It's always weird for me hearing new albums by non-OGs, it's just a different universe from Paid in Full or something. Hip-hop just isn't about the lyrics anymore. So it took me a few listens to evaluate but I think it's a pretty stellar album at this point. Schoolboy Q is a god with the flows, I've never heard someone push it this far in terms of variety. Good variety in the beat selection too but more importantly he just milks those suckers for all they're worth. Seems like this gets compared to Kendrick's album a lot but it's more similar to Gibbs': they both have basically the same story to tell (the same story most conceptish rap albums tell; I dig that both Q and Gibbs have the good grace to invite the formula's inventor on for a verse), but Oxymoron feels both more complete and concise. Lots of great guest verses but Kurupt's takes the cake.
Choice cuts: Los Awesome, Hoover Street, Prescription/Oxymoron
Just good chill shit. The Murder Mystery interrupts the flow a bit; I like the idea of one experimental song but this isn't the one.
Choice cuts: What Goes On, Jesus, Beginning to See the Light
This might be the first live album I've heard. There's something incredibly intimate about it, between the stripped-down take on the songs and Curtis' addresses to the audience. Feels more like a show in a living room than a club. None of the spine-chilling orchestration of the studio stuff but a lovely experience in its own right.
Choice cuts: Stare and Stare, The Makings of You, (Don't Worry) If There's a Hell Below We're All Going to Go
Elsewhere I called it A Hard Day's Night where actions actually have consequences but as it progresses it really becomes much more hellish than that. Political firestorm in the backdrop with one of the best action finales I've seen. Mak directs the fuck out of it.
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