Big Quarters: From The Home of Brown Babies and White Mothers (Album Review)

On the chorus to “Good Look,” brothers Medium Zach and Brandon Allday of Big Quarters rap: “Independents made ground/ Industry breaks down/ What else are you coming with?/ It’s not grinding if it don’t feel like punishment.” Minneapolis’ Mexican-American hip-hop duo is a quintessential example of the new wave of creativity in indie hip-hop marketing. The group has gained notice by continually grinding, self-promoting themselves through an innovative ‘BQ Direct’ system — giving their fans five new tracks monthly. Now, they return with their sophomore full-length album, From the Home of Brown Babies and White Mothers.

The album’s strength rests in its production. Medium Zach crafted most of the beats on Brown Babies, and can transition effortlessly across several styles. From the heavily syncopated opener, “Newborn,” to the sample-heavy “Prom Mrs.,” to the festive, horn-dominated “Free Shipping,” Zach has clearly been honing his abilities since the last album, Cost of Living. However, the absolute gem of the album in terms of production is the subdued “All Day Long.” On typical occasions, it is a listening nightmare to try to navigate as many samples and instrumental overdubs as Medium Zach included in that beat (vocal samples, piano, multiple synths, guitar, and more) but in this instance every layer blends together beautifully.

Though the production is the highlight of the album, this is not to say that the rapping is pedestrian. Brandon Allday’s often slow rhyming can grow tedious at times (see his verse on “Barter System”), but while he doesn’t deliver many jaw-dropping verses on the album, he almost always comes through with clever one-liners (“In the office like Ricky Gervais,” or “My Northern slang overhang like a Yooper”) or heartfelt confessions (“I’ll stop burning flags when you cops quit harassing me, don’t know when that’ll be”). In the end, both members of Big Quarters succeed lyrically with honest, personal, levelheaded lyricism. You won’t hear much boasting on Brown Babies; Big Quarters let the music speak for itself.

There are also a handful of guest appearances on Brown Babies, all from Minneapolis artists. Crescent Moon kicked one of the album’s best verses in his guest spot for “Wipe The Dust.” P.O.S. dropped some surprisingly disappointing non sequitur on “One On The Lip,” which was a letdown mainly because of the consistently superb quality of his work as of late. Alissa Paris and Atmosphere backup singer Mankwe Ndosi both contribute pleasant choruses. Lastly, M.anifest sung backup vocals for “Ladies Know,” although it would have been nicer to hear him rap over the Mux Mool produced beat that sounded tailor-made for the smooth Ghanaian emcee.

As a whole, Brown Babies is one of the most consistent efforts of the year. Through both the lyrics and the production, the album maintains continuity throughout, all with an uncompromising theme of grassroots work ethic. Medium Zach and Brandon Allday may have punished themselves through nonstop grinding, but their final product was one of the best local releases of 2009 thus far.

Bonus: “Barter System” Music Video

Kero One: Early Believers (Album Review)

San Francisco rapper/producer Kero One became an overnight sensation in Japan in 2003, when a song of his was played at a club and spread like wildfire. Since then, his music has made its way stateside, and he has received significant praise from artists and fans alike. Now, Kero One returns with his sophomore LP, Early Believers.

Kero One is, for better or worse, hip-hop’s Burt Bacharach — easy listening to the core. Nearly every song on Early Believers sets the perfect mood for any sunny summer day. “When The Sunshine Comes,” “Let’s Just Be Friends,” and “Love and Happiness” are a few song titles that help reinforce the notion of “easy on the ears” hip-hop present throughout Early Believers. There are no in your face battle raps or diss tracks to be found here. Although that’s not necessarily always a bad thing, Early Believers can get a little too overbearing in its joviality.

It should be noted that Kero One can flow, too. With a voice eerily reminiscent of Del Tha Funky Homosapien, his laid-back rhymes can be defter than it seems. On “Welcome To The Bay,” Kero One provides a thorough and skillful assessment of his hometown and upbringing. “Stay On The Grind” typifies the “do it yourself” mentality that Kero One has used to approach his music throughout his career.

Overall, Early Believers is a fun, mellow album. It may only be enjoyable to listen to on situational occasions, but what album isn’t? Kero One is probably just as influenced by his surrounding as every other rapper. It’s just that he doesn’t have as many tales or hardship or struggle embedded in his music, which is why Early Believers is an album to listen to when you want to lift your spirits (or go lie down in the sunshine).

