KJ-52 has been going strong for over a decade, despite what you think of him, despite how he is mocked by “elite” rappers, the guy keeps blazing a trail and continuing to not only write and work on his own material, but to collaborate with the BEST in the business. If these other players can give KJ-52 respect, isn’t it about time the haters do the same? Like any artist, you can take it, or you can leave it…
Dangerous is no different. If you hated KJ-52 before, this album will do absolutely nothing to change your mind… although you’d be ignoring all of the awesome beats and dope spits from collaborating rappers who make their mark known on this album, including the almighty LeCrae. Other collaborators on Dangerous include This’l, George Moss, Canton Jones, Rhema Soul and Dre Murray. Female vocals on some songs are provided by Emily of Shine Bright Baby. All of it comes together to offer a fantastic album from beginning to end, and a diverse one. It’s an album where I like almost every track, always a positive thing.
KJ-52 is at his best when he is telling stories, or creating songs that are outright ridiculous and wholeheartedly goofy (see: “Do the Bill Cosby”). As it stands, and as it has always stood, KJ-52 cannot get by on his rap skills (or lack thereof) on its own, and my favorite songs always end up being the ones where KJ-52 is not doing the majority of rapping. While that may sound like an extremely harsh thing to say and a real knock on the artist, it is DESPITE this fact that KJ-52 is still able to craft some amazing and great songs. And that, to me, speaks volumes. You cannot deny this man’s work ethic, and all of his albums, Dangerous included, drip with the passion of a man whose sole purpose is to spread the love of Christ and speak his mind through rapped lyrics; damn the critics. And I wholeheartedly embrace his approach.
What’s further is that he has proven his ability to craft songs that tell interesting stories and pull on the heartstrings, and that is an art in its own right. If you know KJ-52′s past albums, you know this fact to be true (see songs like “#1 Fan” from the album “It’s Pronounced Five-Two”). KJ-52 also has the ability to craft catchy, singable choruses and absolutely dope music to go along with his rapping sections, which in all cases elevates the whole and manages to make up for the lack of skillfull rapping.
Let’s face it, no one else would do the kind of songs KJ-52 does, collaborating with everyone from hardcore gangsta rappers to bubbly-sweet pop singers, to mixing it up with rock artists to combining rap with comedy skits and pumping out worship hits that would fit perfectly well on a CCM (Contemporary Christian Music) setlist… Dangerous does all that and does it well. And despite what I said above about most of my favorite KJ-52 songs being the ones where others rap besides KJ-52, he still manages to hold his own in a number of tracks. Additionally, and this has been true in the past as well (and mostly true with music in general), KJ-52′s songs grow on you the more you listen to them, Dangerous being no exception. And after a while your misgrievings about his lack of rap skill are dropped and you just embrace the music in front of you. I mean who really gives a crap? Music is music, and KJ-52 creates some great music on his albums. Period.
When I first dove into Dangerous, it had been years since I had listened to a new KJ-52 record. I will dig him up from time to time and listen to his past albums, but the last new KJ-52 album I bought was “Behind the Musik”. In retrospect, I think I really enjoyed that album, and yet for some reason I see it with negative eyes and seem to want to think of it as his weakest album to that point. Maybe it’s because I lost some interest with KJ-52 after that point, because I never got around to picking up any of his proceeding albums until Dangerous dropped on April 3rd, 2012 (BEC provided me with a free review copy of the final Master).
I will make some more (some would say outlandish) comments regarding KJ-52 near the bottom, as well as go into his past and his entire discography, but before I do that I want to really spend time looking at Dangerous objectively and reviewing the album track-by-track. So here we go!
Track #1. It’s Going Down (Featuring Canton Jones)
Dangerous starts off with a bang by giving us this rough and wild club banger. This is a pretty strong opening track, and its one in which you expect KJ-52 to be joined by another rapper, but he is the one rapping throughout. This track has some bite to it and that’s always a good thing. As has always been the case with KJ-52, his rapping skills stand out much stronger on some tracks than on others, and this is one of those tracks. Although not the best on the album. Overall this track is a winner in my opinion and “It’s Going Down” is one of my favorites on the album. A HIGHLIGHT for sure.
Track #2. They Like Me (Feat. Lecrae)
NOW THIS is a collaboration worth praising. And this is arguably the track that will compel most people, especially those who either love LeCrae and the 116 Clique and have never heard of or listened to KJ-52, or those who love KJ-52 but haven’t picked up one of his albums in a while, to go out and get Dangerous. That’s because seeing these two “titans” come together is definitely a treat.
