The Roots are the band known to listeners of different ages and loved by followers of various genres. They started out as one of hip-hop pioneers and then went on to add touches from other schools. The ability of these musicians to evolve and transfigure their sound is the key to holding on to the elite league for so long. However, many were set to believe that the 2008 release of Rising Down was the last long player in The Roots collection. That was the group’s darkest work that planted seeds of pessimism in the hearts of its numerous fans. There was a widespread opinion that, before leaving the stage for a long-deserved rest, The Roots decided to preach about the stigmas of the contemporary global community. Nevertheless, in less than year, the ensemble premiered a single called How I Got Over that later was announced as the title track to the upcoming full-length effort. How I Got Over is the ninth album from The Roots that puts it more than clear that the band has not sung the sawn song yet, no matter what the age.

Multitude of guest artists and plenty of excellent lyrics

The album is opened by A Piece of Light that may easily fling you into confusion. The Roots have long been reputed for their experiments with rap and modifying it at their will this way or another, but playing modern days jazz with funk marking is something in their arsenal. And then comes the time for The Roots traditional type of music. Walk Alone has a very sad story and understated keys that distract you from anything else so that you do not notice how these keys carry you over to the next Dear God 2.0,one more effort by one more artist to get a straight answer from the Almighty. The songs are different to the largest extent because of the choruses in many cases decorated by the voices of the guest singers. Particularly many parts are entrusted to P.O.R.N., and Dice Raw. You will enjoy the singing of John Legend who did his work for The Fire. The vocals and supreme lyrics often overshadow the hard work done by other participants of the project, specifically ideally timed beats fitting perfectly house parties. Only in the last track of the album, Hustla, beats flow to the top thank to especially heavy and thick basses. This composition does not have much in common with the rest of the material from The Roots; and this, as strange as it sounds, helps you get more focus on the other songs of How I Got Over.

Too early to say good bye

The Roots have only one more step to make to reach the landmark of ten studio albums. We have to admit that today the band’s CD do not sell as massively as they did ten or fifteen years ago; but these musicians have not realized their potential to the last yet, which is proved by their new long player. The subjects raised in the texts of The Roots freshly released album are again connected with issues of religion, politics and culture. Yet, this time, the musicians decided that there is still hope. The lines in the chorus of How I Got Over saying that there must be someone who cares become the motto of the entire album. While the music, arrangements and flawless vocals of How I Got Over remind us that The Roots had the right reason to call themselves a ‘legendary crew’, the lyrics reminds us that although there are many bad things in this world, men must find the inner strength to resist the band fight for the good.

R&B producer, song-writer and performer The-Dream (born Terius Nash) might be a man with a heart full of passion, or the one who is deeply cut by the man and woman issues, but the fact is: even the albums he releases are marked by the internationally recognizable word Love. Following Love/Hate (2007), and Love Vs Money (2009), this talented artist dropped in 2010 a CD titled Love King. Three long players in four years is a respectable result which looks even more significant if you consider this young man’s expansive involvement in collaborations with number one stars like Rihanna. The-Dream must have been bulking with desire to work and create during the making of Love King. It could not go any other way because right now the singer’s personal life (a subject to so many of his songs) is absolutely fine. Last winter he became a father of a girl, which motivated the man even more greatly. There are no reasons to feel skeptical about the new release. The-Dream’s two other full-length efforts were highly appraised by critics; and the man does not look likely to disappoint us with this one.

A huge album with songs of two types

Love King is a monster size effort that stores songs enough for two albums, which should be its only considerable drawback. After all, unless a CD is conceptual and has a story connecting all its parts, listening to all of its tracks at once could be a difficulty to many of us. So we have got a plenty of material executed in a manner we recognize The-Dream by. The artist does not try to astonish us with his poetic efforts and makes up for the lyrical gaps with supreme arrangements and well-thought-through choruses. Above the stiff bass and European pop-music synthesizers, there are crooning-like vocals here and there supported with horns or piano. Conventionally, we may divide all the tracks into ‘sad’ (of breakups, unrequited love and stuff like that) and ‘fun’ (about pleasures of love), the latter surely more to the benefit of The-Dream. The fun material is better not because the performance is better, but because it matches the artist’s image. We are used to thinking that his songs tune us to an optimistic way of feeling instead of casting us into the pit of sorrows. Among the ballad and lyrical material we have to single out the epic February Love, Abyss, a hymn of those who no longer mourn over collapsed relationships. The second category is best presented by the title track that is a story of a love-addict who seeks heart adventures anyplace and anytime.

