LL Cool J - Definition (11 tracks) +Album Reviews +Used CD available for Swap

2-1/2 stars -- The definition of being past your prime

Anthony Rupert | Milwaukee, WI | 04/09/2005

(2 out of 5 stars)

"Now, I'm not saying that LL Cool J's eleventh album The DEFinition is bad because L is too old. There are some rappers in their mid `30s that can still bring the heat (Raekwon, Jay-Z, Guru). The problem I have with the album is that its further proof that his glory days are long behind him. In fact, he's been in a downward spiral since Mr. Smith, and after he released 10, which only appealed to the ladies, I wondered if he would be able to resurrect his career.

With this album, the answer is no. Basically, editorial reviewer Dalton Higgins really hit the nail on the head with this one. This is one of those albums where the only good songs are the singles: "Hush" and the essential club-banger, "Headsprung". The latter was produced by Timbaland, and Tim also shows up elsewhere on the album, but sometimes his beats can't even save the songs, like the filler track "Every Sip" and the terrible "Rub My Back". And the beat to "Apple Cobbler" isn't even that great, not to mention that the song makes no kind of sense.

Another filler track is when R. Kelly shows up for "I'm About to Get Her". You can tell Kells produced it because it sounds like the same music he used for Twista's "So Sexy". By the way, that song is where L starts his lyrical faux pas ("that's why I'm still a teen idol like Hanson"). And then it's on to the bizarre "Shake It Baby" (which isn't even what you'd think it would be about). At the end of the third verse he says to a foe: "You burnin' me? Two words: impossible." That's one word, L.

"Feel the Beat" is fine but then it suffers from a chorus that sounds like it came from 1986: "Yes yes y'all/Feel the beat y'all/Break break y'all/You don't stop". You can even tell he's going to say that by listening to the beat. And "Can't Explain It" is the only other song for the ladies that comes close to working, but when you listen to the song you can't help but say, "It's okay, but it's no `Hey Lover.'"

It's not that LL can't rap any more, but the things he's saying on here makes the album, well, embarrassing. In fact, it's so embarrassing that I'd almost rather listen to 14 Shots to the Dome. It's good that he's had a nice, long career, but it'd be better if most of the albums in it were above-average. As you probably suspected by now, The DEFinition is only good for completing your LL Cool J collection.

Anthony Rupert"

Not good, but not that bad either

Ron Ron | Chicago, IL | 10/21/2004

(2 out of 5 stars)

"Ok, "Headsprung" is no doubt a good song. Although the lyrics are really silly and don't make a lot of sense at times, but it's still a good song. "Hush" is a song that I expect a lot of people not to like. I was kind of suprised to hear it. I think it's really good, but people who are hardcore Hip-Hop fans probably will think it's too soft. LL has always been known to put love songs out there. As evident by his "I need love" song about 15 or 17 years ago. He was heavily criticized until he came back with "Mama said knock you out". Anyway, this CD is overall decent. With a two standouts in my opinion, but it lacks the whole package."

This album is good, not great

Penny Woods | Chapel Hill, North Carolina United States | 08/31/2004

(3 out of 5 stars)

"This is supposed to be a club-friendly album, but it feels like LL is trying to sound commerical to sell copies of DEFinition. This is something I don't expect to hear a lot of tracks that aren't singles in a club. Although many of the beats are likeable, most of the songs sound similar to "Headsprung," largely in part to Timbaland's production. There are two songs, "I'm About to Get Her," produced by R. Kelly, and "Feel the Beat," which, along with "Headsprung," are the real highlights of this album (despite Kelly's occasionally weak singing). Lyrically, the flows on this album have to be among the weakest LL's ever created. He's simply appeasing the masses who buy commercial rap to get the albums on the Billboard and SoundScan charts. Case in point: "Apple Cobbler," when LL sounds like he's borrowing the flow, of all people, Missy Elliott. Anyone who's expecting LL to sound like he's still back in his Radio period or when he was dissing Canibus will be sorely disapointed. DEFinition is not for hardcore rap fans or fans of the classic LL Cool J sound."

