Beenie Man
Motion Man
Glue

Rating: 2.5/5
This may be Defari’s third album, but to many, this is an introduction. The spreadsheet reads like a winner; a self-describe lyricist flowing over beats from an A-list selection of producers. The result can only be described as less than impressive. Street Music is nothing more than a decent effort and an uninspired product.

Most of the songs on the album can be best described as boring. The beats sound like they were all made in a bedroom, and lack any kind of inspiration. This is another one of those records where everything sounds mailed-in. As for Defari as an MC, there is not much to say. He mistakenly thinks it’s enough for him to proclaim his skills, instead of displaying him. After listening to an hour, I couldn’t tell you anything he said. The hooks are just terrible; they probably couldn’t catch a guppy. The album has a couple of decent tracks; notably the Alchemist produced joint, ‘Make My Own’ and ‘The Bizness’. These songs are actually worth a listen, and they hint at what could have been.

At the very best, Defari is a third member in a decent hip hop crew. Only fans should look for this record, strangers should keep away.

- By Juan Torres
As seen on YoRaps.com

Rating: 4/5
For years Kelis has been under the mainstreams radar, only emerging every once in a while with a catchy hit or a pop hook. All the while, Kelis was putting out some of the best R&B/Pop music in the last ten years. Her eccentric persona put off the masses, but earned praise from critics and open-minded listeners. Much of this success can be accredited to hit makers, The Neptunes, who found and shaped Kelis from the beginning. Now, she is at the top of her career, and with one of the greatest MCs, Nas, in here corner she is more confident than ever. This brings us to here latest album, Kelis Was Here, which is in many ways a rebirth.

On Kelis Was Here, Kelis frees herself from The Neptunes. Amid feelings of being held back by Pharrell, she decides to go it alone. Thanks to her previous work, she has plenty of clout and picks from top tier producers such as Swizz Beatz and Salaam Remi. The result is an album that knocks a little harder, at the expense of some catchy tunes. This isnt necessarily a negative; its nice to see Kelis moving in a new direction, while turning away from a working formula. Lyrically, Kelis is always on point. She remains the sexiest diva in music, and Ill argue that with anyone. While Beyonce can entice with moves and curves, Kelis teases with the dirtiest lyrics, followed by the sweetest lullabies. She is not easy to figure out, and thats how she likes it.

Once again, her most interesting track is her single, Bossy. After she wooed everyone with Milkshake, she lays down the law with this track, further cementing her status as the industries baddest chick, regardless of who is or isnt locked up. She brings Nas in for Blindfold Me, which is self-explanatory. While the album is a sonic departure from the light Neptunes sound, it doesnt hurt Kelis as a performer. Kelis Was Here is a trip through different genres and even more taboos. Definitely worth picking up for any fan, and worth a listen for anyone who is curious.

- By Juan Torres
As seen on YoRaps.com

Rating: 4/5
For years Kelis has been under the mainstream’s radar, only emerging every once in a while with a catchy hit or a pop hook. All the while, Kelis was putting out some of the best R&B/Pop music in the last ten years. Her eccentric persona put off the masses, but earned praise from critics and open-minded listeners. Much of this success can be accredited to hit makers, The Neptunes, who found and shaped Kelis from the beginning. Now, she is at the top of her career, and with one of the greatest MCs, Nas, in here corner she is more confident than ever. This brings us to here latest album, Kelis Was Here, which is in many ways a rebirth.

On Kelis Was Here, Kelis frees herself from The Neptunes. Amid feelings of being held back by Pharrell, she decides to go it alone. Thanks to her previous work, she has plenty of clout and picks from top tier producers such as Swizz Beatz and Salaam Remi. The result is an album that knocks a little harder, at the expense of some catchy tunes. This isn’t necessarily a negative; it’s nice to see Kelis moving in a new direction, while turning away from a working formula. Lyrically, Kelis is always on point. She remains the sexiest diva in music, and I’ll argue that with anyone. While Beyonce can entice with moves and curves, Kelis teases with the dirtiest lyrics, followed by the sweetest lullabies. She is not easy to figure out, and that’s how she likes it.

Once again, her most interesting track is her single, “Bossy”. After she wooed everyone with “Milkshake”, she lays down the law with this track, further cementing her status as the industries baddest chick, regardless of who is or isn’t locked up. She brings Nas in for “Blindfold Me”, which is self-explanatory. While the album is a sonic departure from the light Neptunes sound, it doesn’t hurt Kelis as a performer. Kelis Was Here is a trip through different genres and even more taboos. Definitely worth picking up for any fan, and worth a listen for anyone who is curious.

- By Juan Torres
As seen on YoRaps.com

Movements are as much a blessing as a curse. On one hand, they can bring mass appeal to your scene and region. This means eyeballs and dollars for you and your boys. There is a drawback, with that kind of attention comes a thinning and cheapening of the culture. Eventually people get tired and move on to the next thing. Some cats who once had fat pockets, are left in the dust. It’s the heads who can think and plan ahead that have the best chance to prosper in the industry. Beeda Weeda is one of those heads. Yes, he can rap, don’t sleep on that, but he has bigger plans in mind.
Read more here.

Rating 2.5/5
Ever since it’s inception hip-hop has been associated with drugs. This music was created in some of shadiest parts of the cities, the types of places most people rather not drive through. For a lot of the less fortunate, one of their only options seemed to be the drug game. For decades drugs have been the downfall of minority and inner city residents, and that has always been reflected in hip-hop. Let’s go back to 1982, when Grandmaster Flash & the Furious Five told of the dangers of cocaine in the classic “ White Lines”. Fast forward some 25 years later, and cocaine is still at the center of hip-hop. Just this year, we have had two major releases that focus entirely on this drug, Ghostface Killah’s Fishscale and Rick Ross’ Port of Miami. On the heels of these albums comes You Can’t Sell Dope Forever from the Dead Prez & Outlawz, an album whose entire purpose is to refute the fallacies of the drug game.

For years, Dead Prez have been the epitome of social hip-hop; they usually have something to say, and they usually say it very well. Unfortunately, their overall impact is stretched a little too thin on this album. I understand that this isn’t a Dead Prez album, it’s a collabo project, but I really don’t want to anyone else on a Dead Prez disc. When you get down to it, the Outlawz aren’t as strong as Dead Prez, and that brings the whole project down a bit. The album can best be described as mediocre, all around. Decent beats, decent raps, only the single “1Nation” stands out. The disc is also a bit short, clocking in at just under 40 minutes, but maybe that’s a good thing; the album was a little too preachy. Nothing about this record got me especially excited, it’s not terrible, but it’s not good either.

I understand the dangers of the drug industry, but I know that many are still dazzled by the lies perpetrated by some of these players. The concept of the album is certainly commendable, especially in today’s climate. But the fact is, I’d rather listen to Ghostface measuring the stuff than this album. It always has to come down to the music, and this album just doesn’t have it.

- By Juan Torres
As seen on YoRaps.com