bigted

Welcome to the forum Fresh-Ta-Def, nice review, we did a few reviews a few months back around the time the album dropped, you could check my review there: http://jazzyjefffreshprince.com/forum/inde...1&st=&p=entry I never got around to grading the individual tracks so here it is: 1- Here He Comes-(B) 2-Party Starter-(A-) 3-Switch-(C-, worst track, still listenable but not repeatable though) 4-Mr. Nice Guy-(B+) 5-Ms.Holy Roller-(A) 6-Lost and Found-(A+) 7-Tell Me Why-(A+, best track, one of the best I ever heard, I could listen to this all day) 8-I Wish I Made That/Swagga-(A+) 9-Pump Ya Brakes-(B+) 10-If U Can't Dance(Slide)-(A) 11-Could U Love Me-(B+) 12-Wave 'Em Off-(B-) 13-Scary Story-(B) 14-Switch R&B Version-(B-) 15-Switch Reggae Version(A-, this would've been better to release than the original, mad energy) Bonus Tracks-"We Won't", "Comin' To The Stage", and "Chosen One"(B, they could've replaced the original switch, the r&b switch, and wave 'em off to make the album perfect, but you could say that about most classic albums where one or two songs couldva been left off and a couple unreleased tracks they did shouldva been on it instead)

JJFP and Snoop Dogg "Pump Ya Brakes"

I don't see why black radio wouldn't play this track, it's gritty as hell, they would be dumbasses not to play it!

:word: Talking about TV shows has nothin' to do with the "Lost and Found" concept, lol. In my 1st post I thought that we were quoting the song, lol, I'm gonna come up with another one here, great idea Tim, I might have to save some of mine for future use, lol: Lost is when you say something without knowing the facts Then getting embarassed when you realised you were wrong Found is when you research to master your craft And put that knowledge you learned into your song

People seriously need to stop comparing Nas and Jay-Z with each other so much, their beef is over and one thing that I respect about Nas is that he makes songs relevant to what's going on in his life at the time he records them, he won't be doing another album like "Illmatic" 'cause his life is different now than it was 10 years ago, that's what makes him one of the all-time bests, he's versatile and constantly reinventing himself as an artist, music as a whole isn't the same now as it was in the 80s and 90s either, too much trends now and not enough creativity, Nas is one of the few left, he should do a song about JJFP one day too.

