{mosimage}I had no idea that N.E.R.D. was dropping an album today until a friend of mine had told me about it yesterday.  I woke this morning and placed “Seeing Sounds” on; I was completely blown away by the beautiful blending of vocals of Pharrell Williams and Shay Haley and Chad Hugo’s production.  There’s no other group out that is hardly as eclectic as these two Virginia natives, and “Seeing Sounds” is definite proof of this statement being so true.  The song, “Everybody Nose” instantly bangs through my stereo and is extremely reminiscent of production of hip-hop when it was in its Golden Age (1988-1996).  This song is definitely something that you should add to your “Get the Party Started” play list on your iPod because it will for sure get your ass up and ready to hit the club. 

 “Seeing Sounds” is only 12 songs, and will have you wishing that it was 24 tracks longer by how complete and great it is.  This album has something for everyone’s musical pallet; “Anti-Matter” and “Everybody Nose” for the hardcore hip-hop heads, “Yeah You” and “You Know What” for the soulful cats, and “Spaz” for the rock fans.  The eclectic level of “Seeing Sounds” is damn strong enough to have music fans of all different genres to be able to find songs that will fit their personal preference.  “You Know What” being one of those truly feel-good songs has the power to have to nodding your head for the 4 and a half minute vacation to a musical utopia of peace that it takes you to. The smooth guitar and synth production and dramatic bass line in complete unison placed together with Pharrell’s contagious vocals and lyrical content, “You Know What” compliments “Seeing Sounds” completely.  Another song that you can add to that “Get the Party Started” play list for your “getting ready for the club” mood is “Laugh About It.” Pharrell’s vocals over the party-driven beats of Chad Hugo on this song makes you feel at ease with whatever is stressing you in your life; it has that element to bring the most stressed day into an ideal one.

By far every song on “Seeing Sounds” is great, but there’s something so incredible about “Sooner or Later.” The breakdown at the end of “Sooner or Later” is so dynamic that you feel invigorated by how talented all three of N.E.R.D.’s members are; a near seven-minute musical wonder it is for sure!  Who would have thought a song about an annoying person sending you text messages and calling you all day could sound so smooth?  Only N.E.R.D. on the song “Yeah You!”

Unlike most albums nowadays where you’ll buy an album with 15 songs and only 3 will be good, “Seeing Sounds” by N.E.R.D. will not be disappointing at all!  Go cop that! NOW!  “Seeing Sounds” blows most currently-released albums out of the water with its complete and utter sheer explosiveness of talent.  This damn album will be in heavy rotation for a long time.

The Grouch is a member of the California crew ‘The Living Legends’. He has said to have brought ‘a marvellous masterpiece’ to the underground world of hip hop. The California based artist produces his own tracks as well as raps which is something we don’t see often in underground hip hop, he also puts the music out there without a label, so The Grouch is really iconic to other underground artists. He may not have had the greatest publicity when he first began, as he used to sell tapes on the street. However this iconic status was achieved through hard work and respect.

The Grouch has hooked up with friends and associates to appear on the album ‘Show You The World’ which is dedicated to his daughter. There are quite a few guest appearances on the album with the likes of MURS, Raphael Saadiq, Abstract Rude and Scarub, with each of these artists lending their vocal skills.

We have already had a taste of what’s to come with his first unofficial street single off the album titled ‘Artsy’. The Living Legends member has created a video which has flooded message boards across the net. The track is well produced with catchy beat, and The Grouch deliverers a very chilled out hook. This tone and mood is repeated throughout the album with tracks such as ‘Yardwork’ and ‘Mom & Pop Killer’ and ‘Never Die’.

Living Legends label mate MURS is present on the street and club banger ‘The Bay To L.A.’ The duo rap viciously throughout the album, resulting in this being a more commercial up-tempo effort. The Grouch collaborates with more Living Legends artists this time in the form of Bicasso and Scarub, in their uplifting track ‘Hot Air Balloons.’ This track has a very quick beat continuously keeping the listener addicted to the melody.

Overall the album is very diverse with it having many different sounds and vibes, which are constantly changing during the entire release. This gives the album a very fresh, summery, and chilled attitude. This album sets a great tone for the upcoming summer any no doubt contains tracks which, will be played over and over again.

