R&B, Hip Hop & Rap Music

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"Tha Carter [PA]" (06/29/2004) R&B Lil Wayne, Universal DistributionPersonnel: Lil Wayne (rap vocals); Mannie Fresh, Baby (rap vocals). Lil' Wayne has been in the national spotlight since his days as the youngest member of the Dirty South's Hot Boys. On his fourth solo record, THA CARTER, Wayne is almost wholly on his own. There are no big-name guest stars (as with Petey Pablo's memorable turn on Wayne's previous album), only recurring shots from producer Mannie Fresh and Cash Money head Bryan "Baby" Williams. Lil' Wayne's easy flow speaks for itself; in a relaxed Southern manner, he waits for the rhyme to unfold before unleashing a torrent of lyrical lines, with consistent, understated beats pulling the tracks along. Not as "lil'" as his name implies, Wayne hits a peak with "This Is the Carter," a brash track that captures the essence of this potent hip-hop album.

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"Definitive Collection" (10/29/2002) R&B Wonder, Stevie, Motown RecordsPersonnel includes: Stevie Wonder (vocals, various instruments); Luther Vandross (vocals); Malcolm Cecil, Robert Margouleff (programming); Gloria Barley, Lani Groves, Jim Gilstrap, The Jackson 5 (background vocals). Producers include: Berry Gordy, Henry Cosby, Clarence Paul, Stevie Wonder, William "Mickey" Stevenson. Compilation producers: Harry Weinger, Jeff Moskow. Recorded between 1963 & 1985. Includes liner notes by Scott Regan. Personnel: Stevie Wonder (vocals, harmonica, piano, keyboards, programming); Malcolm Cecil, Robert Margouleff (Moog synthesizer, programming); Charles Brewer, John Fischbach (programming); Gloria Barley, Jim Gilstrap, Lani Groves (background vocals). Liner Note Authors: Scott Regen; Harry Weinger; Scott Regan. Arrangers: Clarence Paul; Stevie Wonder. Missing in action for much of the 1990s, Stevie Wonder is a living legend whose consistent creative output is sorely missed. THE DEFINITIVE COLLECTION provides a snapshot overview of Wonder's stellar legacy starting back in 1963 as a teen musical prodigy with the exuberant "Fingertips Part 2." This jubilant tune, showcasing Wonder's much-touted facility on the chromatic harmonica, is a powerful harbinger of things to come. Along the way are classics that find this Michigan native going from being a one-man Motown hit machine to a young artist whose vision eschewed singles-based sensibilities for album-long artistic statements. Wonder's '60s gems include "I Was Made to Love Her," "For Once in My Life," and "Signed, Sealed, Delivered I'm Yours." Of course, his '70s work is just as stunning, particularly socially conscious numbers like "Higher Ground" and "Living for the City." Equally stellar if less political are this legend's tributes to Duke Ellington ("Sir Duke"), Bob Marley ("Master Blaster [Jammin']"), and Caribbean music in general ("Boogie on Reggae Woman"). THE DEFINITIVE COLLECTION is an excellent primer for both die-hard fan and passing admirer of Stevie Wonder's genius.

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"Old School Hip Hop, Vol. 2" (09/11/2001) R&B Various Artists, Thump Records

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"Love Songs" (01/15/2002) R&B Jackson, Michael, Motown RecordsPersonnel includes: Michael Jackson, The Jackson 5. Producers include: Bobby Taylor, Mel Larson, Jerry Marcellino, Hal Davis, Brian Holland. Compilation producers: Harry Weinger, Anthony Ellis. Recorded between 1969 and 1975. Includes liner notes by Brian Chin. All tracks have been digitally remastered. Liner Note Author: Brian Chin. Recording information: 02/1970. Arrangers: James Anthony Carmichael; David Blumberg; Fonce Mizell; Gene Page; David Van De Pitte; John Bahler; Bob West . Released in January of 2002, Motown's Love Songs contains 14 love songs and ballads Michael Jackson recorded, either by himself or with the Jackson 5, during his time on Motown in the early '70s. There are a few familiar songs here, such as "Who's Lovin' You," but the Love Songs series prides itself on mood, not hits, while providing just one or two tracks as collector's bait (a previously unreleased version of "I'll Be There" or the original mix of "Call on Me," for example). This means that it's the odd collection that sort of appeals to the dedicated, since it gives a different spin on the artist (but not really, since it recycles the catalog), and it sort of appeals to the casual fan, since it digs through albums to provide what they're looking for (but not really, since there aren't that many big hits here). So it fulfills the promise of the title quite well, but that doesn't necessarily mean that a lot of people will really need it (unless they're looking for mood music, of course). ~ Stephen Thomas Erlewine

