Daddy, Young Jeezy and DJ Khaled all make guest appearances, and the J.U.S.T.I.C.E. League, Mannie Fresh, J.R. Rotem, the Runners, Drumma Boy, DJ Toomp and Nasty Beatmakers all clip in with production. In the end, Rick Ross shines and Trilla, with only a few mishaps, sounds like the work of a boss. — Randy Roper
Yung Ralph/Most Unexpected/Universal Republic “Look Like Money” is a regional hit for Atlanta’s Yung Ralph and on his debut, he tries to shake the one-hit wonder stigma that has plagued many A-Town rappers of late. Ralph’s album has little decent production, and too often, his raps sound like he’s struggling to read his lines off a paper, which makes for god-awful deliveries. The Cool & Dre produced “One Eye Open” is a good beat, but why artists keep allowing Dre to sing on their hooks is the question. And Yo Gotti’s guest appearance can’t even rescue Ralph’s album on “Damn Right.” For Mr. Look Like Money, his hit single, “I Work Hard” and “My Hood” are the only tracks worth listening to, that is, if you can stand listening to Ralph’s dreadful flow. — Randy Roper Flo Rida/Mail On Sunday/Atlantic/Poe Boy
Trina/Still Da Baddest/ Slip-N-Slide On Trina’s latest album, the Queen of Miami returns to prove she’s Still Da Baddest, but her weak flows over mediocre productions could lead listeners to think otherwise. The sexually charged lyrics that the Diamond Princess is known for are still ever-present but songs suffer from her lacking lyrical ability. Rick Ross, Killer Mike, Keyshia Cole and Pitbull all outshine Trina as they assist her on tracks. And while core fans should be somewhat satisfied with her new album, others won’t be as pleased. — Randy Roper
Big Moe/Unfinished Business/KOCH While it can be considered poor taste to release a posthumous Big Moe album since some of the content swirls around the very concoction that may be responsible for his death, it’s pretty much inevitable since syrup was his favorite thing to rap about. And just like Moe’s past catalog, the album jams with the R&Bish production and melodies that made him one of the game’s most unique voices. Although the influx of cameos can make the album sound like a crowded party at times, at least they don’t make it sound like a wake (ala 2Pac’s posthumous albums). Unfinished Business sounds so good at some points that it makes you upset that Moe couldn’t stick around long enough to finish what he started. — Maurice G. Garland
86 // OZONE MAG
Mail on Sunday sounds like a rap/pop album, where Flo Rida’s braggadocios rhymes about money and women are all listeners get. “Still Missin’,” “In The Ayer,” “Me & U,” “All My Life” and “Don’t Know How To Act” all either sound like attempts at Top 40 love, or just don’t sound good. This album isn’t all bad, the production is prime and Flo Rida’s rapid singing flow is commendable. But if mail were to come on Sunday, it would be something special, which this album isn’t. — Randy Roper
Fat Joe/Elephant in the Room Terror Squad/Imperial Switching his style to southpaw may have gotten Fat Joe some new friends, but the new sound doesn’t always work in his favor. “You Ain’t Saying Nothing” featuring his Florida pals Dre & Plies feature some entertaining verses, but doesn’t mend well with the production. His bragging about ringtone sales on the Lil Wayne-assisted “The Crackhouse” only proves that Joe is far from Da Gangsta that once repped D.I.T.C. to the fullest. But right when you think Joe steps too far out of his boundaries, he supplies a surprise with “My Conscience” where he trades bars with KRS-ONE, one of the few well-thought out moments on this album. Holding true to its title, Elephant In The Room is a problem—with few solutions. — Maurice G. Garland Gnarls Barkley/The Odd Couple/Atlantic Gnarls Barkley continues their tour of the psyche, taking curious listeners to the canyons of depression. Danger Mouse hits just the right notes to stir a little stomach tingle while Cee-Lo’s lyrics will have listeners questioning their sanity. This brilliant album is a stark reminder of how depressionriddled society has become. Standouts include “Who’s Gonna Save My Soul” and “A Little Better,” among many others. — Rohit Loomba
Kidz in the Hall/The In Crowd/Duck Down What do you get when an Olympic hurdler from New Jersey and a star high school baseball player from Chicago do an album together? A Hip Hop classic! The In Crowd, the second album from Kidz in the Hall, is an impressive collection of rhythms and lyrics, poised to bring attention to Duck Down Records. The album’s feel is wide, ranging from the commercially appealing title track “The in Crowd” to the street sweeper “Driving Down The Block (Remix)” featuring Bun B, Cool Kidz, and The Clipse. Kidz in the Hall have a banger. Recommended to anyone. — Jared Anderson
Jae-Wan/Economic Warfare/ Capricorn Records Economic Warfare may have been a better album if Jae-Wan were actually a good rapper. Unfortunately, although the Chicago emcee’s rhymes are filled with positive and social relevant content, his amateur flow deters his message from effectively reaching listeners’ ears. Songs like “Letter To The President” and “Never Wanna Go Back” have good concepts but aren’t well put-together songs, which is the continuing theme throughout the album. — Randy Roper