Scarface/EmERITusRap-A-Lot/ASYLUM In an online interview Scarface said he was going to “bring the boom bap” back on what he is claiming to be his final album Emeritus, and he succeeds at that. In a day and time when most rap songs are synth-heavy, hook driven “club bangers,”‘Face provides more of the blunt, detail-laced reality-based narratives over grown-ass production that you’d expect from him. The crazy thing is that overall it’s ‘Face’s consistency that also acts as a crutch because lyrically, expectations are met, but rarely exceeded. At times Uncle Brad comes off as that uncle you always listen to, even though he may be telling the same story again. Surely good enough for at least 5 or 6 great memories, highlights include the Bilal-assisted “Can’t Get Right,” the Slim Thug and K-Rino featured “Who They Are?” and “Soldier Story” featuring The Product and Z-Ro. Emeritus isn’t the grand farewell we would have liked, so let’s just hope this a “see ya’ when I get back.” - Maurice G. Garland
T-Pain/Thr33 Ringz/ Jive Since he’s featured on everybody else’s songs, it’s sometimes easy to forget that T-Pain is an artist in his own right who releases his own solo albums. His latest offering Thr33 Ringz doesn’t do much to convince you otherwise because it seems like everybody he’s ever worked with is present here returning the favor, making the songs look and sound like a plethora of Teddy Pain featured songs. Thanks to his quirky songwriting, Pain leaves enough of his fingerprints on the album to let you know that it’s actually his. Especially songs like the Kanye Westfeatured “Therapy” where he tell his ex, “I don’t need your sex, I’ll masturbate” or the Miami-bassed out “It Ain’t Me” featuring Akon & T.I. Unfortunately, “Blowin Up” featuring Ciara does indeed sound like a lazy swapout while the socially harmonious “Change” featuring Akon, P. Diddy and Mary J. Blige would sound decent if Pain didn’t allow the autotune to run wild. Easily, the album’s highlight is “Karaoke,” when Pain gets into full Nappy Boy mode, returns to his “rappa” roots and goes off on everybody except Kanye and Weezy for abusing the vocal style he helped re-introduce (R.I.P. Roger Troutman) to the music world. By now, you should be convinced that T-Pain isn’t a flash-in-the-pan artist, but God forbid if this was his last album, because there could have been some more memorable moments here. - Maurice G. Garland
62 // OZONE MAG
Slim/Love’s Crazy After his re-emergence into the spotlight with “So Fly” Slim (from 112) has presented his latest offering, Love’s Crazy. This R&B effort keeps to the formula established by 112 with ballads, and Hip Hop artist features. This album ranges in tempo and attitude offering bright spots such as “Good Lovin’” featuring Ryan Leslie and Fabolous, “Heels On” featuring Yung Berg and Deezo and “Bedtime Stories.” While this album doesn’t thrust Slim into that breakout solo superstar status it is a decent effort that keeps him and 112 more relevant than they have been in years. - Jared Anderson
DJ Unk/2econd Season/Koch/Oomp Camp 2econd Season is the fusion of snap and 808 that was inevitably expected from Unk after his success with “Walk it Out.” While Unk brings some fairly enjoyable tracks like “She Freaky” and “Beat Dat Azz,” the album overall is nothing attention-grabbing even with big name features like Three 6 Mafia and Sean Kingston. For the 3ird Season Unk needs to find a way to reinvent himself or the industry may just walk him out. - Rohit Loomba
Ludacris/Theater of the Mind Disturbing Tha Peace/Def Jam Theater of the Mind, Ludacris’ sixth album, has a cinematic concept. Luda presents his tracks as scenes from a motion picture, and his guests as “co-stars.” From the opening track, or opening scene rather, Luda spits the surefire lyrical ability that the veteran emcee is known for. He continues the lyrical barrage on “Undisputed,” produced by Don Cannon and co-starring Floyd Mayweather, and shares the “scene” with his former archenemy T.I. on “Wish You Would.” The star power on Theater continues as he brings in everyone from Jamie Foxx to Lil Wayne and goes for Top 5, dead or alive glory alongside Nas and Jay-Z on “Do It For Hip Hop.” Luda goes so far Hollywood that Tinseltown staples Chris Rock, Ving Rhames, and Spike Lee co-star on “Everybody Hates Chris,” “Southern Gangsta,” and “Do The Right Thang,” respectively. Ludacris’ LP doesn’t always stick to the script, as “One More Drink” and “What Them Girls Like” sounds as if they’re only thrown on the album to appeal to women. Nonetheless, this album’s creative concept would even get two thumbs up from Ebert & Roeper. - Randy Roper
Ace Hood/Gutta We The Best/Island Def Jam The very first words Ace Hood says on his debut album Gutta are “I don’t give a fuck.” From that point, what can you really expect? Exactly what you would from a young artist thirsting to make a name for himself; self-shoutouts at the beginning of most of the songs, mandatory cameos from the veteran (Trick Daddy on “Gutta”), the hook men (Akon on “Can’t Stop” and T-Pain on “Cash Flow”), the lady-charming crooners (Trey Songz on “Ride” and Lloyd on “Call Me”), and the chart-topping neighbor (Plies on “Stressin’”). And don’t forget overproduced tracks. But, to Ace’s credit, he doesn’t allow he listener to fall asleep on his fiery flow, although you may dose off on some of the cliché themes found on the album. Gutta isn’t going to go down in history as the best rookie album, but it does make you look forward to Ace getting some years and experience under his belt so that his lyrical content can match his unbridled energy. - Maurice G. Garland Plies/Da REAList Atlantic/Slip-n-Slide Although Plies pushes “realness” on this third album, and second of 2008, when he shouts out his crew (“Me & My Goons”), boasts of a “don’t give a fuck” attitude (“Fuck U Gon Do Bout It”), and brags about his back account (“Plenty Money”); those songs aren’t the best. His “realest” songs are “Gotta Be,”“Family Straight,” and “Co-Defendant,” where he celebrates those that escape the hands of the law, family struggles, and his reclusive nature. As he continues to be an artist known for putting out “chick records,”“Street Light” featuring Sean Garrett and “Put It On Ya” with Chris J will appease fans looking for bawdy bangers. Da REAList has a few noteworthy tracks, but probably would have been better if Plies had taken more time to work on it. - Randy Roper
Lil’ KeKe/Loved By Few, Hated By Many Swishahouse/Universal Motown Loved By Few, Hated By Many is solid. Lil’ Keke is onto something with his newest release under the TF Records/Swisha House joint venture. The Houston native keeps in the tradition of screwed music, smooth samples, hard synths and the killer bass the region is known for. “Road 2 Success” and “Life Flow” jam but the hustler’s anthem “Money In The City” featuring Slim Thug, Paul Wall and Trae makes the album legit. Unfortunately, Loved By Few is saturated by too many features that don’t add to the project while songs like “She Love Gangstas” and “Suga Daddy” that take aim at female fans, fail to connect. Still, don’t sleep on this album. - Jared Anderson