Rating – 3.5/5

Here at HipHopRemix we try to review and show various types of hip hop music from the lackluster attempts of MIMS to Brother Ali’s innovational music tracks. Well today I am proud to announce Cava to the latter category. The soul singing music maker brings a new flavor to the hip hop community. A breath of fresh air coming from the Bay Area of San Francisco drops her debut album “Give In Let Go”.  If a comparison could be made for those have yet to hear Cava would be that of Alicia Keys but with (real) hip hop / jazz / and a futuristic style…which in the end cannot truly be described because it would not give justice to the music itself.

Labeled as singer/producer Cava doesn’t just sing good melodies with catchy hooks she makes great music PERIOD. The praises for this album can’t be said enough. Dropping on March 25^th from, get this, her own label – Cava Music Group. Cava Menzies sings and produces her soul shows it in music form. From the sultry voice in “Strides” and over the R&B -Jazz track of “Sorry” she shows just what good music truly is.

On the album titled track “Give In Let Go” featuring D.U.S.T. who fits perfectly with the innovative style that Cava brings to the table. D.U.S.T. who shows to be a South African MC holds his own with Cava dropping in between verses with hooks  will have you turning the track up and wearing out the repeat button.

Though destined not to be boxed in Cava gives us “Last Days” featuring indie hip hop rapper Zion which makes a laid back vibe asking the all important question, “If these are the last days of your life – what are you going to do to change? If this is all you’re living for – you better start today.” The keyboard in the background with the help of Zion will leave you in a trance.

Only 11 tracks deep, which consist of an interlude and a short intro is the only real short coming of this album. While this is her first album we can only hope and pray that we get more from this talented artist. One thing is for sure though before popping in this album make sure your repeat button is working because you WILL be hitting it more than once – which is rare in this industry.

For more information on Cava and her music abilities check out her myspace: http://www.myspace.com/cavamenzies

Indie hip hop has gone in only one direction – good music. Sky 7th can join the group of indie artist who are going away from the mainstream of money, drugs, women and just catchy hooks.  Being his first album release IrRealty Show is actually a play on words depicting what exactly reality truly is as displayed on tv. Listening all the way through there are several stand out tracks, but the transitions between each track is thing that gets this writers attention. So many times when I review an album you can tell the various producers involved within 5 seconds of the beat dropping.

A big fan of the QN5 and especially Decon production Sky 7th gets some help from the Villain on “Breathin’”. The laid back vibe of the track will definitely get you nodding your head and the rhymes will keep you rapping the rather simple hook of “Just Breathin’”.   Yet, don’t think the rather simplistic hook defines the track because then you’ll miss out on verses like:

“Everybody got a notion of what an emcee is

Tell me how to speak my piece and how to reach ‘em

Shut the fuck up its just me take it or leave it

 What’s hot in the streets? Ain’t really no secret

The play of poverty addiction conviction is twisted

Soundtrack the world you live in

I ain’t who I rhyme for no rappers rap

Real recognize real recognize the actors”

One stand out track though is “Everyday Struggle” which features Lou Sleefe (combined are Blueface) shows the production of Soulfresh is nothing short of a banger of the year. This gives hope to future collaborations between Lou Sleeve and Sky 7th as they go bar-for-bar.  Going with the trend of making music from the newbie to long time lover of hip hop Sky brings “Find Me An Angel” which features Rufus Troy and production to 5 Lyfe. While the singing may seem a little off it doesn’t take any less from the track where he spits from how he used to get into trouble to giving thanks to those angels that hold him down. Whoever has thought about their past “Find Me An Angel” will not only take you back but leave you nostalgic.

“Dirty Carpet” another banger shows off his house party-esque mentality in the form of the ol’ Kid N Play days.  This is another banger that as soon as the needle drops you need to put on blast. Yet, turning to "In Any Minute" you find the catchy hook that you can't help but rap out loud the next day in class and at work:

"If its a penny for your thoughts – whats a dollar for a dream?

Lost in a cause some are caught up in between

Thinking in the terms that the world were living

Right now – cuz it can end any minute."

Another feature with Lou Sleefe with some great production off 5 Lyfe is “Back Into The World” where as soon as the beat drops you can’t help but want to turn it up. Coming from nowhere Lou drops some heat where conspiracy theory meets hip hop with energy I haven’t heard in a long time since Immortal Technique.

