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Review: RAKIM, The Seventh Seal

You know the saying, "If you can't say something nice, don't say anything at all"? There is no one we'd rather apply that to than Rakim. Largely responsible (along with Eric B) for securing this writer's interest in hip-hop as more than a fad, Paid In Full was named my "best album of the millennium" 10 years ago. It was also the choice for the first Hip-Hop Classic when The 411 debuted in 1994. Even his solo comeback album was listed among our picks for the Best of 1997.

Now, 10 years since his last effort, The Master (which we were also kind to), Ra returns with The Seventh Seal. This was supposed to be Oh My God with Dr. Dre, but like so many other projects in the Aftermath pipeline, it never materialized, forcing The R to start over. Unfortunately, the impact of his success on the 2002 single "Addictive" with Aftermath singer Truth Hurts seems to have clouded his judgment. Rakim starts strong with "How to Emcee," then proceeds to not follow that formula for the rest of the album. After the opener, the rest of the album is heavily R&B-laced.

Every track seems to have a different singer on the hook, perhaps in an effort for that one radio hit. The low point comes at the end, when a healthy portion of No Doubt's "Don't Speak" provides the basis for "Dedicated," distracting from what otherwise is probably Rakim's most personal track of all-time. I preferred when Rakim used samples of his own lyrics to provide the hooks. This new approach seems desperate. It didn't work for L.L. Cool J a few years ago -- and he can get away with being a bit soft at times -- and it certainly won't be welcomed by those expecting Rakim at his rawest. Sadly, the grittiest thing about The Seventh Seal is the handful of sand passing through his hands on the cover. Rakim's lyrical ability alone saves this album from our worst rating. Lose the singers, stay true to yourself -- and that's not to say you can't evolve -- and trust that your fans will follow. Click here to find out how to buy this album.

-- Mason Storm

More reviews from The 411 Online
RAKIM, The Master
RAKIM, The 18th Letter
ERIC B & RAKIM, Paid In Full

Review: RAEKWON, Only Built 4 Cuban Linx... Pt. II

Fourteen years have passed, yet somehow Only Built 4 Cuban Linx... Pt. II picks up right where the original left off. The Wu-Gambinos are back, complete with the aliases of their aliases. The stars, of course, are Chef Raekwon (as Lex Diamonds) and his sidekick, Ghostface Killah (a.k.a. Tony Starks). But Method Man, Inspectah Deck, RZA, GZA, Masta Killa, Cappadonna and Blue Raspberry reprise their roles in the sequel as well, along with some new faces. The movie samples return, but there's no purple tape this time. Instead, the CD cover has been recreated with the hue's haze. It's rare that skits are welcome, but their presence adds to the cinematic feel in this instance, just as it did before.

The biggest difference is in the production. While RZA handled every track on the first, Erick Sermon, Pete Rock, Dr. Dre, Marley Marl and even the late J-Dilla contribute here. All amazingly find a way to fit into the Linx blueprint and still complete a cohesive album. But it's no tribute. And it's not a cash grab, either. Everyone involved in the project seemed in tune with what a sequel to Only Built 4 Cuban Linx represents and adjusted their games accordingly.

Among the guest standouts from behind the boards are Marley Marl's all-too-brief "Pyrex Vision," Necro's "Gihad," Pete Rock's "Sonny's Missing," Erick Sermon's "Baggin' Crack," J-Dilla's "House of Flying Daggers," "Ason Jones" and "10 Bricks" and Dr. Dre's "Catalina" and the Busta Rhymes-blessed "About Me." Not to be outdone, the RZA supplies two of the disc's best: "New Wu" and "Black Mozart."

And the guest highlights aren't limited to production. Ghostface makes the most of his second billing, appearing on so many tracks they didn't even bother to list him on all of them. Method Man pairs with Ghost and Rae on the aforementioned "New Wu," which despite the name is as vintage as it gets.

The only MC with a non-expired license to sing -- Slick Rick -- does just that on "We Will Rob You." But no one steals the show from Raekwon, who seems especially inspired by the return to where his solo career started. For the finale, Scram Jones serves as the closer, delivering an unlikely, but inspired, Elton John sample for "Kiss the Ring." Needless to say, Raekwon gets the win. Click here to find out how to buy this album.

-- Mason Storm

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RAEKWON, Immobilarity
RAEKWON, Only Built 4 Cuban Linx...