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"Old School Soul Party [Box]" (03/01/2005) R&B Various Artists, Shout! FactoryLiner Note Author: Steven Chean. Another entry in Shout! Factory's ongoing series of triple-CD box compilations promoted on PBS, this one is more cohesively presented. Sequenced to flow like a typical party, the discs of this predominantly '70s-era 58-track R&B collection are divided into three connected parts. Starting with the high-energy sounds of Wild Cherry's one-hit wonder "Play That Funky Music," disc one (subtitled "Kickin' It Off") continues with tough funk hits from Cameo, Rick James, Parliament, and James Brown. Mercifully dodging the disco bullet save for Donna Summer's "Last Dance," this nonstop funkathon platter is alone worth the price of admission. Adding different sounds such as the Undisputed Truth's slightly trippy "Smiling Faces Sometimes" and the Beginning of the End's tropical "Funky Nassau" successfully serves to shift the style but not the mood. Disc two ("Getting' into the Groove") lightens the groove moderately as melody and pop become more emphasized on Cheryl Lynn's "Got to Be Real," the Friends of Distinction's "Love or Let Me Be Lonely," Gene Chandler's "Groovy Situation," and Ashford & Simpson's "Solid." These are all well-chosen selections that were substantial hits, but not as ubiquitous as the Isley Brothers' "That Lady, Pts. 1-2," a tune that always seems to find its way onto '70s soul collections such as this. Disc three ("Dimmin' the Lights") moves into slow and sensual post-party fare with 19 quiet storm smooth jams from artists such as the Five Stairsteps ("O-o-h Child"), Minnie Riperton ("Lovin' You"),the Chi-Lites ("Have You Seen Her"), and Marvin Gaye ("Sexual Healing"). The schlock factor is obviously higher here, but all the songs are Top Ten R&B and/or pop hits and will spark instant recognition from those this box is intended for. The remastered sound is crisp and sparkling throughout, bringing out these oldies' subtleties -- especially with percussion -- that you might not have heard before. While not definitive, the set accomplishes its mission of replaying the soundtrack to a colorful late-'70s urban shindig. More than a haphazard collection of oldies, this conceptual box boasts a well-defined focus, a unique programming flow, and of course lots of soul. ~ Hal Horowitz

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"Tom Joyner Presents: Old School Mix" (03/16/1999) R&B Various Artists, Rhino Records (USA)Liner Note Author: Tom Joyner. Photographer: Michael Ochs. Around 1994, urban contemporary DJ Tom Joyner hired Steve "Silk" Hurley to provide "old school mixes" for his popular Tom Joyner Morning Show; and by old school, he meant the classic soul, funk, and disco of the late '70s and early '80s. To be sure, Hurley was perfect for the job; he had played an indispensable role in house music, and his credentials as a mixmaster were undeniable. The type of mixing that Hurley has done on his show is what he does for Old School Mix, which spans 1976-1982 and boasts a non-stop mix of 18 major hits from that period. One gem segues right into another; just as Gwen McCrae's "Funky Sensation" is starting to fade out, Hurley comes right in with One Way's "Cutie Pie." And just as Peter Brown's "Dance With Me" is starting to end, Anita Ward's "Ring My Bell" makes its presence felt. The CD is full of gems that defined the disco era, such as Chic's "Le Freak," Sister Sledge's "He's the Greatest Dancer," and Foxy's "Get Off." But Joyner's mix has as much to do with hardcore funk and soul as it does with disco; Funkadelic's "One Nation Under a Groove," Slave's "Slide," and Zapp's "More Bounce to the Ounce" soared to number one or two on the R&B charts, but didn't fare nearly as well on the pop charts. In fact, Old School Mix is pretty much the type of soul/funk/disco blend you could have expected to hear on the mix shows that graced black radio in the late '70s and early '80s. Even if you're not familiar with Joyner's show and Hurley's contributions to it, this is a CD to savor. ~ Alex Henderson

