Lloyd Banks Follows Road Paved By 50 Cent

Lloyd Banks 'On Fire'

With Lloyd Banks’ debut solo set, ‘The Hunger for More’ coming out June 29th from G-Unit/Interscope, Billboard Vibe music editor Erik Parker if Banks could match the success of G-Unit brother and label head 50 Cent. “There is a huge buzz for anything G-Unit-and Banks fits closest into the 50 Cent mold,” Parker says. “He made his name on mix tapes, stamping each track with sizzling verses — as did 50 Cent. And like 50 did with ‘Wanksta,’ Banks utilizes a polished club record like ‘On Fire’ to make a splash.”

Surprise Lloyd Banks Performance Turns Sour

Lloyd Banks 'On Fire'

Contributed anonymously:

There had been rumors floating around that a special appearance by someone in the G-Unit crew would be made at Club Matrix in Los Angeles, California last Friday on the 4th. So we decided to head on over thinking that it would be 50 Cent. The club was packed to the point where the club owner had to bring in the police to make some of the people waiting to get in leave because the club was already filled to capacity. While we were inside, everyone was buzzing about 50 performing! Suddenly, the lights went down, gun shots went off, and the crowd went crazy because we thought 50 was about to come out. Once the lights came on, there were about 20 people on stage and the only G-Unit member standing there was Lloyd Banks. The first thing he said was “Wassup ya’ll, ya’ll know my album is comin’ out on the 29th don’t y’all?” (Obviously he must be on a promotional tour for his upcoming album). The crowd was silent for a moment and in the back we heard a few people boo. He started off the set with his current single “On Fire”, and by the second verse, the crowd was very annoyed. The booing became so loud that you couldn’t even hear the song, yet alone Lloyd Banks. People just started leaving before he even got to the second song. I for one am a Lloyd Banks fan, however, I must admit I was quite disappointed myself.

Grand Loaded

The Streets 'A Grand Don't Come For Free' album cover

Darryl Sterdan of the Winnipeg Sun reviewed The Streets’ new album ‘A Grand Don’t Come For Free’, giving Mike Skinner an impressive 4 1/2 out of 5 stars. Sterdan writes, “‘A Grand Don’t Come for Free’ has firmly established itself as one of the most creative, honest and fully realized records of the year — and another smashing success for Skinner.” Read more.

Method Man Seems Wasted On ‘Tical O’

Method Man 'Tical O: The Prequel' album cover

Jim Farber of the New York Daily News reviewed Method Man’s new album ‘Tical O: The Prequel’ claiming “once among hip hop’s freshest voices” now seems “utterly wasted”, giving damning proof to those “who think marijuana turns users into slovenly dullards.” Farber added, “Clearly, Method Man doesn’t mind turning himself into a modern-day answer to Cheech Marin. But on this album, it’s listeners who’ll feel burned.” The entire review at nydailynews.com has since been removed.

Shadow Zu Brings Social Responsibility Back To Hip-Hop

Contributed by AdamBernard:

With rap music suddenly bombarding listeners with tales of gun play and big pimpin some people have been looking for something, anything, with a message. People have latched on to MCs that aren’t necessarily socially conscious, but dub them so as they are at least slightly different from the norm. For those individuals who are looking for a little social consciousness in their music, for those individuals looking for an album that may spark a thought other than “let’s get another drink,” in steps Shadow Zu. Shadow Zu is a crew of MC’s, singers and reggae artists who have created their own form of African influenced Hip-Hop that integrates multiple forms of music and, for the most part, focuses on social and political issues effecting both the artists and listeners. For the full review of their latest album click here.

Petey Pablo’s New Album

Petey Pablo 'Still Writing in My Diary: 2nd Entry' album cover

Contributed Anonymously:

After putting North Carolina on the map with his first CD, Diary of a Sinner, 1st Entry, Petey Pablo is back with the second installment in his dairy, the aptly titled ‘Still Writing in My Diary: 2nd Entry’. Petey sticks to pretty much the same formula as he did on the first album, but with an even longer list of the industries most well known producers. Read the review, which gives Petey 3 out of 5 stars, here.

Eminem’s Still Got Game

Darryl Sterdan of the Winnipeg Sun reviewed D12’s new album ‘D12 World’, giving it an impressive 4 out of 5 stars. Sterdan writes, “We’re not sure if Eminem is getting smarter or we’re getting stupider. But we do know we dug ‘D12 World’ — the sophomore CD from Marshall Mathers and his Detroit homies — a lot more than we anticipated.” Read more.

‘World’ Beater

D12 'D12 World' album cover

Dan Aquilante of the New York Post reviewed D12’s new album ‘D12 World’, saying the “Detroit rap crew steps out of the shadow of Slim Shady”. Aquilante adds, “Eminem has a strong, identifiable voice and his fans will clearly hear it on this disc, but ‘D12 World’ is a group effort with multi-layered raps among Kon Artis, Proof, Swift, Kuniva and Bizarre. Rather than falling into the gangsta trap or the new trend to candy rap and hip-pop, this record smartly carves out a niche for itself as social commentary through satire.”

J-Kwon Flaunts Obnoxious Side On Terrific Debut

St. Louis rapper J-Kwon

Jim Farber of the New York Daily News reviewed J-Kwon’s new album ‘Hood Hop’. Farber writes, “At 17, J-Kwon raps almost exclusively about sex, getting high and the sheer joy of acting obnoxious. It’s that last element that helps make him special. While so many young rappers use raw language, and rude behavior, as a boast, threat or complaint, J-Kwon uses it as a self-aware sendup.” The review at nydailynews.com has since been removed.

Substantial Evidence Is By No Means Substandard

Contributed by AdamBernard:

Extended Famm member Substantial’s latest release is a greatest hits of sorts, covering his music from 1999-2003. 31 tracks in all, the album has numerous highlights and despite a running time of over 75 minutes, doesn’t drag on at all. To read a full review of the album, click here.

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