http://www.allhiphop.com/features/?ID=1132 DMX is the last of a dying breed in Hip-Hop – the unpredictable. These days everything from singles to beef has become formula concocted within boardrooms and color-by-numbers marketing plan. But, nobody gave the plans to DMX, the Yonkers-bred lyricist. And fortunately, if they did make him privy to what he’s supposed to do, he probably wouldn’t do it anyway. The Rap maverick is set to release his new album, Here We Go Again, but X is already expressing his mind state on producer Dame Grease’s “Gangsta Breed” mixtape. “The industry don't give a f**k about you/ The industry couldn't make a dime without you/ I'm sick of this industry s**t/ The industry playing you like a industry b*tch," he spews. Yet, after once announcing his retirement and distaste for the Rap game, DMX is back. And the Dog is as vocal as ever with an opinion on Def Jam under president Jay-Z, the police, his record and his own capricious nature. AllHipHop.com: A lot of artists like yourself are facing the situation of your album dropping at the same time they are doing jail time. Will you, like others use that as a marketing tool? DMX: That ain’t marketing, that’s the police! Going hard on n***as for nothing nahmean? It’s like “driving while Black”, “walking while Black,” all them s**ts are felonies. AllHipHop.com: But aren’t you not supposed to be driving at all? DMX: Listen, that ain’t got nothing to do with nothing aight? If I ain’t break the law, you shouldn’t pull me over anyway. How do you know it’s me? My windows are tinted. Nahmean? I still got my name on the back of my truck. But you shouldn’t assume that it’s me driving! AllHipHop.com: Why do you have your name on the back of the truck and you know the cops are watching you? DMX: Yo, one cop told me-he pulled me over- cool brotha, I forgot his name. I wouldn’t blow him up anyway but, he pulled me over and he told me one precinct has a betting pool, a f**kin’ betting pool on who was gonna bring me in next. It was up to like $2,000. AllHipHop.com: See, you should be ridin low, in a Celica or something! DMX: F**k that! I go hard. I ride with the dog. Reach in here and try to turn something off if you want to muthaf**ka, you’ll pull back a nub. AllHipHop.com: You don’t play around. How much of your amped energy is the liquor and how much is just “you”? DMX: It’s just me, it’s just me. It’s all me. This is how I am. I’m just an amped muthaf**ka ya know what I’m sayin? POW! Bang a n***a, all that! You know what I’m sayin? You know what I mean? AllHipHop.com: So tell me about your new album? DMX: Ha! Typical X. Hot to death. It’s like, ya know, it’s a listener’s album. I got the bangin beats and all that - but I mean please, please listen, that’s what it’s for. AllHipHop.com: So what should your audience be listening for? DMX: The truth. AllHipHop.com: What’s different on this album than on your previous releases? DMX: Nothing. If it ain’t broke don’t fix it. AllHipHop.com: It’s been a minute since you dropped your last joint. DMX: Yeah, but I walk the streets and it’s like I just dropped one. N***as is like, “Ya s**t is hot, ya s**t is hot!” AllHipHop.com: What keeps you continuously dropping records and making new music? DMX: Real life. I love music man. I just f**kin’ love music so I’m always gonna write. Whether I decide to give it to the world or not, I’m gonna write it. And I’m gonna capture it you know what I’m sayin’? AllHipHop.com: So you don’t do this only for the bread? DMX: S**t, if I did this for the bread I would quit a long time ago! It took me 13 years just to get signed yo! So if I did for the money I woulda been quit, like “You can’t be serious”. I never did it for the money. I did it cause I love doing it and I was pretty much the best at it. Like on and off the radio - the best at it, period. AllHipHop.com: Tell me this, you’re at Def Jam… DMX: Yup, Left Jam. AllHipHop.com: “Left Jam”? Elaborate. DMX: They carry n***as to the left. N***as let feelings get involved with s**t, you know what I’m sayin? It’s not business at the end of the f**kin’ day. It’s “I don’t like him,” and “He doesn’t cooperate,” and “He won’t have dinner with me.” and you’re like “Come on buddy, am I f**kin you? What the f**k is the f**kin’ problem? Why do I gotta be up in your muthaf**kin face every f**kin day?” But there’s a whole new system now and a whole new stuff. AllHipHop.com: How does it feel having Jay now as a boss, when he was formerly your peer? DMX: I don’t have a boss. I don’t have a boss. I honestly have to say, that whoever or whatever entity gave him that position, it’s putting a strain on our relationship. We have a good relationship. It’s a mutual respect. We came up together. We done had battles and got over it. We did songs together! We rocked together! And for them to put-it’s like they’re pitting us against each other. Typical f**king cracker s**t that they do. Typical s**t that they do to break a muthaf**ka down: “Here, I’ma put him against him, and we’ll see what happens. Either way, we win.” It’s hard man, but it’s nothing that I’ll let him do to influence my project. Nor do I think there’s anything that he would do, out of the respect that we have for each other to influence my project. We’re both artists. He’s cool as s**t. We have that respect for each other. And when we say “What’s up?” and “How you been?” it’s real. It’s not dick riding s**t. No industry n***a to another. It’s “What up, dog? How you been man!?” Namean? About 15 years ago, we was rockin’ together on the pool table - goin’ hard! So it’s like, it’s real s**t! But the fact that they set it up like that then make me the first major project- I don’t like the way they did that. But I’m not gonna change what I do. And I’m not gonna let anybody interfere with what I do. AllHipHop.com: Speaking of Jay, there were rumors that you had also retired from the game, but now you’re back. What made you leave, and what sparked your return? DMX: I did announce that I was walking away from the industry because I got tired of dealing with fake ass niggas and I knew that if I kept dealing with these muthaf**kas I was gonna end up putting somebody in the dirt, you know what I’m saying? I was gonna end up f**king somebody up. So before I did that, I said, “You know what, I’ma walk away,” because this ain’t the industry I came in to. It ain’t the industry that I fell in love with. It ain’t the industry that I wanted to be a part of. It’s some other s**t. It’s about money. It’s being manipulated. And y’all niggas don’t even have talented muthaf**kas making it right now. Y’all n***as are making artists. God makes artists! Y’all n***as are playing God right now! Y’all making and creating artists and s**t and saying, “If I play the record a thousand times a day muthuf**kas will like it.” It’s like if you give a muthaf**ka nothing but bulls**t to eat, he’s gonna learn to enjoy it. Ya know I’ll throw a lil’ gravy on it-they gonna learn to enjoy the bulls**t. In the absence of the truth, bulls**t will prevail. So I got tired of dealing with it you know what I’m saying. So I stopped. And I called Mase, ‘cause I know my true calling in life is to become a pastor. I decided I was gonna be a pastor. So I said, “F**k it, I’ma walk away from this s**t and I’ma just, “Alright Lord I’m ready.” And I waited, and I waited. AllHipHop.com: What were you waiting for? DMX: You know, for him to give me a sign. So, I called Mase. Powerful word in that brotha. I hit him and I’m like, “Yo dog, wassup man? God ain’t ready for me.” He said, “Yo, he gave you a talent for a reason and I mean what gives you the right to turn your back on that talent just because you gotta deal with fake muthaf**kas? N***a, he done put you through worse than that and it was nothing. You looked forward to that!” I used to look forward to it. Like when I was robbing n***as and I used to look forward to seeing fake muthaf**kas, those was the easiest n***as to get. It’s like, what gives me the right to turn my back on my talent, on my God given gift. Just cause I gotta deal with a lying muthaf**ka or anotha one talking s**t. Nothing gives me the right. I just gotta start bangin ya’ll mutha****as around like I said, “Yo. F**k it. That’s what I’m gonna do. I’m going hard.” AllHipHop.com: I think it’s safe to say people have been missing that talent. DMX: You know what? That’s another thing. Everywhere I went, “Dogs the streets miss you!” “Dog the hood needs you!” I was like, “Aight, I gotta do it. I gotta do it!” I love the people. AllHipHop.com: The people feel you, but you get your share of negative of press… DMX: Believe enough of what you hear, and half of what you see. AllHipHop.com: What do you think is the biggest misconception about you? DMX: I really don’t even know, because I don’t pay attention. If a muthaf**ka don’t say it to me, he don’t mean it. N***as talk s**t all day, around corners, under tables and all that extra s**t, but if they don’t bring it to me they don’t mean it. You know what I’m sayin’? AllHipHop.com: Were you always like that, or did the game condition you to be that way? DMX: Nah, I’ve always been like that. ‘Cause that’s some sucka s**t. If I got something to say about a n***a I’m a bring it to him. Like, “You listen. You p*ssy”. Straight up. I bring it to n***as, “Yo, f**k you.” All that talking around b*tches, that s**t is some sucka s**t. I ain’t got time for that. If you mean it let me know you mean it. And it’ll be what it is.

