cdreviews MACEO STRAIGHT OUT DA POT Quick Flip/Big Cat Records
T-PAIN RAPPER TERNT SANGA Konvict/Jive T-Pain seems destined for a pretty good run in the industry. He’s already managed to garner that love-me-or-hate-on-me relationship with listeners. His infectious single “I’m Sprung” was the first song in a long time to make people either turn it up or turn it off. Whether you like his music or not, there is no disputing that this man can write the hell out of a song. While his sound is slightly reminiscent of R Kelly’s twisted genius and Dave Hollister’s ghetto quips, T-Pain adds his own flavor that puts the “hug” in thug. He reveals his secret feelings for an exotic dancer on the easy-to-relate-to “I’m In Love (With A Stripper)” that is already getting major play in shake junts throughout the Southeast. The seduction continues on “Let’s Get It On Tonight,” a damn near flawless song that teeters along the fine line of making love and straight fucking without sacrificing the long lost art of being subtle. He also shows his affinity for cleverness with “In The Studio,” a song about doing the grown folk, naming different instruments to get his point across. Next, he flips the script and gets introspective on songs like “Going Thru A Lot,” featuring Bonecrusher, and the harmonious “Fly Away,” a well-penned song about escapism. There isn’t much to complain about other than a few questions about the real strength of T-Pain’s voice, being that every track has faint traces of studio altering. The production is solid, albeit not complex, which actually works well with T-Pain’s distinctive tone. Overall, this album is easily the surprise of the year. - Maurice G. Garland 90
OZONE
PITBULL M.I. STILL A.M.I.: MONEY IS STILL A MAJOR ISSUE TVT Records Here, Pitbull aims to propel his name among some of the biggest names in the industry by taking two risks. First, releasing an album in an unusually weak fourth quarter. And second, releasing a record full of remixes. Money Is Still A Major Issue pretty much picks up on the energy that his previous release M.I.A.M.I. left behind, with new-found excitement on all three of the singles. The “Culo” remix adds reggaeton femme fatale Ivy Queen, who goes toe-to-toe with Pit in Spanish and briefly in English. The “Dammit Man” remix features Lil’ Flip, who surprisingly sounds comfortable on the high-hat heavy production. DJ Buddha takes “Toma” to the international level by adding Mr. Vegas, Wayne Marshall, Red Rat, T.O.K. and Kardinal Offishall. The album completely capitalizes on Pit’s popularity by featuring remixed songs from other artists. He sounds damn near perfect alongside Nina Sky on their revamped “Turning Me On” and displays his flawless flujo del español (Spanish flow) on the Ying Yang Twins’ “Shake” remix with Elephant Man. Pit leaves the dance floor and hits the streets on Rich Boy’s “Get To Poppin’” remix and Brisco’s certified heater “Might Be The Police.” He also gives listeners some unreleased music on the Miamiconnected “Everybody Get Up,” with Pretty Ricky. But the show stealer of the album is “Oh No He Didn’t,” featuring Cubo. While the CD is definitely a musthave for devout Pitbull fans, it probably won’t generate any new interest for the gold-selling chico from “tha crib.” - Maurice G. Garland
This album gives you the feel of the Atlanta independent scene. Maceo puts forth the effort and definitely has potential. The first single “Hoe Sit Down” had clubs throughout the South on lock for a minute, and the follow-up street joint “Nextel Chirp” was an interesting concept executed nicely. Unlike the typical crunk or ass-shaking single, Maceo and his producer Fats take the time out on this track to explain the dangers of handling certain types of business on cell phones. Another stand out track is “On My Way,” a slow grinding song with a nice hook which allows Maceo to show his versatility on the mic. Unfortunately, some of the tracks can become redundant. The concept of “I Want,” with Bubba Sparxxx, has been done and overdone. Some of the tracks are wannabe “Thug Holiday”s, where Maceo reflects on everyday life in the hood over some smooth shit. Nice idea, but there’s too many of those tracks on here. And when the concept isn’t working, producers Fats, G-Fresh, and Willy Will’s beats aren’t helping either. At times they sound like really bad rip-offs of established Southern producers, looping the same simplistic drum patterns over and over again. During the bright spots on this album, Maceo shows flashes of greatness. But overall, he’s overshadowed by a lot of clichéd song concepts, uninspired production, and sometimes, simple rhyme patterns. - Willie Fields