Love King continues the streak of The-Dream’s excellent studio works

Critics and listeners are long familiar with statements of musicians claiming that their newly releases are ‘absolutely best album I/we have ever made’. Of course, no one will never say anything like ‘Folks, this effort is a complete disaster. You should never listener to it’. The-Dream could not resist the temptation and proclaimed Love King his most proficient long player. In cases like this one, you better listen to the very album instead of trusting the words of the one who is promoting it. Love King is a good CD that, however, may bother you easily because of the tremendous number of songs with average duration of about four minutes. Some of the tracks (first of all, lyrically crippled Panties ToThe Side, and Florida University) could have easily been left off the set without hurting anybody. Nevertheless, the majority of the compositions are a proof to the certain truth: The-Dream has practically no competitors in making hit material. The man delivers melodies one after another and knows precisely how they should sound to make a song radio-friendly. Probably, to convince a listener of the necessity to get to try this album it is enough to say that Love King is in no way worse than the artist’s previous efforts. And since he has not changed anything in his formulae, this one can hardly be better than the ones you have already heard.

It is now more than 15 years that millions of the genre fans associate the southern rap school with the name of Big Boi, known by the duo OutKast. His unique style, a pleasant voice timber and attention to details have made Big Boi not only oone of the best southern school representatives but also that of the rap on the whole. As the duo OutKast together with Andre 3000 they released four incredibly successful albums and in 2003 each of them recorded material separately. The result was the album Speakerboxxx/The Love Below (the first part was Big Boi’s, the second one Andre 3000’s), then the 2006’s album Idlewild followed, after which the guys decided to record a solo album each, and then another work together. Although Big Boi started writing and recording new material three years ago his album Sir Lucious Left Foot: The Son of Chico Dusty is released only this summer after several delays which have to do with his differences with his label. Nevertheless it was worth waiting for it – Big Boi’s album proves to be simply faultless.

Nothing spoils the success of Sir Lucious Left Foot: The Son of Chico Dusty

The conflict between Big Boi and the label Jive ended in the artist’s leaving it, though OutKast is still signed with the label. Therefore three singles with Andre 3000 initially recorded for Big Boi’s album have been excluded from Sir Lucious Left Foot: The Son of Chico Dusty. Luckily there is a big choice of great tracks on the record, and the loss has not at all spoiled its success. The album opens with an impressive introduction Feel Me followed by a contagious number Daddy Fat Sax. The rapper is joined by Sleepy Brown and joi on Turns Me On – it is a very stylish, melodious and delicious composition whereas the first official single off the album Shutterbugg featuring Cutty is built on a deep bass beat and pleases with high notes on chorus. The track General Patton (Patton is Big Boi’s real surname) proves to be one of the most monumental on the album, it is built on a choir solemn singing and contagious tubes. One of the highlights is Tangerine featuring T.I. and Khujo goodie: sultry guitars and an amazing contemporary beat will leave nobody indifferent. Such tracks as Hustle Blood performed with Jamie Foxx and Be Still refined with Janelle Monae’s splendid vocals. The traditional song about not a very pious life is Night Night (featuring B.o.B and Joi), and Gucci Mane joins Big Boi on an optimistic number Shine Blockas in a major key (another version of this song also concludes the album). For dessert the rapper has left a melodious and very stylish track Back Up Plan and a danceable hip hop number Theme Song.

