Kasseem Dean, a.k.a Swizz Beatz, has kept a relatively low profile for the last few years. Now, the hit maker behind songs for Beyonce, DMX, Eve and of course, Alicia Keys, is back with a vengeance. His latest album, Poison, was released at the beginning of the month. Many fans and critics wondered aloud if he still had that Midas touch. Nonetheless, it seems hard to believe that Poison is only his second solo effort. 

The British poet, Aine Zion (who was also featured on Emeli Sande’s “Garden”) ushers in the album’s intro. Her poignant lines mesh well with the eerie, theatrical production. This album is more about the featured artist and the conceptual vision than showcasing Swizz Beatz. Songs like “Pistol On My Side (P.O.M.S.)” with Lil Wayne and “Echo” with Nas showcase some of the brightest recent tracks from both rappers. The latter revealed that there is more work coming from Nas soon, with Swizz Beatz at the production helm. 

The 10 track album was reduced from 70 songs that were originally recorded. Each track is carefully placed on Poison. “Come Again” with Giggs is a dark, club anthem, reminiscent of the late 90s. East and West coast styles unite on “Something Dirty/Pic Got Us”, which features Kendrick Lamar, Jadakiss and Styles P. He pulls out a few tricks on songs like the Jim Jones assisted “Preach”. The production here is an audible orgasm, complete with short, rhythmic stints of heavy breathing. There’s just enough here to let you know he has more than one style of production. 

I am not a huge fan of 2 Chainz….at all. However, I am not ashamed to admit this the track he is featured on is one of Poison‘s best. Let’s not get carried away though. Most of that credit is due to Swizz Beatz’s skills behind the board. Look for Swizz Beatz to continue to release more music very soon. There will be follow up albums, including an R&B infused project and an international sounding collection of songs. Yep, the poison is still pretty potent. 

H.E.R has almost remained completely anonymous her entire career. Her (no pun intended) first body of work was H.E.R. Volume 1. Since then, she has released three more EPs. Her face (which is rarely seen without her signature dark sunglasses) is smooth and picturesque. Her hair is full and curly; unruly even. Ironically, her physical attributes parallel the very mystery that surrounds her sound. 

Now, she’s back with I Used To Know H.E.R. – Part 2. This EP follows fairly quickly behind the release of its predecessor. The 8 song EP may not have as many rewindable tracks as Part 1, but it’s definitely a worthy listen. “Carried Away” finds H.E.R. traveling down a more folksy, bluesy path compared to her previous music. She cautions a potential love interest that falling in love again has to be worth it this time. 

“Can’t Help Me” is less sass and more of a gentle declaration of introspection. However, “I’m Not OK” is the track that resonates with a sultry maturity that extends well beyond her years. Her scratchy alto is the forefront here, amidst a dreamy backdrop of minimal production. This is brown liquor music at its finest. “Take You There” is a tender ballad that explores the possible reconciliation of a failed relationship. Her stunning vocals make it impossible to not consider the options. There’s even a twinge of Janet Jackson janet era here (think “Anytime, Anyplace”). 

The upbeat production on “Hard Place” is misleading to the song’s lyrical content. H.E.R. considers sacrificing her better judgment just to hang on to the man she can’t ever see herself letting go of. Meanwhile, “Fate” is just as inquisitive as it is melancholy. The beautiful, gospel tinged ballad finds H.E.R.standing up boldly to darkness. 

Tracks like “Lord Is Coming” truly showcase how H.E.R. stands apart from her peers in the industry. The song begins with two solid minutes of a chilling spoken word piece that forces us to reevaluate our motives and coping mechanisms. Something tells me we’ll be knowing H.E.R. for many years to come and we’ll be so much better for it. 

On October 14, 2018, Usher celebrated a milestone. He is now 40 years old. In the early 2000s, he was riding high with the runaway success of his most controversial album to date, Confessions. Times have changed though and Usher knows how to roll with the trends. This is evident on his surprise album, simply titled A, that dropped this past Friday. The problem is he’s trying too hard to keep up with those aforementioned current day trends. 

A takes a few steps backwards from his last studio LP, Hard II Love. That album even had its share of immature moments, though it did have some solid songs (check out “Missin U”, “Crash” and “No Limit). However, A exhibits Usher in a college freshman state of mind. This is quite disappointing place for him to be, considering his career has spanned over two decades. The album, which he collaborated with Zaytoven on, is meant to pay homage to Atlanta and its influence on music. Besides the style of production on some tracks, it does nothing of the sort.

The subject matter here is better suited for a younger and much less accomplished artist. The lyrical let down of “Stay At Home” is a song much better matched with its guest artist, Future, than Usher himself. Songs like “ATA” and “She Ain’t Tell Ya” reach too hard for a grasp at relevancy. “Peace Sign” is much more bearable and one of the best songs on the album. “You Decide” is also an enjoyable track, although it wades in waters of familiar territory. We’ve heard it all before, especially from Usher. The “I messed up. Please give me another chance” sob story.