And those who may have dismissed KJ-52 in the past or saw him as a wannabe rapper who didn’t have the skills to pay the bills, will likely do a double-take and pick up this track or this album just because of the fact that the almighty LeCrae (arguably the best and most exciting Christian rapper in the business and arguably the best the Christian rap game has seen in years) has deemed KJ-52 worthy of a collaboration. IMHO this REALLY elevates both of these guys. It elevates LeCrae because it shows that he is willing to work with ANYONE who shares his passion for spreading the gospel, and that he doesn’t judge no matter what others think of that individual. And it elevates KJ-52 because it proves that his work ethic is so strong, and he has such a diverse audience, that rappers know they’ll get exposure they wouldn’t have otherwise gotten by collaborating with KJ-52. It also shows that KJ-52, despite what you think of his skills as a rapper, is respected in the Christian rap scene, and people enjoy working with the guy.
This track is one of the highlights on the album, and the premise of the song is interesting. It’s not quite a “story” song, but it is in that general direction and more-so than not. LeCrae sets the stage in the opener by stating “Let’s talk about the elephant in the room”, they then proceed to tackle racism from both sides of the coin, as someone born black and someone born white. LeCrae by being a black kid who appealed to white kids (does that make him a sellout?) and KJ-52 being a white rapper in a black-dominated game and growing up in a black neighborhood. As always, KJ-52 does the weaker rapping of the two, although he does a whole other third verse and in the end I think he’s able to hold his own.
I was struck by the commonality between the two rappers. LeCrae is not perfect and I thought his album “Rehab” was the weakest he’d ever done and had some straight up crappy songs. And his rapping style began to get extremely annoying. Much like KJ-52… and you’ll notice on this album how both of them have their annoying ways of rapping that kinda grates on the nerves some. It’s hard to put into words, but you may notice what I’m talking about when you listen to this song and you’ll actually see how KJ-52 and LeCrae do not sound that different from each other. They almost sound similar, the difference being that KJ-52 has to take deep breaths between his spits, that are obvious (and annoying when you can clearly hear them) and the fact that he is very monotenous and repeats himself a ton, as well as mostly spitting in simile’s in an overhanded way that gets old.
Regardless of all that, this is a strong track and one of the best on the album; just to see the two beloved rappers interact with each other and collaborate. “They Like Me” is definitely a song you’ll want to come back to again and again, and it’s got a great chorus and strong premise. A definite HIGHLIGHT.
Track #3. Superhero
Ugh. That’s all I can say. Superhero is one of KJ-52′s customary goofy tracks, although this one is less comedy as it tries to do it with a more serious tone, and yet the subject matter is ridiculous. Superhero is done in the same vein as past KJ-52 hits including “47 Pop Stars” and “Cartoon Network” from “It’s Pronounced Five-Two” and “Videogames” from “Behind the Musik” (I thought there was one from Collaborations but I don’t recall which one it was). Like in those songs, in this song KJ-52 tries to insert superheroes into his flows (instead of Pop/Rock Artists, Cartoon Characters and Videogames and game characters, respectively). Some people like this kind of thing, and it is cool in its premise, but I didn’t care for this song myself. And in many ways it kinda represents KJ-52 at his worse in my humble opinion. “Superhero” is one of the low points of the album in my humble opinion and I see this song as a definite skipper. Having said that, like with his other songs of this style (he does one on almost every album), it can be fun to try and find every superhero he names throughout the song and see if you caught them all and all the superhero-related references like “Now check the sky, it ain’t a bird or plane/it’s the God man, ain’t no Lois Lane”, references to Superman. Kids, who are in many ways KJ-52′s core audience, will likely dig this track.
Track #4. Dangerous
This is one of those story songs that I was talking about, and as such it makes “Dangerous” (the album’s title song) is one of the strongest tracks on the album. You expect it to be a “hard” rap track because of the name, but it’s the opposite. This is a song that attempts to tug on the heartstrings, and it does a capable job. You add in the chorus that is sung like a contemporary Christian hit and you have a winner. As usual though, KJ-52′s raps are kinda weak and it somewhat brings the song down (particular in the first verse, where the breaths between lines are very noticeable), but overall this still a great track. If you liked KJ-52s previous story songs, you’ll definitely count this one as a winner, although its not as strong as say “#1 Fan” from “It’s Pronounced Five Two”. The song deals with someone who has fallen out and backslid from The Lord. Familiar territory for KJ-52, however this song features a strong singer that definitely elevates the piece. I don’t know why, but several of these songs don’t feature the name of the other person on the song, I think they should have… cause it’s definitely not KJ-52 doing the singing. This is one of those tracks that a lot of people will love simply because of the CCM and pop nature of it. You can picture it becoming a big Christian radio hit on K-LOVE, Air-1 or whatnot. This isn’t one of my favorite tracks, but its still a HIGHLIGHT and a winner.
Here is the official lyric video for Dangerous.