F. Stokes & Lazerbeak: Death of a Handsome Bride (Album Review)

Expectations can be treacherous and unpredictable when listening to albums for the first time. In today’s Internet age, many rappers can hardly eat lunch in public without appearing on YouTube only hours later; this 24/7 barrage of media constantly shapes our opinions of musicians. Needless to say, rarely do our personal biases not influence our initial reactions to artists’ new music. So, it’s a refreshing situation when, as a “critic,” an album can be judged solely on the merits of its content. I was able to do this with Chicago rapper F. Stokes and Minneapolis producer Lazerbeak’s recent collaborative EP release, Death of a Handsome Bride.

It’s clear from the EP’s opening song that F. Stokes is unabashedly honest in his songwriting. The a cappella track, “Too,” assess some of the social handicaps Stokes has had to deal with (“Too skinny, too fat, too black, ain’t black enough”; “Offspring of a dope head”). The track transitions into “Jeremiah,” another one-verse opener on which F. Stokes effortlessly rides a bouncy, soul-sampling beat from Lazerbeak and raps about the problems of being an African-American in modern society. “Fresh out the womb, got penitentiary memberships,” he raps, criticizing our country’s criminal justice system. Lazerbeak offers up an absolute gem of a beat for “Hang On,” a track on which F. Stokes kicks knowledge about the struggles of inner-city living, notably the omnipresent conflict between living legally and doing what’s necessary to make ends meet (“My niggas be hustlin’/ trying to get that bubble Benz,” and “Them Chi streets cold, when your baby need clothes”).

These conflicts dominate the thematic landscape of Death of a Handsome Bride. F. Stokes’ lyrics tiptoe the fine line between the blues and gospel impulses. Some tracks are all about acknowledging the burdens that dominate our lives, and finding some way to deal with those pains (“Pretty Shit” evaluates the vicious cycle of domestic violence in relationships). Other songs concern unification, community, and finding ways to overcome life’s difficulties and issues (“Blessings,” on which Doomtree rapper Mike Mictlan lends a nice verse, and “So Into U”). In the end, though, F. Stokes reminds us that the dichotomy between blues and gospel, pain and joy, isn’t as separated as we believe. His opening lines of “Hang On” help to demonstrate that concept: “Who would have thunk it?/ The kid who sold crack for Dunk kicks/ Would get his opportunity and punch it out the ceiling/ And it didn’t take an A&R or labels frontin’ millions/ It’s motivation for my nappy-headed ghetto children.”

The EP does have its knocks, however. Clocking in at less than 30 minutes, Death of a Handsome Bride is over when you are just starting to get an understanding of who F. Stokes is. Minus the opening a cappella, which doesn’t have much replay value, and the bizarre, electronic “Tickle Me Mars,” the EP’s song selection runs thin at times.

Nonetheless, Death of a Handsome Bride is a testament to the determined, “do it yourself” mentality in underground hip-hop. F. Stokes deserves praise for his introspective and forthright, yet still evocative lyricism, and Lazerbeak once again validated himself as the one of the best producers in hip-hop that no one knows about. Death of a Handsome Bride shows that listenable, thought-provoking hip-hop is out there, it just might take a little extra work to discover.

Kanye West: 808s and Heartbreak (Album Review)

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Author’s Note: I understand that this review is inexcusably late, but I’ve been short on free time, so deal with it. I still had to write it, if anything, for myself. Not to mention the album merited multiple listens before rushing out a review. But since you’ve all surely heard it by now, it will be more conceptual, and less of an objective song-by-song breakdown. Enjoy!
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Outside of one dreadlocked Southern rapper, Kanye West (aka “The Voice Of This Generation Of This Decade”) has rapidly become the most polarizing figure in hip-hop. Initially known for his trademark sped-up soul samples and lighthearted, sarcastic lyrics, Mr. West has delighted fans over the past five years with a timeless classic album (The College Dropout) and two other standout, innovative hip-hop releases (Late Registration, Graduation). Recently, he irritated fans by hastily creating a predominantly sample-free, predominantly rap-free, “emo” recording, 808s and Heartbreak.

But who could blame him? In the past year, Kanye has experienced some legitimately heartbreaking turning points in his life. His mother tragically passed away due to complications from a plastic surgery operation, and he broke up with his long-term fiancé. 808s is West’s emotional response to those events.