“Birthday” is a bit comical, but also one of the higher points of the album. Unfortunately, the tolerable songs A offers are not enough to save its overall sound. The release of A followed the trend Beyonce made famous: dropping an album without warning or prior promotion. Sadly, one of the best things about A is it’s less than 30 minutes long.

Ella Mai has had one heck of a year. The slow burning buzz turned boil of her hit single, “Boo’d Up” has made the British singer a household name. Although the song caught fire over a year after its release, her entire Ready EP was more than a solid effort. Now, fast forward to the release of her first studio LP, the self titled Ella Mai.

Her new single, “Trip” is already catching the attention of listeners. The song finds her apologizing for being irrational in her relationship. Her smooth, almost nonchalant style and prissy tomboy looks make her irresistible. However, she’s not afraid to reveal her darker side on songs like the bold, uptempo “Whatchamacallit”, featuring Chris Brown. The song details the yearning of wanting to be in a side relationship, while already being committed to someone else. It was Chris Brown who originally shared “Boo’d Up” on his timeline, which sparked the song’s popularity. 

DJ Mustard is at the helm of most of the album’s production credits, as he is for most of her previous work. Her lyrical content and vocal prowess is well beyond her years on songs like the vulnerable ballad, “Naked”. She turns up the sass meter on songs like the cocky, “Good Bad”. Here, she sings, “So what if I wake up with an attitude”. The slinky, synthesized uptempo cut, “Dangerous” finds Ella Mai effortlessly weaving in and out of low to high octaves. She details a real love that’s so good it’s scary (“There’s no one else I trust….that makes this dangerous”). 

“Sauce” and “Cheap Shot” showcase her sexier side. Her melodies are more free flowing on these tracks. The latter will likely be a fan favorite and could even be a strong contender for a single. Honestly, Ella Mai has tracks that are better than others but there are no weak links here. Take “Shot Clock” for instance. She calls out a man who has interest in her, but is taking too long to show his affection. This one definitely has a slick 90s inspired groove that can’t be denied. 

John Legend lends his vocals on the tender love declaration, “Everything”. Their voices blend together nicely, as they sing about their respective appreciation for their lovers. “Own It” is perhaps the most surprising song on the album. Although Ella Mai is undeniably sexy, she still exudes an aura of innocence. The song samples the Adina Howard and Jamie Foxx cult classic, “T-Shirt and Panties”. She’s talking about tasting a whole damn plate of it and turning the night into morning. Well, alright then. I’m here for it. 

Ella Mai and H.E.R. team up for a steamy exploration of their intuitive instincts of a love going sour on “Gut Feelings”. However, “Close” offers a contrast of supreme security with a man she can’t do without. “Come and kiss up on me,” she coos. Ella Mai cleverly details all of the emotions, thrills and pitfalls of love. She sums up the sentiment that we all want love to be effortlessly perfect on the album’s closer, “Easy”. Love may not be easy; but, loving Ella Mai’s music sure is. 

Macy Gray is in a class all by herself. She’s not quite R&B, too edgy for Pop. and a little too smooth for Hard Rock. Her voice and style of music is unlike anything I have ever heard before. She has still managed to dodge conformity even after two decades in the music business. Don’t think so? Just check out her Stripped jazz album. Now, she’s back with a shiny new piece called Ruby. 

Macy Gray isn’t afraid to let loose and show her witty, lighter side on the album’s lead single,” Sugar Daddy”. She switched up the old cliche here and instead uses it to explain a sweet, addictive love affair that she can’t quit. Ruby’s opener, “Buddha” is a softer, triumphantly introspective number with strings and cautionary lyrics. Although it seems oft put to begin the album with, it’s one of the best tracks Ruby has to offer. “Cold World” compensates its simpler lyrical content with theatrical production. However, “Over You” is one that will have you hitting repeat. It’s a folksy, big band, feel good bop that finds Macy Gray in her best element: strung out over love. 

“White Man” is one of the album’s most interesting tracks. It sounds like a deep, southern time capsule that enfolds you in its militant arms. Once again, she proves here that she has one of the best songwriting pens in the music business. “Tell Me” explores the jitters of a new love. This song could have easily fit well in the company of Stripped. Macy Gray tries her hand at production on the clever jealousy tune, “When It Ends” (“I see your Instagram/She’s such a toe jam”). 

“Just Like Jenny” is a declaration for a need to getaway, with an infectious melody. “Jealousy” is another lighthearted take on a couple’s mutual jealousy about each other’s flirtatious ways. It’s not necessarily one of my favorites, but it’s still a great addition to the album. Then, there’s “Shenanigans”. The die hard Macy Gray fans know all about her sexual liberation. This is easily the catchiest song on the album that brings a whole new meaning to patty cakes. Listen to see if you recognize the Duck Tales esque “who-hoos” sprinkled throughout the chorus. There’s an underlying message here that also suggests the natural attraction to those things that seem taboo. 