Review: JAY-Z, The Blueprint 3

For the the amount of time Jay-Z spends on this album telling us how ahead of the game he is, it's kind of surprising that he pulled a title from the past. We know Jay is market savvy enough to use the Blueprint name to launch his first album on a new label, Roc Nation -- just as his old label, Def Jam, was smart enough to take a shot at capitalizing on it by packaging the other two in a box set that leaves "a place to complete your collection." Both share a hint of desperation, but thankfully Jay hasn't reached the level that he needs to drop a Reasonable Doubt 2... yet.

Although allegedly the completion of the Blueprint trilogy, it's more of the conclusion to a comeback trifecta of mediocrity, at least by his high standards and the expectations that we -- among others -- have set upon him. That doesn't mean we aren't listening -- check the rating -- but some of the same traps reappear, including the repeated line gimmick that was bad the first time we heard it. (And when did "aw" become Jay-Z's version of Master P's "unh"? I'll have to break out Reasonable Doubt again and see if it's there, but just not nearly as distracting.)

At least one thing was certain: this album had to be better than The Blueprint 2, and nowhere near as good as The Blueprint. At first glance it looks a lot like the first sequel, with all of the guest appearances. That alone is an insult to the solo masterpiece that serves as its namesake.

The first single, "D.O.A.," showed promise with its back-to-basics approach and attempt to rid the world of auto-tune. (Later on in the album he throws throwbacks, Cristal, Timberlands -- not Timbaland, he produces a few surprisingly underwhelming tracks -- rims, gold and "Making It Rain" under the bus as well.) Sadly, the weight of his point is somewhat lost when he employs a practice that should have died several years before auto-tune in a funeral track of its own -- rappers singing. But "D.O.R.S." isn't as catchy an acronym. If I want to hear a bad rendition of "Na Na Hey Hey" I can go to a White Sox game and wait for the opposing pitcher to get pulled. (Actually, the fans' rendition isn't half bad, comparatively speaking.)

Thankfully, Jay didn't go all Ja Rule on us and keep all of the singing to himself. Rihanna steps in on the catchy and pop-radio-ready second single, "Run This Town," which also boasts a nice appearance by Kanye West -- behind the boards and on the mic (despite the bizarre "beasting off the Riesling" concept topped only by his Katy Perry tribute later on).

"Town," savior of the second half "Already Home" and "Real As It Gets" top this album for me. Future be damned, the Young Jeezy-blessed track recalls a couple of my favorite cuts from a simpler time 14 years ago when Eightball & MJG and AZ were sitting "On Top of the World."

It gets complicated from there. As could be expected from a track featuring Alicia Keys, "Empire State of Mind" gets too big for Jay -- and he sounds a little out of breath throughout. Not that it won't become a New York anthem.

After being underwhelmed after the first spin, it became clear that additional listens would be necessary to appreciate this album. It also provided some perspective in the form of two unrelated events that occurred on Blueprint 3's original release date, Sept. 11: 1) MSNBC spent the morning replaying the events of that date eight years ago; and 2) Michael Jordan's entrance into the Hall of Fame later that night.

The first proved our gut feeling was right that using the term "9/11 them" on the West-produced "Thank You" was too soon, especially when describing the events in detail as a comparison to the end of his rivals' careers. It's in poor taste for the self-proclaimed "new Sinatra." Worse yet, he sports a decidedly non-futuristic Skee-Lo flow.

The second once again provided a perfect metaphor, one that we and Hov have used in recent years. Both past-their-prime stars are stuck settling scores from the past while overstating his impact on the future and having an over-inflated opinion of his place in the present. For Jordan, it was claiming you might see him make a comeback at 50. For Jay, it's the suggestion that this album is really the road map to hip-hop in 2010 and beyond. If anything, Kanye West was the only one to do some truly futuristic sh--, but we already discussed how Jay feels about that. And he claims he doesn't want to hear it, either, at one point saying, "People want my old sh-- / buy my old albums."

But the conflicted truth is revealed throughout. On the album's opener, "What we Talkin' About," the hook is "Who cares what they say?" yet on "So Ambitious" (featuring Pharrell) it's "the motivation for me is them telling me what I could not do" and goes even further on "Hate" (featuring Kanye) as he laments that "I made myself so easy to love." Sounds like caring.

