Ray J/All I Feel Knockout/KOCH We’re not quite sure what’s gotten into Brandy’s brother. Whether he’s making sex tapes or running around with Whitney Houston or smoking green with Snoop Dogg, Ray J has been completely out of control. On his fourth solo album, songs about promiscuity (“Sexy Can I”), cheating (“Girl From The Bronx”) jump offs (“Jump Off”), pimpin’ (“Like To Trick”) and being real (“Real Niggas”), reflect Ray J’s seemingly contrived bad boy image. But those songs and topics do not translate into good music. All I Feel has a few ups and more downs, and will leave listeners wishing Ray J was feeling more than what he offers. — Randy Roper
Lameez/Cruel Intentions: The Aftermath of 1995 Mobfioso Music/2Black 19 songs. That’s a lot of songs on any album from any artist, let alone a relatively new one. But Cali-bred Lameez manages to keep the listener’s attention for most of the album with some quality West Coast production. Though the content doesn’t switch up much, Young Meez’s voice and ability to craft entertaining hooks help his song making ability standout amongst the monotony. — Maurice G. Garland
The Game & BLACK Wall Street/Black Wall Street Radio 3 BWS Radio Volume 3 comes out as The Game enjoys a 60 day all expenses paid trip in the can. But no worries, Juice a.k.a. “the new breath of the West,” proves that he can hold down the Black Wall Street without breaking a sweat as he delivers Game-reminiscent verses. Miami resident Stack$ also joins Game, Juice, and friends as they heat up the West before the hurricane is let loose and L.A.X. hits us all. — Rohit Loomba
Roccett, DJ Warrior, DJ Skee & Dow Jones Corporate America The last time OZONE reviewed a project featuring Roccett, the CTE artist expressed his discontent by taking shots at our writer during a Sirius radio interview. Hopefully he won’t be as displeased this time. On Corporate America, “Run These Streets,” “What You Gone Do,” “We Shall Overcome” and others are all good, but not great records. His beat selection is good and his rhymes have some dexterous content, but his hooks could be better and his flow could be sharper. Overall, Roccett makes quality street music and Corporate Album will bump from L.A. to ATL, but he still needs to hone his mic skills to legitimately reach his true potential. — Randy Roper DJ Strong & Burnz/Burnin’ Season At some points Burnz reminds you of when rappers used to get on tracks and just rap. No radio, club or for-the-ladies joints, just rap. Backed by above average production, Burnz convinces you that he puts his all into every rhyme he spits, but his delivery could use some work, especially when he gets left behind on high tempo tracks like “The Wait.” Overall Burnz gives a good enough effort to make you want to hear what he sounds like next time. — Maurice G. Garland C.R.A.C. Knuckles/The Piece Talks/Tres With Blu’s 2007 collaboration with producer DJ/producer Exile Below the Heavens being touted as the best album that year, the only way Blu could top it in 2008 was to come out with something made in 2005. Recorded under the name C.R.A.C. (pronounced “crass” and standing for “collecting respect anna check”) Blu and Detroit-producer Ta’Raach release The Piece Talks contains very layered production, sometimes swallowing the crafty lyrics. The end of the album will lose your ears but the nod-factor on songs like “Mr. Big Fish,” “Pop Them Boys,” “Respect” and “Go!” keeps your attention. — Maurice G. Garland
OZONE WEST // 25