Disco de LL Cool J: “Exit 13”

Descripción (en inglés) :

Personnel: Brian Mavi, Starr Blackshere, Arnold Tucker, Tesa Williams, Sharise Jackson, Paula Hollaway, Nahemma Harper, Lyric Tucker, Lawrence Newton, Jennifer Burton, El-Ahmad Barack, Lil' Mo, Barbara Walker, Charlene Hollaway (vocals); Dave Clauss (guitar); Thomas Flanagan (sitar); Tamae Lee, Luigi Mazzochi, Ghislaine Fleischmann, Igor Szwec, Emma Kummrow, Olga Konopelsky, Gregory Teperman, Charles Parker (violin); Alexandra Leem, Peter Nocella, Davis Barnett (viola); Jennie Lorenzo (cello); Greg Riley (tenor saxophone); Matt Gallagher, Mike Jarosz, Jon Virtue (trumpet); Paul Arbogast (tenor trombone, bass trombone); Dan Paul (piano); Infamous (keyboards); Paul Gehman (bass instrument); Brian Farr (drums); Leonard Sideman (tabla); David Nelson (timpani); Scratch (scratches); Mari Koda (background vocals); Brent Behrenshausen, Zach Larimer, Mark Figueroa, Gabriel Staznik, Frank Hill. <p>Audio Mixers: Jaycen Joshua; Dave Pensado; Glen Marchese; Marley Marl; Brian Stanley. <p>Arranger: Larry Gold. <p>The 13 in LL Cool J's latest LP represents the number of albums that he's recorded for Def Jam, the label he helped build from the ground up dating back to 1984. Much like Ice Cube and other aging hip-hop stars who have crossed over to mainstream celebrity, LL has little to prove but still plenty of talent to burn. As he says on "Get Over Here," "It ain't where ya from, it's how hot you are," and the man they call Todd Smith liberally borrows production styles from hip-hop's ever-expanding geography, while throwing in the occasional history lesson. Opener "Old School New School" is rousing and boastful, feeling awfully similar to a Kanye West cut off GRADUATION. He then heads down south for "Over Here"'s stutter-step bounce (and the phenomenal, drumline-centric "American Girl"), and goes literally global via the seductive Indian inflections of "I Fall In Love." But the highlight is "Ringtone M.," a minimalist track backed by a verse from genre pioneer Grandmaster Caz. EXIT 13 demonstrates that LL's influence has become genre- and era-blind, and as an MC, his flow is still as crisp, confident, and commanding as ever.

LL Cool J has been rapping for 24 years. Period. There's not too much he can cover that hasn't been covered already. He's afflicted with the same issue that bothers most rappers that have been around as long as him (like KRS One, for example) and that's what can make a lot of his work seem repetitive and forgettable. That being said, Exit 13 is probably LL's best release since he dropped G.O.A.T. back in 2000. You'll have to take that with a grain of salt, though, since LL hasn't made a good album during those 8 years -- he could only go in one direction. There are a few tracks where he exhibits a return to form and it's good to see L went back to making tracks like "Rocking With The G.O.A.T.", "This is Ring Tone M..." and "Old School New School" where he doesn't forget about his male fans for a change. And, also for a change, these songs are in the majority this time around.

Despite all of the improvements, there are some huge flaws to be found on this disc. Tracks like "Get Over Here" exhibit LL at his most awkward while trying to stay relevant over a southern styled beat. That isn't and never has been L's style. I give props for trying something new, it just didn't work. The "Baby" remix and "Mr. President" are corny...straight up. There are a few joints that are obviously aimed at the club (Baby) that despite nice production just didn't seem to mesh because LL's lyrics seem elementary and uninspired ("your body's a gun, baby...pump me full of lead..."). A good portion of the rest of the album is filled with songs about how he' the heart of Def Jam (You Better Watch Me) or how he's the best ever. Though he may have an argument, it gets monotonous after a while because, even though this is the makeup of a good 90% of his albums, his flow in 2008 is just a hair above nonexistent.

Exit 13 is a solid and respectable outing from LL Cool J. It's not the best he's ever released, but it's not the worst either. I'd say it's right around average and, judging from his last couple albums, that's a step up for L. I'd recommend checking it out before you buy it, but if you're a long time fan, I can't think of any reason why this album would disappoint.

Standout Tracks: Dear Hip Hop, Old School New School, This Is Ring Tone M... feat. Grandmaster Caz, We Rollin' (My Favorite), Feel My Heart Beat, Ur Only A Customer, Rocking With The G.O.A.T., Speedin On Da Highway/Exit 13 feat. Funkmaster Flex, and It's Time For War

It is great to hear the growth and maturity within this classic artist. Coming up in this culture and at a time when LL Cool J began, I can only be greatful that I can truly appreciate what he has added to our culture of Hip Hop. This is a strong album that reflects a strong voice in Hip Hop.

LL Cool J returns with his 13th album and last for Def Jam. The hip hop marketplace is now flooded with over rated rappers such as Lil Wayne, gimmick rappers like Soujla Boy & Vic and real lyrists like Little Brother. The question is after after twenty fours, is LL still relevant ? The answer is yes and for fans this CD won't disappoint. LL Cool J has been a dominant force in Hip Hop for over twenty years and true fan of rap will place LL in their top ten of all time. With his 13th and possible final album, LL has provided one of his best efforts since 1995's Mr...Smith and truly proves he is one of the G.O.A.T's,