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By the time that Geto Boys decided to pick up a mic and put their thoughts into music, the city of Houston was immediately put on the hip hop map. Bushwick Bill, the great Scarface, Willie D, and Dj Ready Red approached the rap game without compromises of any sort, speaking the raw truth, giving any censorship institution a great amount of work to do. "Geto Boys" was not their official first album, it was effectively their third, although it included several songs heard before on "Grip It! On That Other Level" and even one from "Making Trouble". Luckily for them, the great producer Rick Rubin decided to sign them on Def American, made a restyling work on 10 of the 13 total tracks (3 were new), and put the finished work on one album, mixing the quartet ghetto-oriented attitude with an even more aggressive sonic impact, a perfect environment for the drugs, sex & gangsta tales put on by the guys themselves.
What’s Hot
1. Fuck'Em - Straight Geto Boys attitude, nothing more, nothing less. The album gets a sudden start, it's opened by a Ready Red scratch followed by a gritty beat, the f-word is repeated countless times, and Willie D gives a taste of his aggressive rapping style, in this track he really stands out.
2. Size Ain'Shit - A Bushwick solo joint, where the lil' big man speaks about his size, which really doesn't matter because he's gonna bust your butt anyway...great beat, great rhythm.
4. Gangsta Of Love - You can hear "Sweet Home Alalbama" by Lynyrd Skynyrd all over the place, this is one of the greatest hip hop beats ever made, Rick Rubin rock/metal-oriented production gets all the credit. Lyrics are sick, must be 21 or older to listen to!
6. Life In The Fastlane - Scarface raps about his dope sellin' past over a fat beat, the harmonica lop gives the cut a unique texan flavor.
11. Scarface - A timeless classic, a great way to give new life to the "Paid In Full" beat. Al Pacino-type shit!
12. Let A Hoe Be A Hoe - A slept-on track, the title speaks by itself, and Willie D speaks nothin' but the truth.
13. City Under Siege - A noisy track that put the finishing touch on the album, has a dark piano loop sustained by angry lyrics, injustice and frustration spread everywhere.
What’s Not
3. Mind Of A Lunatic - okay, this will never be a bad song because of the insane beat, but the horrorcore/sex tale taste of the lyrics leaves with a bad taste in your mouth.
9. Read These Nikes - Very good lyrics over a floppy beat.
Bottom Line
When "Geto Boys" came out, hip hop was in the middle of a war with censorship organization and shit like that, the more mc's were censored, the more they were motivated to talk about reality that finally can be heard. The Geto Boys offers an imposing album, which talks about the surroundings and circumstances of the infamous 5th Ward section of Houston, speaking the hard truth with the same effect of a punch in the mouth. They don't care about anybody and anything, they do what they got to do anyway and anyhow, and if you don't like it, you can fuck yourself. Here's the message to be heard. Not so deep, but always a message.
0-20: Terrible listening experience
21-40: Maybe one good song
41-60: A few good songs
61-80: Half are good songs, half are weak
81-100: Great listening experience, almost all are great songs
I give this album an 88. The beats and the lyrics smash every obstacle ahead of them, this is raw, pure and cruel ghetto hip hop, matched with a superior musical production, supervised by a former metal fan who turned himself as an heavy-influencing and versatile producer. There's not a single completely weak song in here.
I can’t attest to ever being a huge fan of Big Pooh, Phonte or any of the Justus League collective, partly because of the overt feeling that they’re rhyming conscious but “they ain’t saying nothing”. Especially when it comes to Big Pooh who seems to be the king of meaningless words that still flow beautifully over a 9th Wonder production. Well, maybe that’s a little harsh, since Pooh and Phonte have done some quality work in their short career. Still, it was this album that I found the most impressive in the whole Little Brother discography. Better than Get Back, The Minstrel Show and Separate But Equal. Upon first listen, I was almost deterred because of the cover. What accomplishments does Rapper Big Pooh have to warrant any comparisons with J Dilla? None really, but this album is taking a step into the right direction…
The Strongest Man
Exhibit A (word to Poe Picasso) of Big Pooh not really saying anything worthwhile, but still sounding pretty good on the final cut. If you really want my opinion, this song is a perfect embodiment of how conscious hip-hop has gotten tired and played out. “Rock to the rhythym/You can’t see me/Chillin on the cut/Yeah, that’s where you’ll find B”. Still this track is just friendly piffle that you can’t really hate on, no matter how many times you’ve heard a song almost identical to it before.