The majority of the album is listenable or better, but there's room for improvement. Surprisingly, it's lyrically. Too focused on the past and the future, he's never in the moment. "This is a 'Reminder.'" "On that next sh--." "Welcome to the future." The two themes never stop. It's always what he did or what he's going to do.

The low point is the final track, which would seem fitting except it is often there where you'll find Jay-Z at his deepest. He tries again here, but "Young Forever" comes off hollow and a bit forced. The Beyonce collabos are thankfully absent, but the weak "Venus vs. Mars" duet with Cassie fills the void.

Then there's "A Star is Born," which at first listen seems like a tribute to all of Jay-Z's MC peers from the past decade or so, but like Jordan's trash-talking induction speech it turns into a bitter list of backhanded compliments. Jay dismisses -- sometimes accurately -- Mase, DMX, Puffy, 50 Cent, Nas, Eminem, Nelly, Ludacris, Ja Rule, T.I., Outkast, Mobb Deep as simply passing through hip-hop as his career keeps moving, closing with this comment on the Wu-Tang Clan: "They had a hell of a run. Standing ovate." But their rhyme ain't done any more than Jay's is, as evidenced by the fact that Raekwon's own sequel to a classic made sure BP 3 wasn't a unanimous pick for the best album released on Sept. 8, let alone in 2009. But clap for Jigga. He deserves a standing ovation, too, for his hell of a run from 1996-2003.

It's time for Jay-Z to take his own advice from this very album and get "Off That" Blueprint. Move "On To The Next One" and leave the guest stars in the green room. Unless he really doesn't have anything more -- or better -- to say. Click here to find out how to buy this album.

-- Mason Storm

The 411 Online's other Jay-Z reviews
JAY-Z, American Gangster
JAY-Z, Kingdom Come
JAY-Z, The Black Album
JAY-Z, The Blueprint 2
JAY-Z, Unplugged
JAY-Z, The Blueprint
JAY-Z, The Dynasty: Roc La Familia
JAY-Z, Vol. 3... Life and Times of S. Carter
JAY-Z, Vol. 2... Hard Knock Life
JAY-Z, In My Lifetime... Vol. 1
JAY-Z, Reasonable Doubt

Review: KRS-ONE and BUCKSHOT, Survival Skills

I was far from a comic-book junkie while growing up, but one series that instantly comes to mind as a favorite was "Marvel Team-Up," when one legendary character (usually Spider-Man) would pair with another hero to take on a villain for a standalone issue. The unlikely pairings created a little added buzz when compared to the regularly scheduled program, and therefore were more likely to attract a casual fan like me.

KRS-One and Buckshot were wise to follow the same formula, perhaps injecting a boost of attention that otherwise would not have been afforded to a solo release by each MC. The title track is the leadoff hitter, and wastes no time establishing just how good the combination of these two lyrical legends can be. KRS' opening line sends a warning shot across the bow of the current hitmakers: "Small-time rappers ain't as dope as us / When you hear rappers in the club, you hope it's us." Just as refreshing is the turntable work on the hook courtesy of DJ Revolution.

KRS and Buck keep one foot on the neck of the copycats with their own personal attack on auto-tune, transforming into a "Robot" to take down those who "can't sing or rap these days" without covering their weak skills with a vocoder, all while still paying tribute to Roger Troutman, Afrika Bambaataa and others.

A parade of standout guests add to the party at that point, from the predictable (Mary J. Blige) and the welcome (Talib Kweli, backed by more scratching) to the longtime collaborators (Heltah Skeltah and Smif N Wessun).

However, when Pharoahe Monch walks out the door after "One Shot," it feels like a lot of the energy goes with him as the album fades a bit toward the end. Or maybe it just seems that way. No matter, the album is worth a look if only for the all-star collabo. In the end, the superheroes usually win. Click here to find out how to buy this album.

-- Mason Storm

Review: DJ QUIK & KURUPT, BlaQKout

Consider this a poor man's Oh My God. The pairing of DJ Quik, who doesn't get enough credit for his production skills, and Kurupt, who's paid tribute to Rakim on many occasions, should ellict that kind of a reaction, even though they've never reached the same heights in their respective fields -- and it isn't nearly as unexpected. But at least this one exists.