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"Old School Love Songs, Vol. 7" (09/27/2005) R&B Various Artists, Thump Records

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"20 Greatest Hits" (10/23/2001) R&B Chi-Lites (The), BrunswickAll tracks have been digitally remastered. Liner Note Author: Bill Dahl. Besides being one of the most dynamic acts on the soul circuit of the late '60s and early '70s, the Chi-Lites also had an enviable range, which took them from intelligent protest firestorms like "(For God's Sake) Give More Power to the People" and "We Are Neighbors" to the velvet-smooth ballads "I Want to Pay You Back" and "Have You Seen Her." (Even more impressive then, that each of those four excellent songs first appeared on the same album, 1971's [For God's Sake] Give More Power to the People.) Largely self-contained as a group (frontman Eugene Record penned and produced much of their material), the Chi-Lites hit with some of the greatest soul tracks of the '70s, and they've never sounded better than they do on 20 Greatest Hits. Though Brunswick's design and packaging leave much to desire (the cover makes it look like this compilation dates from the medieval ages of the CD medium), everything that really counts is done perfectly. All of the hits, and a few solid album tracks, are presented in chronological order, while the sound quality is the best yet. There's always room for one quibble, though; the version of "The Coldest Days of My Life" heard here isn't the full version, as on Brunswick's previous Greatest Hits. ~ John Bush

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"Hard [PA]" (10/14/2003) R&B Jagged Edge, Columbia (USA)This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Jagged Egde: Wingo, Brian, Brandon, Kyle (vocals). Additional personnel includes: Jermaine Dupri (vocals, drums); Major Damage, Big Boi, Street Katz, Woonie, Jazze Pha (rap vocals); Kevin Hicks, Ray Holton (guitar); Melvin Coleman (keyboards); LaMarquis Jefferson (bass); Tiffany Beaudoin (background vocals); Bryan M. Cox. Producers include: Jermaine Dupri, TK, Jagged Edge, Jazze Pha, Bryan M. Cox. This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Personnel: Jagged Edge (vocals); Lee Dixon, Tatu "Joe Black" Hill, Major Damage, Rahj "Woonie" Rowe, Big Boi (rap vocals); Melvin Coleman (guitar, keyboards, vocoder, hand claps, drum programming); Joey P. (guitar, hand claps); Ray Holton, Kevin Hicks, Steve Wright, Rod Harris, Jr. (guitar); Dwayne Nesmith, Pierre Medor (keyboards); Jermaine Dupri (drums); Corey Presley (drum programming); Tiffany Beaudoin (background vocals). Audio Mixers: Jermaine Dupri; Alvin Speights; Phil Tan. Recording information: Brandon's Way, Hollywood, CA; Joi Studios, Decatur, GA; South Side Studios, Atlanta, GA. Photographer: Sacha Waldman. Arrangers: Bryan-Michael Cox; Lee Dixon; Dwayne Nesmith; Tatu "Joe Black" Hill; Kevin Hicks; Michael J. Henderson; Melvin Coleman; Phalon Alexander; Antwon Patton; Sick Cents Productions, Inc.; Hockefa Lamar; Vincent Brown; Jermaine Dupri; Keir Gist; Anthony Criss; Rahj "Woonie" Rowe; Pierre Medor; Brandon Casey; Brian Casey. Fresh off a 2002 GRAMMY nod for Best Rap/Sung Collaboration, Jagged Edge once again brings plenty of harmonies and attitude on its fourth outing, HARD. Working with a coterie of producers that include So So Def founder Jermaine Dupri, the men of JE continue down a path that's equal parts thug and lover. Making like Boyz II Men with swagger, these Atlanta natives easily shift gears from silk-sheet-and-champagne slow jams like "Walked Outta Heaven," "Visions," and the acoustic-guitar kissed "I Don't Wanna," to more up tempo fare, including the call-and-response "Girls Gone Wild" (featuring Major Damage) and the thumping "Tryna Be Your Man." As if all this singing about wooing the ladies wasn't enough, Jagged Edge take it up a notch with a pair of bonus cuts--"Car Show," (featuring a cameo by fellow Georgian and Outkast rapper Big Boi) and a remix of "They Ain't JE" that finds Street Katz and Woonie rapping in their two cents. Providing a musical bed for any type of romantic liaison, Jagged Edge prove the only thing HARD they bring to the table are the looks they're sporting on this collection's cover.

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