DMX "We Right Here"

Lost is following trends Just to get your album sold Found is when you pay respect To a dope artist whether they are or ain't platinum or gold

That sounds like a dope show, there's some good CDs comin' out now, but I'm gonna have to put this on top of my list to get 1st 'cause Alicia is the best female r&b singer out now and everything she does seems to be a hit or classic for that matter, in fact she might be the only one of few that actually keeps that soul alive.

I'm sure Bow Wow writes his rhymes now 'cause he's 18 years old and would have more things to rap about now, when he was like 13, 14, and 15 he had to have some assistance 'cause it's like he didn't have anything to rap about 'cause he was so young and probably needed help putting structure together, Jay-Z wrote rhymes for Memphis Bleek when he 1st came out too and he was a lil' older than when Bow Wow came out, I think there needs to be a new rule like the NBA where you can't sign on a major label until you're 18 or 19 'cause these kid rappers ain't competiting with the veterans in the game, lol, there were only a couple exceptions like Rakim, LL, and FP back in the days, he's been freestyling since he was like 5 years old though so he does have proven talent unlike a lot of wack mcs out now, he hasn't really shown his own personality yet though, he's trying to be the next LL by constantly releasing love songs as singles and 50 Cent's trying to be the next Pac by constantly rapping about the thug life but they just don't have enough skills right now to be on that level, a lot other rappers coming out do this too they try to be the next Jigga, DMX, Nas, Will, KRS, etc. instead of showing their own personalities, Cassidy disses other rappers for trying to be the next Biggie and Pac but he sounds like he's trying to be the next Jay-Z since he's on that "I'm A Hustla" bit so he should check himself in the mirror too, I think Bow Wow might have a chance still being out 5 years from now unlike 50 Cent 'cause he's starting to improve and I think 50 Cent is steadily declining in his skills everytime he releases something new, I ain't really a fan of either though but I'd probably listen to Bow Wow if I had to choose 'cause I'm sick of listening to 50, I gave him a chance when he 1st came out but his music got boring on me fast.

Nas made a great point there about how we need to appreciate our legends that're living as much as we give respect to those who passed on.

Lost is dropping out of a school And living off your parents Found is having a positive attitude And never getting fazed by discouragement

That's a really thought provoking poem, you're right we shouldn't take anything we have for granted and shouldn't lust for what we don't have in our lives, thanks for sharing that with us.

K-Ci and Jo-Jo "Life", classic late-90s r&b!

Damn Fat Joe really caught a brick on his new album! :thumbsdown:

Maybe Mase came here and voted for himself! :lolsign:

Link: http://obifromsouthlondon.blogspot.com/200...with-nasir.html ********************************************************************** how did 'The Unauthorised Biography Of Rakim' come about? "Yo, you know what's crazy about that, man? When I did that, I didn't really think it was a good song. I was trying to take that off my album because I didn't really think nobody would get it. I thought Rakim was before a lot of people's time, and they wouldn't understand it, wouldn't even get it. So i'm happy that you even noticed that record right there." "The song's the unauthorised version - meaning like most biographies, it's not 100 percent true. it's based off what someone said, it's not an autobiography. I met him when I was 16 also. I was recording demos in his studio time, at 16 they took me in. So I had to just pay that respect back." "We pay tribute to people when they're dead, and that's not cool: I think we should show the love to artists while they're here. we gotta start supporting each other, not just when they gone. Rakim's such a legend that I had to do it like that" The hip-hop audience tends to consign artists to the scrap head a lot earlier than happens with rock or jazz artists. People like Rakim, Public Enemy and KRS-One are either forever being compared with what they did in the '80s, or are ignored by a new generation of fan. Why do you think that is? "I think that's because hip-hop back then had never seen old age, so it was a new thing and a young thing, and in many ways it still is. KRS-One said on "I'm still Number One". He said: '50 years down the line we can start this'/'Cos we'll be the old school artists'. I think Public Enemy can come around, it's just there was no audience for it to grow. We had grew with them - they had 'Fight The Power', and had done everything socially that they could do. They'd spoken out against injustice. And I think they needed a break - there needed to be an emergency moment where we had to see them again, whether onstage on tour again, or releasing a new record." "It's all timing, and I think it's time for us to start seeing these people again. They did need a break just so they could get more supporters, people like us supporting them. They needed us to become men - we were teenagers, kids growing with them, and now we're old and we can understand what this is and support it as a community now. It can survive". Ten years on from 'Illmatic', you're now one of those hip-hop artists with longevity and history behind you. You've had to make comebacks, but usually because that debut overshadowed things. When 'It Was Written' came out people accused you of abandoning the observational writing and going for gangsta dollars. How did that reaction feel? "Well, you never know when people are gonna give up on you, when you're gonna lose 'em. You never know until the record is released, you just have to go with your gut feelings. It's important to balance your name in the commercial world without compromising what you do. You can't listen to what people are saying 'cos they don't really - they're not in your mind when you're doing it, they're not sharing your mission. They're not there creating, they're not gonna keep your family fed, they're not there to motivate you. So you can't listen to what they say too much - you've gotta stay on your path." "I recorded a few songs for my next album after 'Illmatic' and they were grimy, they were hard. Something happened - the songs leaked out with just one verse on 'em. Marley Marl had them on radio - I was doin' 'em at Marley's house. And it just changed my flow. So what happened was, I said, 'Nah, this has to be a masterpiece, and I'm saying more than I'm walking down the road smoking weed with my pants sagging and my Tims, in my left is my gun, got a bitch on the side'. I said, 'Nah, that's not who Nasir Jones is - that's not who Nas is. They think they know who Nas is, but I can't wait to show 'em who Nas is'. And I got together an album that represented who Nas is. 'If I ruled The World', 'Black Girl Lost'... the things who I really was." "And thank God I did that. I realised the kids were saying 'Give us another 'Illmatic', but years later I said, 'Damn! If that was the next album, I would have been finished.' Not just because it wouldn't have sold, but more importantly because I wouldn't have had any drive to continue. I would have felt like, 'Damn, my body of work only says i'm about getting high and shooting dice and hanging on the block, and that's it'. And because that's the way I went to the studio to record it, just talking about everything without a care in the world for song structure, musical arrangement, clear and crisp sounds, taking your imagination to the next level, it was just one side. So I think God I didn't do that. It would have been cool if I had been able to do that album, then still been able to make 'It Was Written' next you know? But I just think that I would have lost the drive to do it." At the end of the Rakim song you said you were going to do a similar one about KRS-One next. Have you started on that track yet? "No, but I got some real good ideas about it. I really wanna do that one because his fame, his whole **** came from battling my neighbourhood! I mean, he made 'The Bridge Is Over', which is a hip-hop classic, about my projects! KRS-One is one of my heroes, icons, a great mentor and friend, so I wanna take my time with his." What are you listening to at the moment? "Ice Cube, the 'Death Certificate' album, and Scarface's 'Greatest Hits'." Are you going back and choosing to hear old stuff for a particular reason? "Yeah. I don't feel the real in music. I feel that everybody's copying. Not everybody - there are some good kids. I think Talib Kweli's good. But other than that, there's not a lot of good today. People are just following the dollar - that's what messes it up. If I could be making music in another era, I'd choose any of 'em: '50s, 60s, 70s, 80s... The '80s was so amazing. You had everything from DeBarge to the Police to Duran Duran to George Micheal to Boy George to Run-DMC to Malcolm McLaren to Evelyn Champagne to ... You had so many different kinds of music - punk, everything, man. It was so much better. I mean, today's music, compared to the '80s, dude? It's sad." "I had fun in the '90s with hip-hop. I had fun with the Biggies and the 2Pacs and the Wu-Tangs and Cool J, Dre and all that. Today, since 2000, there's been probably three new guys - maybe four of five now. But in the '90s there was Wu-Tang and myself, Mobb Deep, you had Black Moon, you had Jay, you had Biggie, 2Pac, you had the whole Death Row camp, Rass Kass, and that was hip-hop. R&B you had people like Boyz II Men, Jodeci, Mary J Blige, you know? This was all new for the '90s, and that was good, that was pretty cool. The '90s was pretty tight. And now? I don't know what's happening." Since the whole thing with Jay-Z, have you sat down with him and talked and shook hands? "No" How would it go down when it does happen? "I don't know. I've no idea." Were you interested to hear he's become the new head of Def Jam? "No but that makes sense though" Were you suprised he retired from rapping? "Erm... No, not really." Can you see a day that might happen to you? "No."

Thanks for that fuq, Big Will making big moves again that's why he's the biggest hustla in the game, not Jigga, Master P, or Cassidy, lol, it's nice that he's gettting his friends involved in it too! :2thumbs:

Here's this week's sales, as long as he keeps at least 10,000 a week until "Party Starter" comes out, he might have a chance at platinum: 56 SMITH*WILL LOST & FOUND 17,040 -16 20,363 563,400