Among Kurupt's first lines is "How can you go wrong?" Twice, in fact. And it's a fair question, though they do manage to veer off course at times. One would be the unfortunately named "Cream N Ya Panties," which seemingly duplicates the opening title track's background screeches without duplicating the success of the original Quik sex-driven track, "Black P----." It at least should have been pushed back futher on the album to make it less obvious.

But those low moments are few and far between and the majority of the album is a solid listen, even if it's not stellar. The standout is "9x's Outta 10" with its simple, repetitive vibe, but "Ohh!" and the Moroccan-themed "Hey Playa!" also make an impact with their exclamations. "Do You Know?" also offers a "Back To Life" sample not to be questioned.

"F--- Y'all" takes the same concept as the Black Sheep interlude from 1991 and extends it into a full song. The highlight in the guest department is none other than Yo-Yo, who might have been a late addition as "Whatcha Wan Do" appears again without her as a bonus track.

The album gets lost again toward the end with "Exodus," a mess of an interlude, and "Jupiter's Critic & the Mind of Mars," which is one part '80s music, one part space odyssey and five parts trip, that only can be explained with a simple Quik lyric at the center: "I smoke a lot of weed." Thankfully, "The Appeal" grounds the starship before the album lands.

As Kurupt says early on, "This is one of those things when you put it together you make gumbo." There are a lot of flavors to digest here, but if they keep cooking together they'll get the perfect recipe before long. Click here to find out how to buy this album.

-- Mason Storm

Review: METHOD MAN & REDMAN, Blackout 2

When Method Man and Redman first teamed up, there seemed to be no limit to "How High" they could go. But the answer to their original question increasingly seemed to be "right there," as they never seemed to surpass that peak, and everything -- including the 2001 movie of the same name -- seemed to develop in the shadow of their debut's success.

Even their first full-length collaboration in 1999 didn't quite live up to the ridiculously high bar set by that initial single -- which even they seemed to acknowledge by using it as a bonus track on Blackout four years later. (However, some would say they came closest for a choice 2 minutes and 16 seconds on that album, the running time for "Da Rockwilder.")

At first listen the sequel's impression is underwhelming. But before long it becomes clear that while it may be understated, it is undeniably solid.

Early on, Redman opines that "hip-hop is lame, the whole game is lacking." And from that point on the self-proclaimed "new Tango and Cash" do their best to raise it up -- and at no point have to navigate a Jack Palance-built maze.

But that doesn't mean the album is without misdirection. A gritty opener sets the tone, followed by "Ay-Yo," the Pete Rock-produced first single that slows it down and restores the party vibe. Then they immediately pick up the pace and remind you of their "Dangerous Emcees" status.

The next track does it all in one. Keith Murray joins the duo for a seemingly speedy "Errbody Scream" -- until the hook hits and it feels like the batteries are running out on the listening device of your choice.

"Hey Zulu" gives the franchise its first taste of auto-tune (it returns later in "I Know Sumptn") but thankfully it's not the top-billed stars providing the vocals, making it a tolerable addition rather than distraction.

"City Lights" featuring Bun B feels out of place, but in a good way. It's like jumping into the middle of a UGK album with Meth and Red as the guests, rather than the other way around.

"Father's Day," "Mrs. International" and "Dis Iz 4 All My Smokers" -- a sequel in its own right to the song we've already mentioned too many times in this review -- hold down the middle of this album like a pair of Spanx.

Oddly, a skit called "Lockdown" precedes a full-length track featuring Ghostface Killah and Raekwon called "Four Minutes to Lockdown." No matter, the album finishes strong with "Neva Herd Dis B4," the aforementioned "I Know Sumptn" and especially "A Lil Bit," with its constant scratching in the background.

All in all this might be the best Method Man and Redman have had to offer since "How High" (the single), even edging the first Blackout ever so slightly. Or maybe its just refreshing to hear such a strong offering 10 years later. Click here to find out how to buy this album.

-- Mason Storm

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METHOD MAN & REDMAN, Blackout

Review: EPMD, We Mean Business

Not lucky enough to get an advance copy in the mail and not wanting to wait for Amazon to deliver it, I decided to pick this CD up the first day it came out, as I had done with previous EPMD offerings. But after hitting three Best Buys and two Circuit City stores, I was still empty-handed and the calendar was about to flip to 2009. I finally tracked this elusive album down on the last day of the year at a Target, of all places, while stocking up on cat food and paper products. (Man, I miss the days of Co-op Tapes & Records.)