Being the first album from this Midwest emcee is not just a great starting point for his career in the music industry but the ability to pick 17 tracks that slide through one another is a difficult task,  in today’s hip hop, only shows that he has what it takes to take it to the next level and I’m really looking forward to that alone.

Check out more at his myspace: http://www.myspace.com/sky7thmusic 

In his latest release “Sacrifice” Substantial doesn’t just spit some “dope rhymes” over “dope beats” – he takes life and becomes one with hip hop in its purest form. Just from the beginning “That Damn Good” he lets you know why exactly he is…THAT DAMN GOOD! Yet, it doesn’t stop there “Resurrection of the House Party,” he dedicates it on the hook:

“This is for my people that’s sick of the club // If you miss house party’s then give me some love”

Giving a reminisce to the old school Kid N Play “House Party” and makes you want to start imitating the dance off for a good time.

Yet, don’t try to put Substantial in some type of category because as soon as put on “My Favorite Things” you’ll be blown away how well he can hold himself with a smooth jazz in the mix.

“See an ignorant man made a statement that’s so wrong
When he said rap music is an oxymoron
True most of us don’t sing some curse when they’re rapping
Some of us use sample and others utilize scratching
But it’s still all music stop judging and listen
Some of the joints you don’t like were the best songs ever written
No genre that was conjured has accomplished what rap has
Filled with brilliant poets who you thought just rap fast
And that’s sad, only heard when using curse words …”

Of course being on the QN5 roster you can’t help but get some dope music and thanks to Kno on “It’s You (I Think)” Substantial drops on the bridge about a past love relationship, “

(It's like) we… Love to live and live to love
Oh how… tough it is to give it up
When there's… enough to get, can't get enough
And when it gets rough, you ask yourself, "Is this love?"

Yet it doesn’t stop with Kno on the boards (of course) you gotta get Tonedeff on definite banger “Spaticus (Spit 4 Spat)” and Deacon the Villon on slowed down joint “A P.G. Boy” but it’s Algorythm who puts in some great work in “U Can Get It” and let’s not forget “Sign Language” which features Extended Famm.

In the end Substantial doesn’t just go par for par – he’s knocking holes in ones each time he gets in the booth. While this is only the 2nd album from the Maryland emcee you know it’s nowhere NEAR the end but the beginning of this talented artist.

Get your fill over at his myspace: http://www.myspace.com/substantial  

Chicago's Lonnie Lynn has always sounded a little more mature than your average MC, even when he was a young guy spitting knowledge on debut Can I Borrow A Dollar under his original name Common Sense. 15 years later he's still delivering his positive rhymes over snapping beats and is generally considered one of the poster boys for grown-up rap. It's not that he's intellectual like Canibus or political like Immortal Technique- he's just articulate, thoughtful and in touch with his emotions.

After his experimental fifth LP Electric Circus met with a frosty reception, Common went back to the basics with his sixth record Be. Produced mostly by fello Chi town alumni Kanye West it stripped back the crazy musical soundscapes of Electric Circus to go for some just plain solid hip-hop. It's an approach they're repeating for follow-up Finding Forever, Common on the mic, Kanye on the boards.

Common's adventurous side isn't entirely gone- that's some highly unusual cover art for a major hip-hop release and the album begins with a languid, dreamy keys and drums intro- but when the first real song, Start The Show comes along, Kanye brings back the boom-bap and Common's steady, clear flow will put any rap fan at ease. The Game, which brings in DJ Premier to lay some classic scratches onto West's beat, is a breath of fresh air after all this computer generated snap music rubbish passing for hip-hop these days.

While old heads may love The Game though, they may not feel much else here. Initially uncomfortable with the audience of "coffee house chicks and white dudes" that his style of MCing was attracting, he now seems entirely comfortable with it and like Be, this is a record more for that crowd than the thugs. Outside of Start The Show, The Game and pumping guitar sampling Chi anthem Southside, where Kanye drops the only guest rap, the album is quite laid-back and low-energy.

That's not a bad thing though. The People is one of the first rap hits I've heard in a while that has a brain in its head musically and lyrically. It may be old hat now for Common to rap about the struggles of the streets but he does it so well over Kanye's highly enjoyable beat which alternates strikingly between a happy high synth and some buzzing low strings. It's followed by Drivin' Me Wild on which Lilly Allen makes an unexpected appearance to sing the hook. It's a difficult song to judge- the music is extremely repetitive and grating but there's something about that simple melody that's catchy all the same.