Heart Of The City
I’ve gotten into a few arguments lately about 9th Wonder’s status as one of today’s best producers and I always use this instrumental as proof that 9th is on his way to Madlib-esque martyrdom in the underground hip hop community. Pooh on the other hand, impresses, but lacks the lyrical prowess to really make your jaw drop. The track as a whole is a definite blunt-lighter.
Scars (Cut Me Deep)
This is that dope posse cut I needed to hear. Justus League weed carriers Median and Joe Scudda come semi-hard (no homo), but Pooh smashes the first verse.
Now
To be honest, this was my true motivation to listen to Sleepers in the first place. It was never really about Big Pooh, but moreso about 9th the whole time. This track is interesting because you get to see the 10-1′th Wonder cook up an instrumental that both Pooh and MURS can comfortably glide over. Dope shit, aside from the hook which was just embarrassing.
Those were four of my favorite cuts off this album, all the other joints were pretty weak. Still, on an instrumental level this album is not bad, and when Pooh comes through and kicks some real shit on the mic this becomes one of the better Little Brother projects.
0-20: Terrible listening experience
21-40: Maybe one good song
41-60: A few good songs
61-80: Half are good songs, half are weak
81-100: Great listening experience, almost all are great song
I give this album an 77 on second listen.
Gotta love a 2005 cover that genuinely looks like it was made in the mid 90’s. To tell the truth, I only started rocking with QNC (MC Q Ball and producer Curt Cazal), when I first heard them over a vicious cut by Aim (don’t sleep on that true British hip hop). The type of song that makes you forget all the bullshit and realize why you loved hip hop. I’m teasin, I know, track’s called The Force (no Obi Wan), and it will literally rock your shit. Guaranteed. It’s like when you first heard O.C.’s stellar Word…Life and off the strength of that one album you tracked down his whole discography. Same here. That joint is so vicious, that I was compelled to go all out. Copped the 12′, the vinyl’s, the instrumentals, the album, everything. Off the strength of that one joint. Anyway, QNC is a great listen, and they got a feature from Camp Lo. At the moment, that might not seem all that impressive, but Camp Lo was ghost like Casper 4 years ago. And if you ain’t fucking with Camp Lo, I don’t even know.
For Da’ Love
How many songs have you heard where the MC’s claim they’re doing it for the love? Ludacris did it 3 songs in a row his last album. Take my word for it, this isn’t another I Do It For Hip Hop. This is a deeply heartfelt ode to that art form we all love. Haunting instrumental, those NY lyrics that quietly smack you across the face, and an immaculate scratch for the hook. What more can you ask for?
Streets Don’ Run (feat. Dimes)
You hear this beat? You hear this fucking beat? What’s fucking with that? To balance it out, QNC and Dimes kick some wack shit, still a dope track though.
It’s Going Down (feat. Camp Lo)
This song isn’t going to change anyone’s life, but at the same time it’s a harmless waste of four minutes. Sounds like any track on Uptown Saturday Night with a little more polish and a lot more playfulness.
Would You (feat. Dubble D)
Oh man, this guy must get so much shit for his rapper name. Some great storytelling over an almost Miami Vice- esque beat. To tell the truth, this shit is kinda wack, but that “would you” scratch is just immaculate.
Major League (feat. Schinie)
Schinie with (her?) gruff Lil Kim voice spits some hot fire all over the first verse, and then the lyrical dragon Q Ball finished the job. Nothing like a job done right.
On some real shit, this album wasn’t terrible but it wasn’t awfully impressive either. The few tracks listed above will prove as a good gateway to the rest of QNC’s discography. However, I didn’t find one joint that truly measured up to the greatness that was The Force. Different strokes for different folks though.
0-20: Terrible listening experience
21-40: Maybe one good song
41-60: A few good songs
61-80: Half are good songs, half are weak
81-100: Great listening experience, almost all are great songs
I give this album an 75.
