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CD Reviews
Bow Wow
The Price of Fame | Columbia
By
MIKAEL WOOD
|
December 28, 2006
BOW WOW, THE PRICE OF FAME
" alt="photo of 'BOW WOW, THE PRICE OF FAME'">
2.0
Stars
From its
Illmatic
-quoting cover to its boasts of “money stacks taller than the Empire State,” 2005’s
Wanted
was Bow Wow’s coming-of-age album, an opportunity for a youngster known to most listeners as a kiddie-pop novelty to prove himself a rapper worth considering alongside grown-up MCs. What made
Wanted
so gripping, though, was the way it captured Bow Wow in an in-between phase — not a boy, not yet a man, to paraphrase fellow Disney Channel alum Britney Spears. On
The Price of Fame
, Bow appears to have completed his graduation from Hip-Hop High; his voice has deepened, and the beats hew to the Southern-bounce template you can hear on the radio by simply turning it on. The problem is that he’s far less interesting as an adult than he was as a kid. In “Don’t Know About That,” he warns aging rappers to get out of his way because he’s on a mission to provide hip-hop with some new energy. Yet it’s unclear how that new energy differs from the old energy. “All I do is get money,” he admits with a bored-sounding sigh at one point. Are congratulations in order?
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All it took was a Godzilla sample and a simple, forceful “Simon says get the fuck up” for Pharoahe Monch to leave his mark on hip-hop history.
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Lloyd Banks has officially followed G-Unit leader 50 Cent into sophomore mediocrity.
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Give you a hint: one of them sizzled, one of them fizzled. Live grime’s a bitch, innit? The Streets and Lady Sovereign at Avalon, June 21, 2006
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For a smart guy, Lupe Fiasco has an unusual propensity for spewing verbal garbage.
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Twenty years later, Straight Outta Compton holds up better than most of the East Coast albums released around the same time.
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Ever since rappers got wind of the title of Nas’s recent Hip Hop Is Dead, they’ve been calling up radio stations, printing T-shirts, doing whatever they have to do to get the message across: “No it’s not!”
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,
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,
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,
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Given the theory of de-evolution these Ohio brainiacs began expounding more than 30 years ago, it makes a sad kind of sense that Devo's first album since 1990's Smooth Noodle Maps offers such a charmless, base-level version of the band's synth-addled new wave.
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