Easy accessible jams are this CD's forte however- the sweet, melodic tale of romance Breaking My Heart with some standout vocal sampling, the Will I Am produced laidback love song I Want You, the D'Angelo featuring So Far To Go posthumously produced by J Dilla which is perfect to put on for a special evening. As you see from those three tracks, ladies feature highly as a subject of Common's but never in the "I'm a finna fuck this ho" way rap is so infamous for. He's respectful and honest at all times. But does he still bring it lyrically? See for yourself.

"He had paper since we was in we was in high school
Pop was a doc, mom taught at my school
Lock with the rocks, in his ears he kept jewels
One of the Diddy types, da D-D-Dame Dash dudes
Pushed a Maserati Sport, readin' the Robb Report
Wanted to be Mike but he was never live at sports
Since golf is in he was on the drivin' course
To live the rap life is what he was strivin' for
Spendin' cash at the bar to get credit
Drinkin' Chaundon just because Big said it
They say Ye is but dude was big headed
Rocked the fur in the summer so somebody'd pet it
He had a fetish for shoes that's athletic
Pathetic on his MySpace page half nekkid
It's a shame what they do for fame and to be respected
Joe, you coulda got it if you never woulda stressed it"
-Drivin' Me Wild

"Know when to use a rifle and when to use a bible
You rap like you should be on the back of a motorcycle"
-Southside

"The ones that make it always ain't the talented
Some dreams get lost never to be found again
At first strippin' seemed so empowerin'
Most every girl wanna do it now and then
But bein' meat every day is devourin'"
-Misunderstood

Speaking of his lyrics, he's copping some flack for referencing everything from Lance Bass to OK Go- isn't that stuff a bit white/lame for rap? Well it's like when Jay-Z collabed with Chris Martin – some will see it as rap expanding its horizons and forgetting the little ghetto/gangster poses it refuses to move on from, some will get uncomfortable at the lack of bitches and blunts. If you want to keep it hood, Common was never your thing anyway so go buy a Crime Mob album or something.

The album finishes with two real winners. Misunderstood's lyric of troubled people turning to god over Devo Springsteen's dark Nina Simone sample is a deep, reflective listen. The light comes shining in for final track though, Forever Begins. Over an exhilirating, joyous beat from Kanye which surges to an ecstatic chorus, Common contemplates mortality and reaches the conclusion that the only way he can live forever is through his music. And as is tradition with Common albums, his father turns up with a poetic spoken word piece to close the album in his magnificent, rich, worn voice.

Still talking smack like a pro over a rocking beat like Start The Show or Southside and still presenting real values and beliefs on more unconventional fare like Forever Begins, Common remains one of rap's treasures. It could be argued that the record is a little soft or that it's a retread of Be but for the oft neglected fan of mellow rap, or those who are interested in hip-hop but not the offensive content it's often hand-in-hand with, Common has made another record well worth purchasing.

HHR: Aight man for the people that don’t know how did you get the name “Lunch”? 

Lunch: It actually started out as a joke when my cousin accidentally called me Lunchmeat. That was back in the day when you’re trying to figure out your name. As I started getting older and started becoming me and I took the meat off and just become Lunch and started serving cats. Like its time for lunch.  

HHR: You’re the general in homeless nation – what it exactly is that?

Lunch: We put it down for awhile in Southern California – I’m the leader I keep everything stabilized with the whole crew. Lunch – Gambit – J Walq – Dirty Bird – Diamonique – Yun A day – Sage – Duke – Shorty Mo’ – Big Steele and Fingazz. It’s kinda like a west coast Wu Tang. We are like individual artist but we come together to form like Fultron.  

HHR: You opened up for KRS1, De La Soul, and Big Daddy Kane – were you ever star struck?

Lunch: When I was younger…I wasn’t star struck I was excited to meet the different artist I grew up to. But at the same time I was looking from analyzing point of view like what did they do to get where they at. How did they get there and what moves their making because I know I’mma get there. 

HHR: Where there any stand-outs? 

Lunch: Actually to be honest – I take pieces of everyone I meet and try to add it to your reportire.

HHR: You’ve had some nice collabo’s man…any of them make you step your game up?

Lunch: Style P I liked his verse a lot. He had heard mine and he dropped his. I reanalyzed it over and over again. I gotta make sure I keep mine on point.