Coppage here
Kool G Rap’s story has always intrigued me. This is a man who is widely considered a hip-hop pioneer for his early work with DJ Polo and The Juice Crew. Nowadays Kool G is still relevant, although he’s passing off third-rate mixtapes with the likes of DJ Whoo Kid among others. A whole hip-hop culture unto itself indeed. What’s really fascinating is how G Rap was able to outlast many of his peers. Rakim, Public Enemy, UMC, and most of his fellow Juice Crew have fallen into relative extinction. However, Kool G has quietly been keeping his name alive.
Also notable is the change in style. When G Rap was a member of the Juice Crew, his rhymes were well… kind of corny. Not compared to Biz Markie, but still, if you listen to his really early material you’ll notice that he emulated the times. Few years pass and KGR really takes hold of his true identity. Starts to patent his trademark rapid flow, the mafioso image, and the pentasyllabic rhyme scheme. About the time when he drops 4,5,6. This is one of those albums that got shitted on upon first release, but people grew to love it. Seems like a very common occurrence throughout hip hop history. On an extremely random note, did anyone else know that Kool G had a kid with Karine Stephans (you may know her better as Dick Tonsil or Supa Head)?
4,5,6
Isn’t it like an unwritten rule somewhere that the title track is never any good? Regardless that’s not the only surprise here. A certain Nasir Jones (who appears later on this album may I add), is sampled here almost directly in the same way that Sean Carter did it. Maybe Nas didn’t take offense to it, because it was done so sloppily. Seems like Dr. Butcher isolated the half-second he needed and just stuck it onto the hook. Regardless, one of the best odes to rollin’ dice ever.
It’s A Shame
The description of Tammy is priceless.
“Her name is Tammy, got a beach house in Miami
Rides around with a small jammy in her silk and satin panties
A down hoe, a Foxy Brown hoe, standin her ground hoe
And if you clown yo she’ll turn into a bust a round hoe”
One of G Rap’s premier ventures at storytelling, only weakened by the dime-a-dozen hook. Regardless, this is one of those tracks that attempts to be a laid-back cross between sultry R&B and softcore hip hop. It succeeds at neither, but KGR’s mastery in Aesop, makes you totally neglect everything besides the word’s coming out of his mouth.
Take ‘Em To War (Feat. MF Grimm and B1)
One thing that has steady amazed me is how many producer’s sample David Axelrod. I’ve never been a big Grimm fan, especially his later work, but his verse here is pure brilliance. Doctor Death. Following Grimm’s beast of a verse is early Rawkus legend B1. Launching an onslaught of lyricism that lasts for just one minute, but is remarkably vivid in it’s duration.
Executioner Style
This is where G Rap truly shines, a minimilastic beat with soft vibrations and vicious drums, which let’s KGR excel by throwing all sorts of alliteration and assorted rhyme schemes into the mix. One of the most violent and grotesque tracks you’ll ever hear ( “I make Bloody Mary’s out of your capillaries”), but it’s hard as fuck not to nod your head to this one.
For Da Brothaz
What would be just another ‘pour one for the homies’, is immeasurably improved by KGR’s lyrical prowess, but even that doesn’t rescue this song from mediocrity.
Blowin Up In The World
Not enough can be said for Buckwild’s production on this cut, I won’t attempt to do it justice, mixed with yet another KGR lyrical annihilation this track proves immaculate (word to Franco Harris).
Fast Life (feat. Nas)
This poppy instrumental has always reminded me of Miami in the ’80’s. The 20 second intro adds to that element. Lame-ass hook, but Nas and KGR combine to firebreath for a good four minutes.
Ghetto Knows
As someone who almost always has something bad to say about the hook, I’m rendered speechless here. Very well done. This has always seemed like a logical outro to me, so this is where we’ll end.
I think it’s fair to say that 4,5,6 is not a very well-produced album, an mirror image of Lifestylez ov Da Poor and Dangerous with average instrumentals and ‘way before their time’ lyricism. This album is a benchmark to the rapid-fire flow, never would any rapper spit half as fierce as KGR on 4,5,6, but countless rappers would try their hand at it. Well, imitation is the highest form of flattery Mr. Wilson.
0-20: Terrible listening experience
21-40: Maybe one good song
41-60: A few good songs
61-80: Half are good songs, half are weak
81-100: Great listening experience, almost all are great songs
I gotta give this one an 93.
I decided to re-review this joint. Enjoy.