Here's this week's sales, R.Kelly had a bad drop, not as bad as Frenetic said but still bad, he's still at #1 which shows y'all that records sales are really down, Common's almost gold, I wanna see him get his 1st platinum album even though it ain't his best album, and Will came in with 17,040, should hit 600,000 by the time "Party Starter" comes out: 1 KELLY*R. TP.3 RELOADED 139,462 -72 490,541 634,796 2 SLIM THUG ALREADY PLATINUM 128,810 999 278 129,313 3 BOW WOW WANTED 119,413 999 354 119,769 4 COLDPLAY X&Y 99,681 -21 126,865 1,610,186 5 CAREY*MARIAH EMANCIPATION OF MIMI 99,449 -14 115,554 2,513,320 6 ALL-AMERICAN REJECTS MOVE ALONG 90,206 999 159 90,371 7 ELLIOTT*MISSY COOKBOOK 65,093 -63 175,665 242,077 8 BLACK EYED PEAS MONKEY BUSINESS 65,012 -14 75,406 778,013 9 YING YANG TWINS UNITED STATE OF ATLANTA 61,837 -38 100,547 364,737 10 STRAIT*GEORGE SOMEWHERE DOWN IN TEXAS 58,572 -35 90,627 394,902 11 FOO FIGHTERS IN YOUR HONOR 58,569 -11 66,063 638,092 12 STEFANI*GWEN LOVE.ANGEL.MUSIC.BABY 56,030 -10 61,960 2,644,210 13 CLARKSON*KELLY BREAKAWAY 55,952 -3 57,631 2,663,599 14 GORILLAZ DEMON DAYS 51,455 22 42,192 428,567 15 JONES*MIKE WHO IS MIKE JONES? 50,236 -9 55,210 798,388 16 RASCAL FLATTS FEELS LIKE TODAY 47,341 1 46,648 2,221,502 17 KING*CAROLE LIVING ROOM TOUR 44,138 999 64 44,204 18 KEITH*TOBY HONKYTONK UNIVERSITY 43,673 -10 48,523 872,861 19 SYSTEM OF A DOWN MEZMERIZE 42,831 -11 47,868 1,116,244 20 URBAN*KEITH BE HERE 41,613 -1 42,034 1,381,557 21 50 CENT MASSACRE 38,138 -11 42,891 4,103,353 22 DUKEDAGOD PRESENT IPSET MORE THAN MUSI 37,991 999 740 38,735 23 GREEN DAY AMERICAN IDIOT 34,970 -9 38,252 3,801,838 24 FALL OUT BOY FROM UNDER THE CORK 33,466 13 29,705 326,983 25 KILLERS HOT FUSS 32,236 1 31,992 2,189,336 26 SUGARLAND TWICE THE SPEED OF 30,458 -33 45,229 617,339 27 MATTHEWS*DAVE BAND STAND UP 30,315 -20 37,754 1,062,227 28 WEBBIE SAVAGE LIFE 29,631 -57 68,186 98,339 29 OFFSPRING GREATEST HITS 29,383 -14 34,258 178,746 30 BACKSTREET BOYS NEVER GONE 29,215 -19 35,873 485,623 31 HUSTLE & FLOW SOUNDTRACK 28,738 999 145 28,883 32 JOHNSON*JACK IN BETWEEN DREAMS 28,553 1 28,311 1,212,968 33 SHAKIRA FIJACION ORAL 28,273 -6 30,054 384,383 34 PRETTY RICKY BLUE STARS 26,486 -12 30,142 290,762 35 CIARA GOODIES 25,598 -12 29,226 2,179,505 36 COMMON BE 24,846 -9 27,196 478,888 37 WHITE STRIPES GET BEHIND ME SATAN 24,569 -12 27,925 402,778 38 AUDIOSLAVE OUT OF EXILE 24,183 -17 29,169 610,774 39 WEEZER MAKE BELIEVE 23,558 1 23,397 549,700 40 BOYZ N DA HOOD BOYZ N DA HOOD 23,092 -26 31,022 202,009 41 PAPA ROACH GETTING AWAY WITH MURDER 22,424 12 19,965 802,907 42 JENNINGS*LYFE LYFE 268-192 22,023 -1 22,266 508,159 43 IL DIVO IL DIVO 21,869 -10 24,196 709,155 44 CASSIDY I'M A HUSTLA 21,650 -42 37,483 152,333 45 BUBLE*MICHAEL IT'S TIME 21,485 11 19,273 641,856 46 NELSON*WILLIE COUNTRYMAN 21,436 999 81 21,523 47 NOW 18 NOW 18 21,144 -1 21,300 1,250,686 48 THOMAS*ROB SOMETHING TO BE 20,852 -14 24,117 885,600 49 LIFEHOUSE LIFEHOUSE 19,809 1 19,590 377,376 50 MY CHEMICAL ROMANCE THREE CHEERS FOR SWEET REVENGE 19,617 2 19,150 805,982 51 SEETHER KARMA & EFFECT 18,082 -10 20,184 265,236 52 NALICK*ANNA WRECK OF THE DAY 17,970 8 16,621 268,168 53 KEM ALBUM II 17,934 -14 20,789 391,324 54 FRANKIE J ONE 17,269 1 17,114 574,223 55 KEITH*TOBY VOL. 2-GREATEST HITS 17,241 0 17,227 2,538,579 56 SMITH*WILL LOST & FOUND 17,040 -16 20,363 563,400 57 2005 WARPED TOUR COMPILATION 2005 WARPED TOUR COMPILATION 16,629 -13 19,168 151,413 58 VALENTINO*BOBBY DTP PRESENTS BOBBY VALENTINO 16,387 1 16,219 478,278 59 DESTINY'S CHILD DESTINY FULFILLED 16,015 -4 16,748 2,769,599 60 HAWTHORNE HEIGHTS SILENCE IN BLACK & WHITE 15,575 -8 16,879 409,746 61 COLE*KEYSHIA WAY IT IS 15,397 -29 21,666 156,250 62 FONSI*LUIS PASO A PASO 15,365 999 101 15,466 63 GUNS N'ROSES GREATEST HITS 15,314 -0 15,315 