Gone on this album are Ye’s trademark celebratory laments about “The Good Life.” Instead, his lyrics, sung completely in auto-tune (yes, that auto-tune), touch on topics of self-loathing, despair, hate, frustration, and loss. Also gone on 808s is the luscious production that isolated Kanye as one of hip-hop’s premier beatmakers. In substitution is an often cold and robotic musical backdrop, characterized by West’s sole use of the Roland 808 drum programmer.

That is not to say that the production on 808s is lacking. In fact, the production is the unifying factor of the album. Auto-tune or no auto-tune, Kanye is, by any means, a poor singer. It is his evidently perfectionist approach to the beats on 808s that hold the album together. Songs like “Welcome To Heartbreak,” “Heartless,” and “Paranoid,” are highlights because, although entirely synthesized, they have thick, layered beats. Another strong point of 808s is the infectious hook and groove of “Amazing,” a last standout song.

The album also has an intriguing progression to it. The album begins with “Say You Will,” on which Kanye seems to be in disbelief about his romantic break-up. “Welcome To Heartbreak” exhibits Kanye’s distress about not having a consistent love in his life. Then he begins to cope and move on. The jaded side of Kanye is exposed on “Love Lockdown,” while he sounds accusatory on “Paranoid” and “RoboCop.” (On a side note, the term “RoboCop” is sure to begin to be used by men with demanding girlfriends everywhere.) On “See You In My Nightmares,” Kanye belts, “Tell everybody that you know / That I don’t love you no more!” Then, on the closing track, “Coldest Winter,” Kanye questions whether he will ever love again. Kanye has claimed that the creation of 808s was “therapeutic” for him. This full circle of themes and emotions summarizes Kanye’s coping process.

The real issue regarding the success of 808s is simply asking: “Did it work?” The answer is both yes and no. One of the overall lessons to be learned from 808s is that Kanye could have made this album by rapping, which he is far better at than singing. Kanye’s lyrical abilities are often criticized, but the reality is that he is not that bad of a rapper. In the past, he has been able to successfully tackle weighty topics in his songs (“Through The Wire,” “Family Business,” “Hey Mama,” among many other tracks). With his decision to sing, Kanye was not able to utilize clever metaphors and allusions (“Homecoming”); alternatively, on 808s Kanye sounds vengeful at times, ruthlessly attacking and criticizing his ex, who has no celebrity status with which to mount a response, let alone defend herself.

The production, assessed as a whole, is good — nothing more, nothing less. Kanye, once again, chose to step out of his comfort zone, and craft an entirely foreign-sounding record with 808s. Though admirable, and somewhat innovative at times, the music on this album is not typically superb Kanye material. There is no reason to believe that a relatively experienced producer with Logic Studio and a keyboard couldn’t craft similar beats.

808s and Heartbreak will be heralded by many as another classic album from Kanye West. Others claim that it is, to put it delicately, a “shit sandwich.” The truth is that it is neither. 808s was an album that Kanye was bound to make sooner or later. It is neither groundbreaking nor boring. It is neither phenomenal nor terrible. It is a solid non-hip-hop album from a hip-hop artist who commendably chose to do what he wanted to do. And if you really hated it that much, don’t worry, Ye has claimed he’ll be back to rapping for another album to be released in the summer of 2009.

Rating: 7/10

Illa J: Yancey Boys (Album Review)

It is important to differentiate between theory and actuality. Theoretically, Illa J had one of the most intriguing and appealing records of the year. His recent debut release, Yancey Boys, paired the singer/emcee up with long lost instrumentals from his older brother, who just so happens to be the late J Dilla.

Dilla was working with the Pharcyde for their 1995 album Labcabincalifornia, but many of the leftover tracks ended up collecting dust. The legendary producer had some old, unused beats sitting around at the Delicious Vinyl establishment. Enter Illa J. The artist relocated from Detroit to California, took those beats, and started working on Yancey Boys. The big question was whether the conceptually strong album could materialize into a solid finished product.

“Timeless” is the album’s first track, and features a contemplative Illa J crooning over Dilla’s smooth piano loops and deep baselines. The lead single, “We Here,” is a celebratory track also featuring Illa J’s first rap of the album, and he manages to impress with strong wordplay and diction. The second single off Yancey Boys is “R U Listening,” featuring Guilty Simpson. The Detroit spitters successfully represent for the 313, and all of the Motor City, on the album’s best track.