Intro
April 19, 1994. A single tape of 39 minutes and 43 seconds revolutionizes an art form called hip-hop. No matter what precedes this album nor what comes after, April 20th was a new day for hip-hop. Just like the later predecessors drew influence from innovative artists like Rakim, Big Daddy Kane, and Krs-One, such was Nas’ influence on hip-hop. In many senses Illmatic became a manual of sorts, a holistic Qu’ran for any rapper truly seeking the approval of underground heads. Illmatic was Nas’ Starry Night, the endless ideal that even the architect would never again achieve. Aside from being a cultural bookmark and divisor, this album also clearly marks Nas progression from lazy-eyed freestyle kingpin to someone who truly deserved the cosign from Main Source and MC Serch. Chronicling the rise of a young street dweller who came up in an almost the identical pattern as Big Daddy Kane. Starting off on a classic posse cut - for Kane it was The Symphony, for Nasir it was Back To The Grill and Live At The Barbeque - and then growing to infamy with a classic first album. Both Long Live The Kane and Illmatic also only consist of 10 songs. However, that’s where the comparisons end. Kane entered the history books but Nas re-wrote the history books.
Review
The Genesis
Back in the day when Q-Tip was a teenager, intro’s like these were a dime a dozen. In reality, it may seem like it’s just Nas and AZ bullshittin’ over an prehistoric Grand Wizard Theodore instrumental- Subway Theme to be exact- but this track unconsciously sets the tone for the rest of the album.
N.Y. State Of Mind
This song is why The Genesis is such an effective intro. You expect to hear a lounged-back Main Source (Live At The Barbeque) sound, but Primo and Nas deliver anything but. Those dirty drums start kicking, that bassline just floats along the instrumental, and the one piano key ominously ends the loop. Nas adds a memorable first verse that seems to never end, but still effortlessly seams into the hook. Simplistic beyond comparison, yet all Primo needs is a quick vocal from Eric B and Rakim’s Mahogany and Nas is off. In the second verse, Nas simply unleashes countless quotables until Primo lets the beat go.
Life’s A Bitch
You go from the chill freestyle vibe of N.Y. State Of Mind to the comfortably rushed atmosphere that engrosses this whole song. Regardless, AZ has earned unanimous acclaim for his verse simply annihilating L.E.S.’s jazz-tinged masterpiece. However, Nas answers back with an equally poignant lyrical performance. But, it’s Olu Dara who kills it on the cornet, when L.E.S. allows his instrumental to flow free.
The World Is Yours
To this day, Pete Rock has never bested this masterpiece. As a producer, Pete has an legacy of often outshining the artists that utilize his instrumentals. Not so here, it’s a purely synchronous sound that is made for each other, the hip hop version of peanut butter & jelly. It’s ironic how Nas changes subjects in the middle of the song. First verse is a dead-on Scarface impression that would make Brad Jordan blush, but the second verse is pure brilliance disguised as braggadocio.
Halftime
Don’t ever doubt Large Professor! Who else has the audacity to sample Jaz-O in the presence of Average White Band? Nas, not to be bested, changes up the flow two or three times per verse. Word to Marcus Garvey. Those steely drums are just one of a kind, and are just begging to be sampled. More impressive, are all the cultural tidbits Nas manages to drop in four minute’s time, while addressing his own problems at the same time. Don’t plant that seed, if you can’t feed is the moral of this story.
Memory Lane
Nas changes up from a fast-slow, up-down flow to a consistent one, and simply unleashes a verbal tangent that will never be equaled. This sounds nothing like Primo though, doesn’t fit in with his catalogue by any means, nonetheless Primo comes through with some crazy samples on this one. That ever-present moaning on loop is Get out of My Life, Woman by Lee Dorsey, and perhaps the greatest sample DJ Premier ever used is Pickin’ Boogers by Biz Markie. That was good thinking. I still freeze up a little when I hear the last two bars of this song:
True in the game, as long as blood is blue in my veins
I pour my Heineken brew to my deceased crew on memory lane
One Love
The Abstract comes through with an instrumental of majestic proportions, not at all comparable to the work of Ali Shaheed Muhammad. It’s interesting to hear Q-Tip’s productions, since he could always hold his own on an MPC, but subsequently let Ali Shaheed Muhammad handle the work behind the breaks. On a linguistic tip, this song comes much weaker than the predecessing tracks, but Nas shows flashes of the indirect storytelling that would flesh out later with the ill-fated Firm. From 4:19 and onwards Nas bullies this instrumental lyrically.