 HHR: Growing up, who had the most influence on you? 

Lunch: Of course Pac, Biggie, but also Trench from Naughty by Nature. I don’t think he gets the credit he deserves. He had me doing push-ups and everything and …I’m a big fan of Naughty by Nature and that affected my style. Like be yourself – like Treach would be doing treach…and Ice Cube of course.

HHR: MTV just gave their top 10 MC’s. Lil’ Wayne got #1 – your thoughts? 

Lunch: He’s doing his thing. He’s grinding right now. For right now? The way I look at it you gotta have those hits, those cold albums, and have those mixtapes. That’s how I look at it. My ranking it would’ve been switched up but Lil Wayne is banging right now.  

HHR: Whats your top 5 right now? 

Lunch: Me, Hov, 50, Eminem, Luda, and T.I.  

HHR: Coming out of the West must play a major role but how does repping IE play in the struggle to get your music heard? 

Lunch: It was a big struggle because we don’t have any history so we don’t have any credibility. It’s not Watts, its not Long Beach it’s not Compton its like you gotta prove yourself all over again. We also don’t have a category so they don’t know how to categorize it. That’s where Homeless Nation came about. I’m not a gang banger – I never gang banged before. So when I tell ‘em its Lunch and Homeless nation its why we hungry because we aren’t categorized. 

HHR: On another interview – allhiphop you said that: “the west has been dead for a long time” – why do think that?

Lunch: Our business structure. I don’t think we adjusted to the new form of doing business out here. Another thing the OG’s putting it down for awhile I don’t think they filled the spots for the new cats. They just left it open. Cats from other areas filled the spots and we never filled the spots. A lot of South / East coast cats started doing West coast music and filling the spots. So West coast market started going towards their market because they were filling the spots. I just think the OG’s could’ve done a better job of filling the spots when they were sitting out.

HHR: You think the West is coming back? 

Lunch: Yeah, it’s definitely coming back. The new west is coming up. We have a whole different mindset. At first I didn’t think so but honestly I’m dealing with a lot of cats and our mindset is totally different. I’mma lay blue print the right way to do it this time.

HHR: On the new project being release August 14th….

Lunch:….Pushed back to September: Heart of a Lion – its hip hop classic. This album will make the West set a standard for the new west. I just feel we doing too much like singles and cats aren’t doing albums.

If I buy a new pair of shoes I’mma put my whole outfit accordingly to those shoes. I’m not going to put on some bebe and a polo shirt like it’s the new thing to do. I’mma structure around the outfit that’s what I did with the album. This album Heart of a Lion will witness my struggle.

HHR: Does it have any guest spots?

Lunch: I kept the whole album home based. Basically it’s me and my crew: homeless nation. With this album I wanted to be on my own two feet. I didn’t want to depend on anyone to make my success. If I fail its on me – if I succeed it’s on me. One of the stand out tracks for me is the title of the album it speaks on my actual struggle. I had this disease caked lupus where it attacked my kidneys and I almost died 4-5 times growing up as a kid. That’s why I called its heart of a lion because I’ve been through a lot and I’m still here living and God has blessed me.  

HHR: I appreciate the time – any last thoughts from Lunch? 

Lunch: I shout out my new video on youtube – They Don’t Like Me. I’m the new west – a new sound. The reason we putting the new is because we doing it all new. I just hope everyone likes it because I ‘m coming hungry that’s why they called Lunch!

You can peep more at his myspace at: http://myspace.com/LunchDaGeneralhn

They Don't Like Me Video: 

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Slated for a 9/18 release, thats a week AFTER the G-Unit General release date. By the production tip looks like Mobb Deep fam was the only one really involved.

The tracklisting for Havoc – The Kush:

THE STORY SO FAR: 2001. Georgia's Clifford Harris is signed to Arista and has to change his rap name TIP (Thug In Pain) to TI (Thug Imperial) to avoid confusion with then-labelmate Q-Tip. From his debut I'm Serious to 2006's King, he performs a rare feat in rap nowadays, selling more records with each release. Scooping a couple of grammys and being called King Of The South (mostly by himself detractors would argue), life would seem to be peachy for TI.