Time To Hang 'Em Up, L {2 Stars}

Norfeest | Washington DC USA | 01/03/2007

(2 out of 5 stars)

"My guess would be that most of the four and five star reviews are from fans of pop music. But if you're into hip hop, you know that this is easily one of LL's worst albums ever. I'm not one of those old fogeys that is stuck in 1990 and still waiting for Mama Said Knock You Out II. In order to remain relevant, he has to update his sound with the times. But the fact is that you've heard others do it way better than L is doing it. Some of these rhymes sound like they were written by his kids (which is simply unacceptable from a veteran of almost 22 years). The production is nice on a lot of tracks (7 Aurelius, R. Kelly, Timbaland, Teddy Riley, N.O. Joe, and Dame Grease), but some of the tracks sound like forced attempts at making a club banger. If that isn't bad enough, L's lyrics are just plain ol' wack on a lot of these joints and he does a poor job of not getting swallowed up by Timbo's hot production. Despite help from Teddy Riley, I have to say that "I'm About To Get Her" has some of the worst metaphors and similies I've EVER heard and "Rub My Back" is straight up pitiful. No other word for it. "Move Somethin" is, if I'm being nice about it, laughable at best. I guess the bottom line is that there are way too many forgettable cuts on this LP. Nothing will grab your attention after the new release buzz wears off.

There are a couple decent tracks. Well, basically, the singles are the best songs on the album. I'm feelin' "Hush" and "Headsprung" and "Every Sip" feature some great production from Timbaland. That's about all the good that comes to mind though. The rest is pretty forgettable.

The Definition is one of those albums that you don't bother listening to unless someone gives it to you for free. I understand that the Mr. Smith, Bigger & Deffer, Mama Said Knock You Out LL is no more. I don't live in the past and I understand the need to update things, but this change wasn't for the better and LL is left looking like a washed up rapper that let the game pass him by. I recommend downloading the singles and staying as far away from this album as you possibly can. Now that he's rollin' with 50 Cent, maybe his next release will have a little more punch to it.

Standout Tracks: Headsprung feat. Timbaland, Every Sip, and Hush feat. 7 Aurelius"

The DEFinition by LL Cool J

David Foskin | Waterford, Ireland | 01/14/2006

(3 out of 5 stars)

"While his self-given title of the "greatest of all time" is debatable, one thing that can't be disputed is that LL Cool J is a definite legend in hip-hop's legacy. Having spearheaded the dominance of Def Jam Records, cranked out radio hit after hit, and garnered respect as a big-screen actor, LL has entered the studio once again to craft his eleventh album, The Definition. Geared heavily towards club dance floors and radio play lists, The Definition finds him in full party mode, delivering rhymes with a new energy. The final product, however, teeters on mediocrity due to generic production and cheesy subject matter, but scattered jewels help lift it to ultimate enjoyment.

In an inspired allegiance, LL employs Timbaland to produce six of the disc's eleven tracks. While "Apple Cobbler" spoils quickly with LL's faux Missy Elliot delivery and Tim's by-the-numbers backdrop, the duo forms a tight chemistry on their other efforts. Timbaland provides slinky bass on the melodic "Rub My Back," and "Headsprung" pummels speakers with a ferocious blend of percussion and synthesizers. Neither of these cuts finds LL at his lyrical best, but on "Feel The Beat," he shines with justified ego massaging over Timbaland's throwback break beat, spitting, "I'm a multi-millionaire, homey that's a fact, but it's not the ice that makes your wife react." The strongest union between LL and Tim comes in the form of "Every Sip," though, a syrupy ode to females and seductive intoxication.

Unfortunately, when other producers check in, The Definition is rather hit-or-miss. 7 Aurelius gives LL an effervescent arrangement of airy vocals and hip-pop to kick vintage game on "Hush," while Dame Grease brings the old, battle-ready MC out of Uncle L on the menacing "1 In The Morning." "I'm About To Get Her," on the other hand, drips with wack juice, plodding along with sub-par verses and an instrumental that sounds way too similar to guest R. Kelly's hit "Fiesta." "Move Somethin'" also does little to aid The Definition, suffering from boring horns and a lazy performance from LL.

Clearly, LL Cool J made this album for both car systems and the crates of party DJ's, and in that respect, The Definition serves its purpose. With a career as prolific as the one he's had, some down time is allowed, and catering to his commercial fan base is expected. LL doesn't seem to be hanging up his microphone anytime soon, so until that day comes, females should feel free to continue drooling, while the fellas can continue yearning for a return to the "I Shot Ya" and "4, 3, 2, 1" days. The "G.O.A.T." who cast a dark cloud over Canibus' career is nowhere to be found on The Definition."

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