One Time 4 Your Mind
A head-bopper in every sense of the word. That slow flow, the effortless rhyming that just simultaneously ensues from this immaculate blunt-head’s paradise. Large Pro comes through again with an deep bassline complemented by twangy drums that just slow everything down. Perfection in the form of audio marijuana ganja.
Represent
This marks the transition of Nas from a spiteful yet protagonistic emcee to an rapper with lyrical prowess nearly unmatched. This song sounds much less Illmatic and much more It Was Written, not in a negative sense, but moreso in terms of stylistics and delivery. Like a posse cut, minus the weed carriers and excess baggage. Did Nas really run with a crew called “The Shorty-Busters”? Let’s hope not for his sake, because that’s just embarassing. Also probably the first time I’ve ever seen Primo simply utilizing one sample.
It Ain’t Hard To Tell
This instrumental alone is all the imagery you need to envision the 90’s in one complete sound. One of those moving send-off’s that puts you in the right state of mind every time. A N.Y. State Of Mind!
Outro
It’s fair to say that Illmatic is the best hip hop album of all time, and therefore this review should be worthless to most people. If you don’t already own this album in any capacity, do yourself a favor.
100
Not sure why, but I thought it would be fitting to review this album. Maybe it's because Statik Selektah (did I spell your name right?) and pro-beef Saigon just made a whole album in one day. Well, it is because of that. Personally, I've got no problem with neither Statik or Saigon. I'm not sure how Saigon got to beefing Joe Budden and I could care less, beef is always about record sales. It's like artists make a mutual agreement to beef with each other to sell records and then pay each other back later. But I feel like this one day thing is a gimmick. How can you honestly say that you created the best product you can in one day? That's like how Swizz Beatz brags that he makes most of his beats in less than an hour. That's cool and all, but Swizzy: you still can't produce! With that in mind, Skyzoo and 9th Wonder created this composition in three days. The clever title would suggest they were fuckin' with some cannibus during the process. Like I said, clever. Anyway, the real reason I chose this is because it's only 12 tracks. So, here we go:
1. Bare Witness
There's nothing more pretentious than explaining the title of your album. Reminds me of when Biggie explained the "Two Pac's" joke on Brooklyn's Finest, 3:21 if you don't know. I also found it kind of funny how Skyzoo had to explain that he knew 9th and described how we acquired 9th's beat tapes. As for the song? It comes really weak. 9th tries his hand at a Primo impersonation, and Skyzoo just comes weak all around, on the hook, on the verses...
2. Way To Go
This the production we've all come to expect from 9th, just killing it with the samples. Once again Skyzoo does a little too much talking and sounds like a little bit of a jackass, but once the beat kicks he does his thing and rips this instrumental. Really impressed me with the flow and the rhymes.
3. A Day In The Life
I'm usually the first person to say that 9th Wonder needs to expirement more, or use something other than Fruity Loops, but he steps outside of his comfort zone here and the result is painful to listen to. Brave soldiers ready your ears. It's not that bad, but this track came really weak. Mostly because Skyzoo isn't one of those rappers that can take a bad beat and still kill it. And you already know the hook is wack.
4. Stop Fooling Yourself
These are those crazy samples that make 9th one of today's best crate-diggers! I just tuned out to this beautiful instrumental. Don't really remember what Skyzoo was talking about, ripping his acceptance letter or something. Oh well...
5. Comeback
Nah. This was a track for the ladies, and it was even softer than I expected. Definite skip/delete.
6. I'm On It
Did I mention that Skyzoo can't make a listenable hook to save his life? It's not a bad track, but the chorus is just so wack. Ruins whatever replay potential this song could have had.
7. The Bodega
Banger. All I can say is that all my previous criticism for Skyzoo and 9th is null and void on this one. Easily the best track so far.
8. You & Me
Another track for the ladies, but this one wasn't as bad as it's predecessor. The hook was weak as fuck again, but other than that it's another quality composition. Really starting to groove with 9th behind the boards right now.
9. Live And Direct
Very average, like I wanted to vibe with 9th's beat and what Skyzoo was saying, but I simply couldn't. You know the feeling.
10. The Spirit
Skyzoo outshines 9th here. Not a bad beat, but the lyrics were on point, and the whole track was ill.