2,242,620 64 FATTY KOO HOUSE OF FATTY KOO 15,292 999 56 15,348 65 SLOW MOTION SLOW MOTION 15,257 -24 20,172 62,009 66 HAMILTON*ANTHONY SOULIFE 15,209 -47 28,871 97,365 67 3 DOORS DOWN SEVENTEEN DAYS 14,992 1 14,772 970,020 68 CROSSFADE CROSSFADE 14,923 7 14,001 813,668 69 SIMPLE PLAN STILL NOT GETTING ANY 14,282 3 13,806 1,211,993 70 GAME DOCUMENTARY 14,244 -12 16,276 2,138,943 71 WILSON*GRETCHEN HERE FOR THE PARTY 14,110 12 12,651 3,704,942 72 NINE INCH NAILS WITH TEETH 14,088 3 13,739 607,190 73 AKON TROUBLE 14,007 -26 18,980 1,104,992 74 RELIENT K MMHMM 13,868 3 13,441 265,044 75 CHESNEY*KENNY WHEN THE SUN GOES DOWN 13,768 -1 13,967 3,605,401 76 DEF LEPPARD ROCK OF AGES 13,574 -5 14,231 234,288 77 BIG & RICH HORSE OF A DIFFERENT COLOR 13,537 -6 14,421 2,302,738 78 LEGEND*JOHN GET LIFTED 13,437 -11 15,156 1,293,673 79 DAY*HOWIE STOP ALL THE WORLD NOW 13,118 2 12,811 544,372 80 FAT JOE ALL OR NOTHING 12,974 -34 19,552 200,166 81 DADDY YANKEE BARRIO FINO 12,588 -7 13,491 724,677 82 EMINEM ENCORE 12,498 -9 13,759 4,700,264 83 MCCARTNEY*JESSE BEAUTIFUL SOUL 12,340 -0 12,359 932,319 84 LUDACRIS RED LIGHT DISTRICT 12,152 -3 12,551 1,820,018 85 ZUCCHERO ZUCCHERO & CO. 12,029 999 3 12,032 86 HERBIE FULLY LOADED SOUNDTRACK 11,880 -13 13,704 52,997 87 MUDVAYNE LOST & FOUND 11,877 1 11,778 450,061 88 EAGLES VERY BEST OF THE EAGLES 11,802 -10 13,155 1,615,157 89 SON VOLT OKEMAH & THE MELODY OF RIOT 11,493 936 1,109 12,603 90 STONE*JOSS MIND BODY & SOUL 11,399 -13 13,052 912,135 91 BECK GUERO 11,189 -8 12,124 601,828 92 MCGRAW*TIM LIVE LIKE YOU WERE DYING 11,060 -11 12,371 3,394,322 93 ANDERSON*KEITH THREE CHORD COUNTRY & AMERICAN 10,991 8 10,137 110,343 94 LARRY THE CABLE GUY RIGHT TO BARE ARMS 10,910 -10 12,078 473,182 95 BIRDMAN FAST MONEY 10,862 -30 15,569 118,151 96 MADAGASCAR SOUNDTRACK 10,755 -17 12,984 128,408 97 GREEN*VIVIAN VIVIAN 10,627 -41 18,005 74,583 98 DEGRAW*GAVIN CHARIOT-STRIPPED 10,609 5 10,098 541,868 99 HOUSTON*MARQUES NAKED 10,507 -5 11,091 166,831 100 KIDZ BOP KIDS VOL. 7-KIDZ BOP KIDS 10,420 17 8,909 378,914 101 PHANTOM OF THE OPERA SOUNDTRACK 10,415 -7 11,179 735,046 102 TWAIN*SHANIA GREATEST HITS 10,405 -6 11,109 3,133,754 103 SHELTON*BLAKE BLAKE SHELTON'S BARN & GRILL 10,347 6 9,773 470,533 104 LONGEST YARD SOUNDTRACK 10,255 -21 13,000 252,384 105 VARIOUS VOL. 4-TOTALLY COUNTRY 10,253 -3 10,534 556,589 106 FANTASIA FREE YOURSELF 10,221 -17 12,332 1,543,463 107 FANTASTIC FOUR FANTASTIC FOUR 10,076 -23 13,111 23,260 108 BENATAR*PAT GREATEST HITS 10,043 4 9,653 76,788 109 VAN ZANT GET RIGHT WITH THE MAN 10,040 -4 10,487 174,542 110 CKY ANSWER CAN BE FOUND 9,933 -23 12,970 50,689 111 STRAIT*GEORGE 50 NUMBER ONES 9,797 -2 10,039 2,398,868 112 VARIOUS TOTALLY HITS 2005 9,424 -8 10,281 174,238 113 BENTLEY*DIERKS MODERN DAY DRIFTER 9,383 -32 13,828 228,107 114 LABELLE*PATTI CLASSIC MOMENTS 9,188 -30 13,096 79,622 115 COWBOY TROY LOCO MOTIVE 9,145 -5 9,612 182,715 116 TRANSPLANTS HAUNTED CITIES 9,140 -13 10,532 68,801 117 VARIOUS MVP 2/THE GRAND SLAM 9,131 999 54 9,185 118 BLACK DAHLIA MURDER MIASMA 9,111 999 67 9,184 119 T.I. URBAN LEGEND 9,030 -5 9,466 1,141,516 120 MORRISON*VAN MAGIC TIME 8,895 -6 9,450 168,312 121 USHER CONFESSIONS 8,860 -3 9,102 8,998,425 122 HOT APPLE PIE HOT APPLE PIE 8,814 -6 9,376 36,077 123 BRONSON*ARROYO COVERING THE BASES 8,768 999 8 8,776 124 FRAYSER BOY ME BEING ME 8,574 999 79 8,661 125 OMARION O 8,572 -8 9,330 582,032 126 DIARY OF A MAD BLACK WOMAN SOUNDTRACK 8,527 -24 11,267 149,517 127 DISNEY DISNEYMANIA 3 8,526 -1 8,625 281,702 128 GOT HITS VOL. 2-GOT HITS 8,513 -10 9,448 17,988 129 CELTIC WOMAN CELTIC WOMAN 8,360 -14 9,700 148,335 130 AS I LAY DYING SHADOWS ARE SECURITY 8,119 -1 8,192 74,459 131 WWE/CENA*JOHN & THA TRADEMARC YOU CAN'T SEE ME 7,999 -9 8,768 176,410 132 GARDEN STATE SOUNDTRACK 7,995 1 7,891 968,657 133 MEGADETH