However, the album begins an unfortunate decline after that opening trio of songs. The problem is that Illa J’s songwriting has no build-up, no progression. His lyrics can be likened to a dog running in circles, chasing its own tail. There may be occasional illusions of progress, but in the end, it's just not going anywhere.

Take the chorus on “Swagger,” for instance. Illa J sings, “Yes I’m a singer slash rapper / And I does my thing / And yes I swing my bling / It ain’t related to the music / And yes bees they sting / But I love smelling good, yes I do, ‘cause that’s what I do.” These nonsensical lyrics plague the remainder of the album. Not to mention an additional guest appearance from Affion Crockett (Word?).

Not too much time should be dedicated to dissecting the production on Yancey Boys. This is Illa J’s album. But, for as underappreciated as J Dilla was while still alive, he was sure ahead of his time. These beats were crafted in the mid-nineties, yes they sound as polished and contemporary as anything coming out today. J Dilla’s work is, as expected, simply superb.

Yancey Boys is a great album to bump on a summer afternoon; the kind of situation where you aren’t too invested in the lyrics, and can just vibe to the musical backdrop. Would this have been a predominantly listenable album without J Dilla’s production? Likely not. The foremost issue with Yancey Boys is not that Illa J lacks talent. He surely has the capacity to be a gifted and versatile artist. Despite that, it is clear that he has not utilized his many faculties to the fullest extent. Yet, if given time, he may evolve to be a prominent singer/rapper in the music business. So, even though Yancey Boys was not as tremendous an album as it was theoretically, Illa J is an artist to check back on in the future.

Rating: 5/10


Bonus: Illa J performing at Fat Beats.

Black Milk: Tronic (Album Review)

I reviewed Black Milk's latest album, Tronic, for The Badger Herald, and the article was published today. If you're interested in learning more about the album, hit the link below to jump to the review. As mentioned before, I can't cross-publish these sorts of things.

Black Milk: Tronic Album Review

eLZhi: The Preface (Album Review)

Since the late 1990s, eLZhi has been a monster in the Detroit hip-hop scene. With a slew of underground guest spots, mixtapes, and his work with the group Slum Village, eLZhi’s dues have officially been paid. Yet, outside of his home city, eLZhi’s solo career has not received the same level of attention that his skills merit. He seeks out to change that with his first proper solo album, The Preface.

eLZhi unabashedly lets it be known on the album’s opening track, “Intro (The Preface),” that he’s trying to show the people “what a classic is.” This bold claim may sound farfetched, but any skepticism should be quickly erased once eLZhi starts rapping. Even with only a twenty-second teaser verse on the intro track, eLZhi’s fierce delivery and intricate rhyme schemes should get listeners hitting rewind.
What really sets eLZhi apart from other emcees are his rhyme patterns. Embedded in many of his verses are seemingly unlimited internal rhymes that most rappers seldom use to the same effectiveness. And while it would take the average emcee weeks or months – if not forever – to create a similar rap, eLZhi makes it sound effortless. The only way to highlight eLZhi’s unparalleled ability is to highlight a section of his first verse of “Brag Swag,” as follows:

“The day that hell snowed is when eL fold, poetry’s well told / It’s entertaining, keep niggas training like the railroad / Stinging, what I bring in is dope as the kingpin / Slinging, OGs through me, beneath the wingspan / Expert, through the wet dirt, but still my tech squirt / Bucked, and niggas tucked in, just like a dress shirt / Been a beast in the winter fleece, come for your dinner feast / With the pen unleashed, I’m like a priest, with inner peace.”

The amazing thing is, though, that every song has lyrics on par with this. “Motown 25,” a rehashed track from his EuroPass mixtape, is an absolute lyrical onslaught, with eLZhi reciting the kind of clever punchlines that make you say to yourself in amazement, “Did he really just say that?”

One common worry about The Preface was that eLZhi was not going to have enough creative concept tracks. Rest assured that this problem is non-existent on The Preface. “Guessing Game” is one of the more innovative rap songs of the year, with eLZhi spitting incomplete lines, thus giving the listener a brief moment to guess how he will complete the previous line at the beginning of the next one. “Colors” features eLZhi rapping in the form of a teacher, instructing his students about color schemes. Though relatively elementary, the method which eLZhi goes about rapping the song helps it pose as interesting.