The irreproachable preciseness of true professionals

Charismatic and self-confident, Big Boi knows very well how to please hip-hop fans: his rhymes are witty and unexpected, and the themes are topical as always. Besides, he has also played the role of a producer more than once, he is well aware of all fashionable trends and can work productively both independently and as part of a team. Awesome samples and tunes, soft, harmonious arrangements are present in abundance on Sir Lucious Left Foot: The Son of Chico Dusty. Everyone can find a song for one’s taste among the 16 full-length tracks but all of them are carried out with the irreproachable preciseness of true professionals. Despite the greater part of the compositions being performed with guest artists, it is always Big Boi that remains the central figure of this monumental act. Working on Sir Lucious Left Foot: The Son of Chico Dusty has absorbed the artist so much and has lasted so long that he has already announced the preparation of a follow-up record, although it is still unknown when it is going to be released. Anyways, Big Boi has fulfilled his part of the contract perfectly well, now it is Andre 3000’s turn to do the same.

Half a century ago was when the amazing career of Lee Ritenour, a great guitarist, started. An author and performer, he has recorded some forty albums and released a number of works as a producer. Lee is also credited with the gathering of Fourplay, an ensemble considered by many as the best contemporary jazz outfit. That is right, jazz is the music that Lee Ritenour has dedicated his whole life to. He can not imagine his existence without jazz, and jazz would be so much different if this man did not play it. To celebrate the fiftieth anniversary of his musical career, that he, by the way, started at the age of sixteen, Lee designed a grand project that was called 6 String Theory. Formally, this is just another studio long player to go to Ritenour’s richest discography, but, is its essence, this is a massive work that highlights the labor of many mega popular guitarists. The interesting thing is that not all of them actually play jazz. The trends of music presented by these instrumentalists are so variegated and numerous that some of them are united by only one feature, and that is the usage of one and the same six string instrument, guitar.

Jazz and much more

The size limitations do not allow the author of this review to outline the complete list of those who took part in the making of 6 String Theory because altogether there were about twenty of them. However, it is necessary to inform the listeners that, apart from Lee himself, you will hear the works of rocker Slash, bluesman B.B. King and jazzman George Benson. No matter what guitar genre you are a fan of, you will certainly find something you will like among those fifteen tracks stored by the album. 6 String Theory provides samples of what country, rock and blues should sound like; but, of course, jazz is what you will hear most of time. Jazz, actually, greets you in the very beginning. Ritenour, supported by his colleagues, delivers energetic Lay it Down. The other worthiest jazz-tracks are cheery L.P. (For Les Paul), and My One and Only Love with a supreme solo from Benson. Rock-oriented material is best presented by 68 with a cross-solo from three gurus. The noticeable part is that Ritenour did take part in the creation of all the songs, but performing different functions. Sometimes, he did not take the six string instrument, but remained in the booth and enjoyed the producer’s duties. Besides, Lee wrote only a tiny part of the set, which is not characteristic of his albums.

An ode to guitar

Guitar is an amazing instrument that form musical core for most different trends where it tends to sound so much different. And if you are not sure of this fact, 6 String Theory is what you are destined to listen to. Should the title of the work be also an academic discipline, all of those who contributed to this project would get pass the exams effortlessly. In fact, with a rare exception (first of all, we are talking about the sixteen-year aged prodigy Shaun Boubil), the musicians who worked on this CD are those who have already earned worldwide star reputation. Moreover, some of them had an experience of collaborating with Lee Ritenour before they have their yes to this idea. And Lee, the man who is behind all this initiative, felt completely secure and confident about the final success of this product. 6 String Theory is all about the music and is not intended to draw your attention to a deluxe design, controversial images of the performers or provocative lyrics. You will not find any of it here, but the music. The music here has so many faces, and the same time it is always of top quality and imminently a sheer pleasure to all those who praise guitar.

Is there any norm for the frequency an artist is supposed to release albums in the world? It is no secret for anybody that it all depends on the activity and creative work of one person or that of the entire team, of the contract terms with the record label, in the end, of the life circumstances. Obviously everything is going fine in all these aspects with Prince. This artist’s creative activity really knows nothing of boundaries and recognizes no norms or rules. Releasing two of his albums at once last year, MplSound and LotusFlow3r, as well as playing the role of a producer for his girlfriend Bria Valente’s debut Elixir the artist returns with his new record 20ten already this summer. The album’s title stands for the current year which Prince considers very important both in the mankind’s history and his own life. It is interesting that the singer has preferred an original way to promote the album 20ten which reminds of the story with his 2007’s record Planet Earth. The disc 20ten could be got with the number of the British newspaper Daily Mirror, as the artist believes that the Internet is over.