Much like some of the references above, there are times when EPMD sounds dated, particularly Parrish Smith with his name-drops of A.J. Benza and Dominique Dawes. But their core audience knows what they're talking about, and maybe that's the point. They are who they are and they consistently bring that style on each and every album, no matter how long the layoff.

Smith and his partner, Erick Sermon, bring the metaphors like nobody else, and We Mean Business contains all you would expect from an EPMD album and more. Def Squad standbys like Keith Murray, Redman and, of course, "Jane" reappear, as well as legends new and old like KRS-One, Method Man, Raekwon and Mobb Deep's Havoc. The Notorious B.I.G. makes a cameo on "Roc-Da-Spot" by way of a sample that complements "Roger and Zapp in the back." Along those same lines, Teddy Riley pays tribute to Troutman and teaches a lesson to Kanye West and T-Pain on "Listen Up" by altering his voice the traditional way -- with a talkbox. Other standout tracks that don't feature guest artists from the hip-hop hall of fame include "Bac Stabbers," "Blow" and "Left 4 Dead," which draws comparisons between the loss of Biggie and 2Pac and the current state of hip-hop.

It all adds up to a worthy return to the scene. EPMD never tries to be something that they're not, which means if you're a fan, you'll always be able to count on them to deliver. No matter how the sales turn out -- get those albums in the big box stores, too -- Erick and Parrish need to try making dollars again before nine years pass next time. Click here to find out how to buy this album.

-- Mason Storm

Around the Way
allmusic: 3.5
HipHopDX: 4

Review: Q-TIP, The Renaissance

People have been waiting for 10 years for this album -- literally. I still remember the day in 1998 that A Tribe Called Quest's The Love Movement, Outkast's Aquemini and Jay-Z's Vol. 2 ... Hard Knock Life arrived. Quest was easily the favorite at that time, but ended the day in third place. In some ways it felt as if the Tribe had passed the torch of consistent excellence to Outkast that day, even if the masses followed Hova from that point on. As the years passed we awaited a return. Quest or Q-Tip -- it didn't matter, just as long as it was a worthy comeback. Finally, The Renaissance has arrived.

This album flows effortlessly from track to track, just like the good old days. Before you know it, you're halfway through and haven't stopped bobbing your head. It doesn't have the obvious single like "Vivrant Thing" or the mainstream advertising staying power of "Galvanize," but who wouldn't trade a consistently solid album for a one-hit wonder?

Still, I'll single out a few: the creatively sports-themed "Won't Trade," the lead single, "Gettin' Up," the a capella-blessed "Dance on Glass" and the hidden title track that precedes it. R&B stars past and present Raphael Saadiq, D'Angelo and Norah Jones complement three other worthwhile songs. That covers half of the 12 listed, but honestly, I enjoyed them all from start to finish. Just throw it on, leave it alone and enjoy. Click here to find out how to buy this album.

-- Mason Storm

Around the Way
allmusic: 4.5
Entertainment Weekly: A
Pitchfork: 8.4/10
HipHopDX: 4.5

Review: COMMON, Universal Mind Control

The late MC Breed told The 411 Online in 1995 that after a successful album, he celebrated by taking risks on the next one. If the public rejected it, he'd go back to the tried-and-true and hope to "open their minds" again on the one after that. It seems Common yearns to do the same thing. Electric Circus was proof of that. Common rallied from that setback and reached the peak of his career so far by teaming up with fellow Chicagoan Kanye West on the next two albums, with one unanimous classic and one split decision. But even if all critics don't agree with our high assessment of Finding Forever, it still was his first No. 1 album. So maybe Common should have kept the Kanye formula for one more album.

Instead, he enlists the Neptunes, who make their presence known right away on the Afrika Bambaataa-influenced title track. In that respect it fits right in with Kanye's effort to bring the '80s back. And it appears we might have a movement. But not so fast. Common's got sex on the brain, as evidenced by the escapade outlined on the next track, "Punch Drunk Love." (Is Serena to blame?) After all of the slow jams that closed his last album, it should come as no surprise that it led to all this fornication. But it's a little jarring coming from Common, especially when he's stomping all over the song that made him on "Announcement" ("I still love her, she's just eatin' a d--- / when it come to hip-hop it's just me and my b----") or whispering the chorus of "Sex 4 Suga" like the Ying Yang Twins. Along the same lines, "Make My Day" sounded a lot like Gnarls Barkley, but thankfully it's because the actual Cee-Lo is in the house. That doesn't save lyrics like "her ass cracked a smile," though.