With fellow Detroit beatmaker Black Milk handling production on all but two of the tracks, The Preface makes for a very complete and consistent album. From start to finish, the album serves as a how-to manual for aspiring (as well as established) emcees. Since he has been rapping, eLZhi has known he is better than the vast majority of the rhymers out there, and with The Preface, he has proved it to everyone else.

Rating: 8/10

Verbal Kent: Fist Shaking (Review)

Rap is done best when an emcee is unbridled with his or her emotions. In a musical genre that is so strongly founded on lyrics, it is crucial for rappers to display some passion in their content and delivery. This passion is precisely what Verbal Kent's third solo release, entitled Fist Shaking, is rooted in. The album features a steady delivery of aggressive and angst-ridden, yet intricate and thematic verses, making for a very impressive listen.

Upon first glance, one would probably assume Fist Shaking to focus on Verbal Kent airing his dirty laundry. With track names such as "Remain Psycho," "The Dagger," You Can't Rap," and "Tim Hardaway Hates You," this is an easy expectation to conjure. However, after giving the album a focused listen or two, it is undeniable that there is much more involved. Verbal Kent comes out firing on all cylinders on the album's opening track, "First 3." Displaying a brash confidence, he makes the bold claim, "This is the best verse you ever heard / The next verse will be the best verse you ever heard / Wait for the third." Though that might not be entirely true, it becomes clear quickly that Verbal Kent is not your typical, factory-processed emcee. He has the aforementioned flair for the braggadocio, but also possesses a knack for comical rhymes ("I'm busy gettin' Pounds and Euros / You busy eatin' pounds of gyros" on "Brand New Style"; and "I'm guaranteed to win, like a war versus Canada" on "The Dagger"), as well as the occasionally inappropriate ("You'll lose your job like Virginia Tech security guards," on "Get a Job 2"). He also has the all-important ability to tell thorough stories in his verses. The standout track on Fist Shaking is ""A Rapper Who Quit, Pt. 1," a well-narrated story about the trials and tribulations of a weathered rhymer trying to make it big in the rap game.

The album also succeeds with sublime production from an assortment of producers, notably Marco Polo, Oddisee, and Panik of the Molemen. Many tracks feature smooth work on the boards, heavy drums that back Verbal Kent's lyrics superbly, and some fast scratching on the hooks. But while the scratching is impressive, the only qualm to be raised is that it detracts from Verbal Kent's lyricism. It would have been pleasing to hear him more during the choruses.

The other misstep of the album is that it is, at times, too dark and complex for the average listener. This is not the CD to be played while you are relaxing outside on a sunny summer afternoon. Verbal Kent's lyrics often go over the heads of those listening, unless you are truly paying close attention: "I feel like a old man watching a child eat / 'Are you full? Why you wasting these perfectly good beets?'" But in the end, his detailed lyrics and sly double entendres will earn him the respect he deserves, at least from the hip-hop heads willing to pay the required attention.

Overall, Verbal Kent, boasting a unique, choppy flow, has some indisputable skills on the mic. Fist Shaking, with not a single track surpassing four minutes in length, is a rapid-fire barrage of heartfelt, fiery songs and deft, uncompromising lyricism. The Chicago emcee has paid his dues, and consequently earned his accolades.

Rating: 7/10


Bonus Cut: Verbal Kent performing "Brand New Style"

CRAC Knuckles: The Piece Talks (Review)

CRAC Knuckles don’t care what you think. The group, whose name is pronounced “crass knuckles,” seems to pride themselves on being largely unclassifiable. They make their music for themselves, not for critics or to meet certain expectations of genre or talent. The group is composed of deft California emcee Blu, hip-hop’s rookie of the year in 2007, and Ta’Raach, an underground rapper and producer who hails from Detroit. CRAC is an acronym for “Collect Respect Anna Check,” apparently their goal for this project. Although their debut album, The Piece Talks, may not get Blu and Ta’Raach big dollars, it delivers a refreshing and creative sound worthy of repeat listens.

The first non-intro track of The Piece Talks is “Buy Me Lunch,” a poppy, rap-free medley that somehow manages to blend neo-soul and jazz at a high tempo. “Love Don’t” is a groovy track on which Ta’Raach and Blu both drop nice verses over an echoing guitar loop. The next song, “Major Way,” is an arrogant track demanding all haters to pay regards to CRAC Knuckles. These first three songs also accentuate Ta’Raach’s mixed bag of tricks on production. He handles all the beat-making on The Piece Talks and brings his own original flavor to the music on the album.