“But He Loves Me” is a painfully beautiful ballad that sits at the same table as her early classics like “Still” and “She Ain’t Right For You”. Somebody please deliver Macy Gray from this never ending cycle of toxic love affairs. The reggae tinged “Witness” closes out the album on a whimsical note. Twenty years in and Macy Gray still shines as brightly as she did from the very beginning. 

JaySyd is constantly creating new music. That part of his musical formula has stayed the same since I was first introduced to his music a few years ago. However, his growth continues to shine through. This is especially apparent on his new release, Changez. Plus, some ladies never learn that conversations with male R&B singers often end up as preludes to a song. This is exactly the case on the album’s first track, confidently cool, “Recognize”. He makes it known that he’s not going to mindlessly chase after a woman. 

However, the smooth slow jam, “In Store” (which is one of the best songs vocally on the album), details him questioning the direction of a budding relationship. “Isolated” is one of the most introspective tracks on the album. “Even though I smile, deep inside I frown”, he sings. The song details family woes, fake friends and his internal struggles. He warns people that his music isn’t a series of albums, but diaries instead. One of the sure fire contenders for a single from his latest diary is the optimistic bass thumper, “Sacrafices”. 

JaySyd carries the bulk of Changez on his back, without any features. However, “Don’t Get It” (featuring Robin Jones) and Just Know (featuring LaVoyce) are both worth additions. The former finds JaySyd asking a woman why she’s wasting time with a guy that doesn’t deserve her. The latter is a midtempo declaration of good love at its finest. He isn’t afraid to show a lighter side on songs like “Crazy 4 U” and “New Me”. 

“Too Loyal” finds JaySyd in a regretful state, pondering about a woman who didn’t deserve his loyalty. He speaks about his recent move to Houston, TX several times on Changez. This song really exudes that Houston influence with the production and the song delivery. The sick production and melody of “Young Ali” will likely make this one a fan favorite. The clap style drum track and the vibes style notes give the song a feel that stands out from the rest of the album. 

The playful “Drum” revisits a familiar cliche without staying in a box. This song holds its own lyrically and successfully merges a love song and club anthem in one breath. “Are You” questions if his woman will be the one who has back or not. “Much Better” closes out the album on a high note, reinforcing the notion that he’s better than the competition. Changez definitely backs up the claim. So, check it out on all digital retailers. 

Although Lil Wayne’s last studio album was 2015’s Free Weezy Album, it’s been seven years since the release of Tha Carter IV. Now, he’s back with the latest installment of the autobiographical series, Tha Carter V. Early projections state that sales could be in upwards of 500,000 (including streams and traditional sales) in the first week. The looming question most fans had in their mind was whether or not Lil Wayne still had it. Does Tha Carter V live up to its predecessors?

Tha Carter V begins with a somber voicemail from Lil Wayne’s mom. Then he breezes through memorable tracks featuring the late XXXTENTACION (“Don’t Cry”), the syrupy southern “Dedicate” and the Swizz Beatz produced pep rally frenzy (that sounds like an overused sample of  G-Dep’s “Special Delivery”). Travis Scott joins him on the trippy album filler cut, “Let It Fly”. He likely felt the pressure to deliver a large body of work to his fans, which is evident by the massive 23 track list. 

The lyrically potent “Can’t Be Broken” sounds like a lost track from Twenty One Pilots, which isn’t necessarily a bad thing. There are many genres that he tests here, including a pleasantly surprising melodic duet between him and Nicki Minaj (“Dark Side of the Moon”). But it’s the picturesque showstopper, “Mona Lisa” (which details his distrust in women), featuring Kendrick Lamar, that proves while Lil Wayne’s presence was minimal, it was not forgotten. 

“What About Me” is an emotional track that sounds better suited for Drake than Lil Wayne. He gets back to his natural element on the introspective talk-rap song, “Open Letter”. That sentiment is taken a step further on “Famous”, which features his daughter, Reginae Carter. “Hittas” bangs with a knock reminiscent of the early 2000s Lil Wayne. However, it’s “Open Safe” that is a ready made club bass thumper. Expect this one to be a big hit on the Billboard charts. 

The old school R&B influenced “Demon” is just as disturbing as it is infectious. Lil Wayne nonchalantly details all of the demons that sleep with him. Plus, he explains the roles they play in his life. He even recruits his ex fiance, Nivea, on the boastful “Dope New Gospel”. Despite some questionable references to Michael Jackson and referencing himself as a hero, it’s worth the hype. Although Tha Carter V could have benefited from cutting a few tracks from the final track listing, it’s his best offering in quite some time.