GREATEST HITS: BACK TO THE STA 7,991 -23 10,433 35,989 134 WORSHIP JAMZ WORSHIP JAMZ 7,934 -12 9,023 22,184 135 MCENTIRE*REBA ROOM TO BREATHE 7,917 5 7,553 729,146 136 MONTGOMERY GENTRY YOU DO YOUR THING 7,860 21 6,484 648,517 137 GRATEFUL DEAD TRUCKIN' UP TO BUFFALO 7,551 999 84 7,642 138 AMERICAN IDOL FINALISTS SEASON 4-THE SHOWSTOPPERS 7,514 -13 8,661 260,894 139 MCCLURKIN*DONNIE PSALMS HYMNS & SPIRITUAL SONGS 7,414 -1 7,483 173,819 140 NATALIE NATALIE 7,349 -14 8,542 166,600 141 VARIOUS WOW # 1'S 7,301 6 6,900 94,384 142 ADKINS*TRACE SONGS ABOUT ME 7,223 -7 7,730 235,716 143 CHARLIE & THE CHOCOLATE FACTOR SOUNDTRACK 7,222 999 16 7,238 144 LIL JON & THE EAST SIDE BOYZ CRUNK JUICE 7,168 -3 7,423 2,261,995 145 BRAVERY BRAVERY 7,166 4 6,887 191,094 146 DEVAUGHN*RAHEEM LOVE EXPERIENCE 7,153 -22 9,223 38,487 147 JENNINGS*SHOOTER PUT THE 'O' BACK IN COUNTRY 7,130 -17 8,576 103,543 148 WICKED ORIGINAL CAST RECORDING 7,081 5 6,763 418,327 149 AMERIE TOUCH 7,066 -22 9,014 307,621 150 ERIKA JO ERIKA JO 7,050 1 7,011 71,967 151 MAYER*JOHN HEAVIER THINGS 7,003 8 6,482 2,508,326 152 DISNEY DISNEY GIRLZ ROCK 6,992 -3 7,224 37,557 153 MESSINA*JO DEE DELICIOUS SURPRISE 6,841 -26 9,305 296,901 154 CHESNEY*KENNY BE AS YOU ARE 6,784 -6 7,216 991,769 155 STATIC-X START A WAR 6,751 -14 7,832 74,633 156 TLC NOW & FOREVER 6,725 -16 8,019 46,079 157 BREAKING BENJAMIN WE ARE NOT ALONE 6,708 4 6,453 978,520 158 BEE GEES NUMBER ONES 6,673 -8 7,233 559,565 159 YOAKAM*DWIGHT BLAME THE VAIN 6,532 -11 7,353 57,399 160 DROPKICK MURPHYS WARRIOR'S CODE 6,508 -16 7,731 46,442 161 BONE THUGS-N-HARMONY GREATEST HITS 6,500 -4 6,751 283,559 162 112 PLEASURE & PAIN 6,455 -21 8,220 414,207 163 LOS LONELY BOYS LOS LONELY BOYS 6,394 -8 6,961 2,145,233 164 RISE AGAINST SIREN SONG OF THE COUNTER CULT 6,350 -0 6,352 203,498 165 RIMES*LEANN THIS WOMAN 6,342 7 5,930 375,583 166 U2 HOW TO DISMANTLE AN ATOMIC BOM 6,333 -10 7,016 2,812,677 167 CLAPTON*ERIC BEST OF ERIC CLAPTON-MILLENNIU 6,293 -14 7,328 192,088 168 AVENGED SEVENFOLD CITY OF EVIL 6,282 -10 6,966 75,110 169 JODECI BACK TO THE FUTURE 6,279 -15 7,427 81,799 170 MARS VOLTA FRANCES THE MUTE 6,186 -25 8,252 381,194 171 PAISLEY*BRAD MUD ON THE TIRES 6,143 0 6,126 1,937,431 172 SPRINGSTEEN*BRUCE DEVILS & DUST 6,114 -6 6,490 527,653 173 SOLIS*MARCO ANTONIO HISTORIA CONTINUA 6,006 -14 6,974 75,691 174 GRANT*NATALIE AWAKEN 5,996 4 5,744 30,232 175 GROBAN*JOSH CLOSER 5,960 2 5,846 4,680,428 176 MASTER P GHETTO BILL (BEST HUSTLER IN T 5,957 -26 8,051 52,836 177 KEANE HOPES & FEARS 5,949 -1 6,027 748,190 178 SLIPKNOT VOL. 3-SUBLIMINAL VERSES 5,940 1 5,874 1,153,301 179 LAVIGNE*AVRIL UNDER MY SKIN 5,928 -3 6,111 2,764,112 180 CHARLES*RAY GENIUS LOVES COMPANY 5,782 -11 6,508 3,004,698 181 MORGAN*CRAIG MY KIND OF LIVIN' 5,755 10 5,246 148,166 182 CASTING CROWNS CASTING CROWNS 5,736 -1 5,799 414,089 183 CHOSEN FEW EL DOCUMENTAL 5,735 -20 7,160 62,834 184 LAMBERT*MIRANDA KEROSENE 5,714 -5 6,014 194,951 185 WILLIAMS*JOHN STAR WARS EPISODE III:REVENGE 5,616 -16 6,698 284,614 186 ANDY ANDY IRONIA 5,614 -9 6,152 20,443 187 RBD REBELDE 5,521 27 4,359 60,441 188 VARIOUS PUNK-O-RAMA 10 5,510 -5 5,777 46,824 189 BOWLING FOR SOUP HANGOVER YOU DON'T DESERVE 5,497 1 5,425 442,433 190 50 MOST LOVED HYMNS 50 MOST LOVED HYMNS 5,377 -40 8,974 91,599 191 BIZARRE HANNICAP CIRCUS 5,369 -37 8,477 35,035 192 CONJUNTO PRIMAVERA DEJANDO HUELLA II 5,324 -20 6,671 17,008 193 JUANES MI SANGRE 5,235 4 5,033 378,323 194 GRACIN*JOSH JOSH GRACIN 5,142 3 4,994 453,287 195 OASIS DON'T BELIEVE THE TRUTH 5,126 -19 6,334 140,721 196 LUNY TUNES & BABY RANKS MAS FLOW 2 5,106 -1 5,144 135,829 197 SPRINGFIELD*RICK DAY AFTER YESTERDAY 5,049 999 28 5,077 198 JACKSON*MICHAEL NUMBER ONES 5,029 -5 5,291 940,138 199 RUFIO COMFORT OF HOME 4,967 999 97 5,064 200 VARIOUS WOW HITS 2005 4,961 0 4,961 383,377