We wanted to give Common the benefit of the doubt, so we delayed our review, especially after he responded to early critics by saying it was a "fun" album and that he'd give it an "11 out of 10." But no, we're not missing something. We won't be giving this much time outside of a few tracks -- "Universal Mind Control" and perhaps "Changes" and "Inhale," which seemed to bring the album back to life late before getting derailed again by another twist of the '80s. On "What A World," a retro rock hook is supplemented by a really basic, almost Sugar Hill Gang rhyme scheme. Then "Everywhere" closes the disc with what feels like '80s pop. If only they had stuck with Common's commercial co-star and his "Planet Rock," he and the Neptunes might have delivered a decent concept album, but it just isn't working as it is. Hopefully, Common can forgive us for joining the chorus or criticism. After all, we've been good to him. Click here to find out how to buy this album.

-- Mason Storm

Around the Way
allmusic: 2.5
Entertainment Weekly: C
HipHopDX: 2.5
Rolling Stone: 3

Review: KANYE WEST, 808s and Heartbreak

"While you was in limbo, I raised the bar up," Kanye rapped on last year's "The Glory." Now West's back after a tough year personally, and he's delivered by far his most personal album yet. It's not immediately clear if this disc represents a limbo of his own or an elevation to the next level. But one thing is for certain: He's not afraid to take risks. And the payoff this time likely will be a new trend that gives birth to a new breed of copycats. We expressed concerns with last year's classic, Graduation, because we could see the road to Diddy pop from there. But he shot right past the Puffy tendencies, through the Ja Rule-singing phase and squarely into Roger Troutman talk-box territory (although technically different). T-Pain blazed the trail to the sound's return, but what Kanye is doing is unprecedented for an established, successful artist. The results might disappoint fans of his previous albums, but not fans of the man.

Despite the fact I knew this sonic shift was taking place and we were all given an accurate preview in the first single -- the drumline-destined "Love Lockdown" -- it wasn't until Kanye wailed his tenth "Hey, hey, hey, hey" or so that I realized that he'd really gone through with it. This was the album. And three minutes into that first song, "Say You Will," the lyrics end and the beat rolls on for another three to give you a chance to breathe, prepare yourself for the rest of the album and appreciate just how insane of a genius West is. What seems crazy at first becomes commonplace by the time the orchestral and absurd "RoboCop" finishes with Kanye belting out a playful-but-ridiculous solo that would have forced a mandatory eject any earlier in the record. But by then you've rode along on an assortment of acceptable tracks that somehow manage to stick, with a backdrop of bass that I haven't experienced since there was a tube in my trunk as a teen. (The TR-808s apparently have been missed.) Among them is "Amazing" featuring Young Jeezy, "Paranoid" (which has a beat I could swear was inspired in part by music from "NBA Jam"), the aforementioned first single and "Heartless," the only track that might have blended into one of his previous efforts unnoticed.

"Welcome to Heartbreak," in which Kanye revisits his theme of family vs. fame, finds Kanye countering a friend's "pictures of his kids" and their "report cards" with "pictures of my cribs" and his "sports cars." Certainly the death of his mother and the split with his fiance contributed to this continued internal conflict. He addresses the former in the final track, "Coldest Winter." Because of his loss, you feel like giving the guy a break for his apparent break from sanity. But it's unnecessary, because against all odds it works. Lil' Wayne even jumps into the Auto-Tune party on "See You in My Nightmares." The remainder continues in the same vein -- with the "808s" supplying the beats and Kanye's lyrics providing the "Heartbreak." It's an instant guilty pleasure with the potential to be much more. I can't hand Kanye a fourth consecutive $50 with a clean conscience, even if it ends up being the album I listen to the most this year (and it could). His other albums might be better, but none might end up being more influential. We'll have to see. Click here to find out how to buy this album.

-- Mason Storm

Around the Way
allmusic: 2
Entertainment Weekly: A-
HipHopDX: 4
Pitchfork: 7.6/10
Rolling Stone: 3.5