20ten has every chance to repeat the success of Purple Rain

Although Prince has remained faithful to his own original traditions and keeps on making unexpected statements, it is clear from the very first sounds of the album 20ten that the second breath has finally opened in his music. The singer definitely remembers the success of Purple Rain and desperately wants to repeat it – well, his thirty-third studio album has every chance to do that! As before Prince has arranged and produced all the tracks himself, demonstrating his awareness of the popular music trends and preserving his trademark sound at the same time – one of the world’s best guitarists artfully combines guitar parts with a danceable beat. The album’s themes this time around are brotherly love and unity, relationships, entertainment and naturally romantic dating. On the cheerful and optimistic opener Compassion the artist invites everybody to love each other no matter the color of one’s skin, whereas Beginning Endlessly is the most philosophic number on the record – Prince is exploring the universe itself here. One of the album’s highlights Future Soul Song is a slower compositions closer to R&B, pleasing with sensual vocals, a text about love, a melodious guitar solo and a rich arrangement, whereas Sticky Like Glue takes us back again on the dance floor due to its contagious beat with clapping and an appropriate guitar riff. Another brilliant example of a fusion guitar meeting a pop tune is the song Lavaux, and a romantic compositions Walk In Sand and Sea Of Everything remind us that Prince loves conquering women’s hearts. The most easy-going number is the finale Everybody Loves Me, and а tougher and more complicated Bonus Track #77 stands by itself.

A perfect balance both in the lyrics and the instrumental background

Except for the contagious beats, memorable tunes and shiny arrangements the record 20ten also proves to be a brilliant example of Prince’s great songwriting skills. He is the only one able to be simultaneously a philosopher trying to fathom the endlessness of the universe, and an easy-going night club frequenter, glamorous and proud of oneself. It seems like he takes some ideas for his songs from clever books, priests’ propagations and lectures of the world’s wise men, and simply makes the others of magazine superficial slogans, scraps of conversations heard at receptions. All of it is always spiced up with a romantic flavor, the endless admiration for the opposite sex and the confidence of one’s own uniqueness. It seems like such an approach could make any Prince’s album successful but it is on 20ten where the artist has managed to find a perfect balance both in the lyrics and the instrumental background. Therefore this brilliant, sparkling and sensual pop album will surely return Prince’s fame of the 1990s, maybe not that sensational but definitely solid.

“It had this very dark, personal conflict within it. Because of Kanye West’s own concept of celebrity and his own notoriety, he’s keenly self-aware of all these things. And it all came out in the music”, said Marco Brambilla.

Director added that Kanye West himself suggested an idea for music video and he liked it very much because it was “very personal”.

Power is the first single from Kanye West’s upcoming new album. This week rapper announced that the record would not be released under the name Good Ass Job – although he is still thinking about new title.

Kanye West already performed three songs from his upcoming album at the Facebook headquarters. Rapper played tracks Lost In The World, Chain Gang and Mama’s Boyfriend during a special show for the companies’ employees.

Rapper’s new album is set to be released in September. According to Billboard, the album will feature tracks produced by Q-Tip, Pete Rock and Wu Tang Clan’s RZA.

Kanye West’s previous album 808′s And Heartbreak hit the stores in 2008.

It will be produced by Michael Jackson’s brother Jackie and Rodney Jerkins, who is famous for his work with such artists as Britney Spears, Spice Girls, Jennifer Lopez, Jessica Simpson, Janet Jackson, Beyonce and others. Jerkins also produced Michael Jackson’s album Invincible that hit the stores in 2001.

There were rumors earlier that Michael Jackson was working on the new album before his death.

Michael Jackson has died from a heart attack last year on June 25 at the age of 50.