“CRACHAUSE” is the first forgettable song of album. Fit more for an interview than an LP, this song features Ta’Raach blandly sermonizing over a repetitive beat for over three minutes. Thankfully, that low point of the album is followed up by some of the best songs of The Piece Talks. On “Respect” and “Pop Dem Boyz,” Blu once again proves himself as a lyrical virtuoso. “Mr. Big Fizz” has a minimalist beat and is an ode to the mainstream rappers who front like they’re rich, but really aren’t.

The biggest drawback of the The Piece Talks is a lack of polish. Most of the good songs on the album clock in too short, leaving room for unnecessary filler, such as the aforementioned “CRACHAUSE” and “Credits,” another spoken-word track thanking those whose contributions are usually reserved for the liner notes. Additionally, “Umm Yeah” is a dispensable minute of straight silence, and “Ready” is a pointless seven-minute phone conversation saved only by a nice hidden track to close out the album.

However, the album flourishes when CRAC Knuckles stay true to themselves. Ta’Raach isn’t necessarily a bad emcee, yet it is Blu who steals the show, at least lyrically. Consistently spitting jaw-dropping verses characteristic of some of the best rappers today, Blu has true star caliber. But not to be outdone, Ta’Raach sounds confidently relaxed production-wise, refusing to allow any two songs to sound alike. CRAC Knuckles display no pressure to conform to norms, and consequently they created a formidable indie hip-hop release in The Piece Talks.

Rating: 7/10

Atmosphere: When Life Gives You Lemons, You Paint That Shit Gold (Review)

Slug and Ant are never the type to back down with their music. Making up the Minneapolis hip-hop duo Atmosphere, their unique style has launched them to the pinnacle of indie rap. Slug, the idiosyncratic emcee of Atmosphere, unleashes personal narratives at breakneck pace. While Ant, hip-hop’s most criminally underrated producer, creates consistently beautiful soundscapes that set the tone for each Atmosphere track, and still mesh perfectly with each of Slug’s raps. Their newest album, When Life Gives You Lemons, You Paint That Shit Gold, delivers the same innovative sound that Atmosphere fans have grown to love and more, not to mention one of the best album titles in years. Lemons is their most sonically ambitious release yet, and provides for a spectacular musical experience.

The album’s two lead singles, “Shoulda Known” and “Guarantees,” differ drastically and display Atmosphere’s musical versatility. The former track is dominated by an impressive, winding bass line as Slug laments on a regrettable sexual encounter. The latter is one of the most original Atmosphere songs in their substantial repertoire. The track is driven solely by a continuous electric guitar loop. Slug manages to hold his own, and is one of the few rappers with the cadence and storytelling prowess to sound so natural over such a minimalist track.

Slug has always had a few favorite topics to rap about, primarily women, alcohol, and drugs. This is no different on Lemons. What makes Slug such a special lyricist is his inventiveness in approaching every song. On “The Skinny,” he makes a surprisingly well-reasoned comparison between cigarettes and the life of a pimp. Slug does occasionally digress from his usual subjects on other songs, usually with magnificent results. “Yesterday” is an emotional track on which Slug reminisces about his late father. “In Her Music Box” appears to be a semi-autobiographical tale about Slug and his relationship with his daughter. Though we may never know for certain, as Slug keeps his personal life very private.

As for the production on Lemons, Ant is as close to flawless as he has ever been. He makes the beats that other producers wish they could. The production on this album is much less sample-oriented than on previous works. Most songs on the album feature actual musicians, allowing Ant to tweak any detail of each instrumental until it’s exactly right. The beats on Lemons are also very diverse, thus changing the tone from one song to the next. From the ominous, echoing piano on “Puppets,” to the funky groove of “You,” to the manic nature of “Can’t Break,” Ant expresses complete mastery over every aspect of every track.

For the customers who still purchase the hard copy of albums, Lemons is a pretty sweet deal. There is a deluxe version of the record that comes complete with a short children’s novel written by Slug and Ant, as well as a DVD from one of Atmosphere’s recent live shows in Minneapolis. This album is not perfect, but it comes awfully close. The bottom line is that no one in hip-hop sounds like Atmosphere, and that is why they are so great.

Rating: 9/10


BONUS CUT: Atmosphere's video for "Shoulda Known"