producers: mass, dj j.b, techniq, funk daddy, big squeeze, func, duane 'pre'to' perera, miztah zelle, jeff taylor, james smith.

guests: cott, uws, wojack, don p, ill will, l-dog, d/s nis, waxcen, drekno & chill of deuce click, the riddla, yamiyn yisrael.

We like Azarel because he's an urban smartaleck too. Then again, what better describes him is, that he has urban smarts. Then again, maybe he's just smart. That's probably the correct boiled down description, and it also fits this album, as this is a smart album. Azarel is giving us healthy dosages of conscious rhymes, findings, and if you ask him: truths. And according to us, that qualifies him as having urban smarts, heck, even being an urban smartaleck, what is a compliment on this very website.

Azarel hails from the edge of the world, well almost, as he can be seen walking around Tacoma, in the state of Washington. And if you look at almost every regular map, that's pretty much at the edge of the world. Now taking this image further, you could say that Azarel is walking on many edges when it comes to create his music too, as he's taking musical elements that are prominent in his area, but he takes off the rider themes, and puts on real topics that every man, not only those of his faith, race, creed or neighborhood can relate to. May it be in obvious cases like the track "I'm Trying To Make It" (featuring Cott), or may it be on the track that got his name out: "U&I (Unity)". The cut resurfaces on this album again, while in slightly remixed form. Jeff Taylor produced it (with additional production by Daddy Leon) and while it's still the beautiful composition it originally was, we enjoyed the original version just a little more. However, that doesn't take away anything from Azarel talking about the support that can be found within the community. And how often must we have thought, that it would be possible for the people to overcome the big parts of the struggle, if we would only unite?

Speaking of the struggle: another cut on here is called "Strugglin'", and it has us find Azarel spit over a reduced while totally comfortable track, produced by DJ J.B. The song is content with a bass, and little else. Some of his frustration pours through, when Azarel is keeping his head high enough, with his eyes still resting on the ground though. In total contrast to this simplicity, the Funk Daddy (known from Sir Mix-A-Lot records) produced "Bringing It", is doing a rather flashy thump beat, and Wojack & Don P team up with Azarel to do rather in your face rapping. With another rapper, this would have resulted in a boast fest, but even here Azarel is making sure to have his rhymes glisten with jewels. While also based on the funk, but not repeating anything, "Use Ya Mind" is featuring the guitar played by Michael Powers, that we also heard on "U&I", and the two, along with Mass Productions putting everything together, once more give us something soulful, that is also featuring verses from Cott.

While "NW Funk" (produced by Miztah Zelle) featuring Drekno and Chill of Deuce Click is again reduced, more musical waters are explored on "This Year" featuring L-Dog & Cott, that is featuring a beat by Duane 'Pres'to' Perera. And while this beat would have sounded so much better with a real piano and strings, there are obvious reasons why that wasn't possible. On here more frustration is expressed when Azarel goes "hold on, don't get me wrong: I love y'all niggas / but at the same time I hate y'all niggas / wish the creator would erase y'all niggas / so I can rebuild the Black nation, with my niggas / with no defeat / this is how legends are made, so follow me". And this pain reflects an irony of life: if someone is smart, one must think that life would have to be easier for him, having the mental capacity. But the opposite is the case, because ignorance is actually a true bliss.

Talking about the harder to enjoy aspects, there are the beats that are based on too synthetic components: may it be the general feel of the beat on "Hebru" (a track that talks about Azarel's religion, just like "Searching" does, that's however much better), or the fake piano and choir / orchestra on "Usual Suspects". And while growing on you, "Smile A Little" is too hectic for its own good, what then again underlines the seriousness of the topic though. But it's interesting that something that demands more relaxed and respectful approaches to each other, is coming rather urging, and hard. And we shall finally mention "We The People", because it features The Riddla & Yamiyn Yisrael. There's nothing wrong with that, but it still shows us how many guests are featured on this album. Azarel is rarely left to himself, and he'd be more than able to carry a track by himself. We would have actually enjoyed to hear more of him, and maybe the verses of all them other cats on their albums.

There's just as many producers on this album here as guests, however, Azarel manages, with his choice of beats, to keep up a constant feel throughout the record. And the total feel we are getting from this album is a positive one. With its message, with its intend to speak real words and with the substance to back 'em up, Azarel created an album of deep energy, that's nurturing us as much as it can entertain us.