Except the 26 year old is not all that happy. He's getting tired of rap. His best friend Philant Johnson was shot dead in an altercation last year. And he feels like all his recent Hollywood success is betraying his street heritage. Hence his fith album, TI vs TIP is a concept record, split into three acts. The first sees TIP, the long buried pre-fame street thug taking over, the second sees smooth, rich, wealthy TI giving his side of the story, and the two slug it out in the third.

Even though TI is far from the most lyrical or artistic rapper around, this was an exciting idea with plenty of potential, a sort of prog-rap record. The problem is though that this falls flat dead as a concept record because Harris simply doesn't commit to it. Aside from the mini-tracks that introduce each act, it's only really addressed on a single track, Respect My Hustle. The rest of the time he's just shit talking as usual- TI and TIP repeatedly express the exact same sentiments. It's like Harris thought the ideas was a great one at first but got tired of it and abandoned it as recording/writing progressed. Sure, the TI act is a little glossier than the TIP act but that's it and it's pretty weak given all the hype. As for the showdown, they just shout obscenities at each other before concluding with "Fuck you nigga", not the slightest interesting insight or conclusion reached.

Oh well, I thought this might be the case as TI never struck me as being the one who'd produce hip-hop's The Wall. There's still hope for it to be a decent piece of urban pop, which it is. Mannie Fresh's boiling hot beat for Big Shit Poppin', laced with exciting electric guitar is just what you need to get the head bobbing. You also can't go wrong with Just Blaze's Help Is Coming, an album standout thanks to the indescribably adrenalizing church-organs that build dizzingly over the urgent beat. TI's topic, boasting that he'll single handedly save the commercially flagging rap game, seems a bit hard to swallow- til you acknowledge that good or not, TI vs TIP went just sort of gold in its first week.

TI's guest list would've been pretty extraordinary five years ago- Wyclef Jean, Jay Z, Eminem, Busta Rhymes and Nelly. Wow, now there's some selling power, although every single one of them is arguably past their use-by date. Some do a fine job- Busta Rhymes has his exhiliratingly unpredictable flow back on Hurt, which also features a decent verse from a young Atlanta rapper called Alfamega who TI is helping bring up. Hurt is probably the best street track on the record- a hard, relentless banger from Danja that doesn't fuck around.

Other guests are a bit in the middle- Jay Z's guest on the slightly lazy sounding Watch What You Say To Me is alright but the track isn't the powerhouse it should be. Wyclef Jean produces two tracks and guests on both. His best beat is You Know What It Is, the definition of cocksure, though his vocal of Jamaican patois ad libs adds little to the track. Jean's second track is My Swag, which is slow and weak, TI boring all to tears with his "I got lots of money drivel." Nelly's track, Show It To Me, continues the St Louis MC's trend of appearing on music that you hate yourself for liking- big cheesy horns and great staggered percussion bring this track to life and it's undeniable feel good music.

At least one guest flops hard and surprisingly (or not- there's been talk for a while now that he's had it) it's Eminem. In fact it feels like a sign of the end times to see thug/drugs/slugs MC TI rap a circle around Eminem but he actually does on Touchdown. Eminem produces a horribly tinny beat with more of those farty little Casio synths he loves to use and he sounds medicated, his flow and lyrics are so off. TI on the other hand gets his swagger on and shoots shots at Oprah Winfrey's famous anti-rap stance.

What about when TI's rapping by himself? Well, I've certainly heard worse than him but the guy doesn't have what it takes to hold your attention for 73 mins. He talks over and over and over about the same topics. I'll fuck you up if you cross me. I sell drugs. I fuck bitches. I have lots of money. Repeat over and over and over. When he raps quickly as he does on the snippets that introduce the different acts his flow is impressive but lyrically he never even gets off the ground. Witness this You Know What It Is excerpt:

"Well from the King of the South to the King of the States
Riding in a car you probably never seen in the States
No idea how much yay I can bring in the States
You can get 100 on it for a million a day
Frank Lucas ain't the only one to make a million a day"

What is it with this rhyming a word with the same word thing that keeps popping up in recent hip-hop? I swear no one ever did this and lived to tell about it until our present decade. Anyway.

When TI doesn't have a hot beat (as on the tiresome Raw) this album is sleep inducing. But when he does (Danja coming through again with striking use of backing vocals on Tell 'Em I Said That) it's a good undemanding hip-hop listen. Not the event it looked like being, TI vs TIP will give you something to play at the pool party this summer but not much more.