Lost is the terrorists that're starting corruption Eventually they'll get the punishment that's due to them Found is the soldiers that die for us to be living A moment of silence is what we give them

Yeah Will's too old to do that well commercially in most peoples eyes, which is sad but true, but you could say that he's had a lot of success with this album going gold, the only ol' school mc that could do that is LL Cool J, I mean if you look at all the other ol' school mc's albums that came out recently, it hasn't been that good, Queen Latifah's last hip-hop album in '98 only sold 90,000, Rakim's "The Master" flopped terribly in '99, KRS-ONE's last 5 albums haven't sold 500,000 combined, De La Soul's "The Grind Date" didn't do well either, Public Enemy's album next month is also destined to flop, the only ol' school mc that could go platinum is Dr. Dre 'cause he's gangsta enough for a 13-year old to wanna listen to.

Lost is when you rhyme 'til your throat gets sore But you don’t even believe what you say no more :uhh: Found is when you bleed heart into the mic And the pain you sustain it can change a life :1-say-yes:

:word: I blame the record company not Will, he's been busting his ass out there performing, he hasn't been just sitting back doing nothing these past few months, I was just saying as a suggestion that it'd be dope if Will released some songs on some mixtapes, he should do a mixtape with respectful mcs on it, not Mike Jones, Will doesn't have to do a mixtape though either, he doesn't even have to record anymore if he don't want to, he has 9 albums of music for us to listen to! Like Will said: "I don't follow everybody when it's time to rap!", like Braceup says he should battle somebody, he should've said:"Lost is Ja Rule and 50 Cent/Found is Lauryn Hill, found is Rakim", lol. I mean if these fake gangstas continually diss him he should just throw it back in their face before he retires, but he's humble though, his class is what makes him such a great mc. Some of us are talking like Will's on his 2nd album, even if the album flops commercial, his career ain't gonna be a failure, he's done so much already! He could retire from music and movies and live in Barbados for the rest of his life with Jada if he wanted to, lol, we should be happy that Will's alive and well and still wanting to rap, some of my other favorite hip-hop artists are either dead or putting out albums every 7 years or so, or selling only 20,000 when they release albums every year, but that doesn't mean I'm gonna diss them for that and say they fell off 'cause I think they're still legends, they might have to do other things to survive 'cause record labels drop them, Treach acts too, the FP legacy is set already, he's just doing it for the love of the game still, a lot of these fakes come and go but Will has remained, it took a lot of hard work for rappers to win Grammy's back in the day but now wack rappers win instead so I hope the state of the industry doesn't frustrate Will so much that he doesn't wanna rap anymore one day, everyone should just throw on "Lost and Found" and just chill.

Hip-hop as a whole has become a disgrace now, Run-Dmc, JJFP, KRS-ONE, Public Enemy and all them worked hard for hip-hop to be excepted by everyone and now the public turns their backs on them and says they're washed up, rather than give them the respect they deserve for what they've done, they go out to buy albums that have no substance on them instead and our legends are being ignored when they drop albums! :mad: I mean what's on the charts doesn't even seem like it is hip-hop 'cause it ain't an expression, it's a gimmick, you could tell that Will's frustrated about it from what he says on the album, these mcs are lost and I don't wanna see Will collaborate with that many of them, I'd rather see him do songs with Kel Spencer than I'd with Nelly.