11. Extreme Measures
Skyzoo tries his hand at Brenda's Got A Baby to little avail. Kind of a sleeper despite the vicious instrumental.
12. Mirror Mirror
Did you honestly expect much from this title? Just an average outro minus the interlude feel of an average outro.
Decent, not much more, not much less. I had been hearing a lot about Skyzoo and I found him to be super-average. 9th comes through as usual, although he sprays in a few wack beats here and there. Overall, it's a decent mixtape, but I don't see any reason to go out of your way to cop this.
0-20: Terrible listening experience
21-40: Maybe one good song
41-60: A few good songs
61-80: Half are good songs, half are weak
81-100: Great listening experience, almost all are great songs
I'd give this a 71.
Link here.
Lately I've been bumpin Deltron 3030 like none other. Believe me when I tell you this: Only Soul On Ice Ras Kass can compare to Tha Funkee Homosapien on a lyrical level. After wearing out the speakers in the car listening to Things You Can Do, I finally moved onto Del's short-lived solo discography. I have to say this guy gets slept on like narcolepsy. One of my favorite things about Del is his ability to wreck any beat with his chameleonic flow. Another is the wide variety of incredibly ill instrumentals he spits over. At this point in time in Del's career he was just beginning to craft his uniquely patented style of trite braggadocio hip-hop mixed with insane wordplay that gives you authentic goosebumps. Enough talk though...
1. You're In Shambles
The soft jazz in the back-end of the instrumental has always put me in a different mindstate. Something so ethereal about this instrumental. And Del's other-worldly flow and lyricism leave this song in shambles.
2. Catch A Bad One
If anyone can make meandering violin sound like a traditional hip hop instrument it's definitely Del. This song is dope, but not comparable to You're In Shambles.
3. Wack M.C.'s
Ahh, the ever-popular early 90's ode to the wack MC or wack crew. I've got a theory that you can find a song like this on almost every hip hop album made in the late 80's and 90's. Del puts his personal spin on it, but it's still really predictable, especially the hook.
4. No Need For Alarm
It took me a little while to warm up to this track, but I'm really feelin' it as I type. The flow still makes my jaw drop. Whose fucking with Del?
5. Boo Boo Heads
The hook is funny in a 90's sort of way. Like when kids my age watch Friday and understand the jokes in a "I feel it even though I didn't live it" sense. The flow and insane battle raps are killing me at this point.
6. Treats For The Kiddies
Title says it all. My only complaint for now is that the last six songs sound like the same thing with a minor beat change. Minor meaning a slight change in the bassline or adding a scratched vocal here and there...
7. Worldwide
I guess I planned that above statement perfectly as Del lines up some top quality lyricism over this East-Coast instrumental. The guest verse sounds ominously just like Del; the flow, the rhyme scheme... sounds like it might have been *gasp* ghostwritten? Or Del knows how to throw his voice... either way this song is dope.
8. No More Worries
Let's get this straight. This is the best instrumental on the whole album. Maybe the best instrumental of it's respective year. But Del's guest features sound somewhat awkward over this instrumental. Still an amazing song...
9. Wrong Place
I can't place my hand on the sample and it's bugging me! Also amazing, is the direction that Del took over this instrumental. Just flipped it completely on it's ass... much props given Mr. Homosapien.
10. In And Out
Compared to all the previous songs, this one is a snoozer. The instrumental is not engaging at all, so it neglects whatever Del is spitting.
11. Don't Forget
Another fairly weak beat, but Del rides this one much better. Still a sub-par song when compared to the rest of the album.
12. Miles To Go
If you look through Del's entire discography you will notice that he does a few songs like this per album. This doesn't sound like it belongs on this album, but it still kicks something crazy...
13. Check It Ooout
Del slows his flow down, and kills this track. Best song off this classic album, hands down! You'll have to Check It Ooout...
14. Thank Youse
Very weak ending, but it is an outro, so if you take it into perspective, this song serves it's purpose.
Very solid album. Del comes with his own style and keeps it consistent throughout the whole album. Heavy funk and Del's flow just work together, and this album is a joy to listen to.
0-20: Terrible listening experience
21-40: Maybe one good song
41-60: A few good songs
61-80: Half are good songs, half are weak
81-100: Great listening experience, almost all are great songs
I give this album an 86.
You can find a link here.
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