Track #5. Facemelt
Facemelt is the rock track for Dangerous, and does a pretty good job of it. It’s not a hard rocker, but it rocks well, and the chorus is pretty strong and singable with it’s “wah-ohhhhooooohhhh”. I know I’m sounding like a broken record, but KJ-52′s lyrics and rapping here are extremely weak, and the rock parts are not strong enough to carry the rest of the song. The audio distortion parts I found annoying, and the lyrics are lame. Additionally, KJ-52 does a lot of obvious heavy breathing here. Although he does a capable job of trying to make it sound like part of the song, so it doesn’t bother as much as on some other songs. Overall, this is probably the weakest track on the album IMHO.
Track #6. Shake Em Up (Feat. This’l)
OH YEAHHHH. Now THIS is how you do a strong KJ-52 track. This is one of the few songs where KJ-52 impresses with his raps, and proves that he can come through capably, even when put up next to a VERY strong, harsh black rapper who brings the bark along with the bite (literally) to the track. This is a really strong and harsh rap track that has attitude and punch to it, and it’s easily one of the best tracks on the album if not THE best. And it’s a proper rap song as well. I in particular love the line, “So let them haters hate” from KJ-52 that directly follows a “hoo-ya” black bark, and seals the deal for me. This is one of those “black rap” songs (think DMX) that KJ-52 can rarely pull off all his own. And he can’t, which is why you need the tough black gangsta to step in with his deep voice and barking manner during the second verse. This guy (“This’l” he’s called) steals the show and adds that “Where Da Hood At” attitude that KJ-52 cannot, does not, and will never possess. Quite simply because KJ-52 is most definitely NOT a gangsta and there is nothing imposing or threatening about him and never will be. Having said that, KJ-52 holds his own here in the rap game, and that’s a rare thing. This is probably my favorite track on the whole album, and the track I’ll be showing friends to impress them and get them to open up to KJ-52. And a rare “true gangsta” song from KJ-52 (even though its got a pretty non-gangsta singable chorus). I also absolutely LOVE the opening of this song. Powerful stuff. A definite HIGHLIGHT.
Track #7. Do The Bill Cosby (Feat. George Moss)
Ahhhh KJ-52… directly after showing his tough side, he has to get all goofy on us with this track. Now if you are like me, you sometimes have a hard time listening to KJ-52 because it is very hard to take him seriously, and you feel like the lamest guy on the block by bumping a KJ-52 album, believe you me. He is one of those artists who demands a permanent snicker written across people who hear him at all times… as if to say, “How do you listen to this and live with yourself”? You know, like what happens when I want to watch Power Rangers and other people come into the room. They CANNOT take it seriously and just watch the show. They must comment to make fun of and ceaselessly mock it. Well, that is what I THOUGHT this song would be. As such, I purposefully skipped it and didn’t listen to it until I got done with the whole rest of the album. Well color-me-floored. “Do the Bill Cosby” is one of the strongest tracks on the album, and it is a genuinely funny track that’s just as good as “Gimme Dat – Mountain Dew Anonymous” from “It’s Pronounced Five-Two” or “Plain White Rapper In A Minivan” from “Behind the Musik”. It does NOT fail (like some of his other goofy songs) but actually passes the “great song test” with flying colors. Additionally, and this straight-up shocked me, KJ-52 does some great rapping on this song. :P It’s actually some of his best on the album. And George Moss spits a fantastic follow-up to KJ-52′s verse. And as you might have guessed from the song title, this song is about KJ-52 making up a new dance for the dancefloor called the … “The Bill Cosby” :D This song is a favorite and a DEFINITE HIGHLIGHT.
Track #8. So Far Apart (Feat. Emily Of Shine Bright Baby)
This is a fantastic slow song with a very strong female vocal, and marks a second strong story song for KJ-52 on Dangerous. As is the case with most of his story songs, this song is a strong one with a very radio-friendly and singable chorus that includes both male and female vocals for the singing portions that add layers to the song. The storyline of this track deals with KJ-52 discovering someone who has fallenback and discovering them on Facebook; where he notices that their whole life is a front and directly opposed to how they were when he used to know them. He sees how far they have fallen and seeks to remind them how Christ still loves them, while lamenting how their current state breaks his heart. I feel like KJ-52′s first verse is a little weak though. But I definitley love the “eyyy!” rap part in this song, because it sounds so “out of place” with the female vocals and pop singing… and yet it works. I’ve always loved how KJ-52 is not afraid to mix typical rap flavor and cliche’s with other genres; in doing so he creates his own unique sound and fun songs. And this is another one of them. “So Far Apart” offers a strong premise and is a definite HIGHLIGHT from the album.
Track #9. Brand New Day
Arguably even stronger than “So Far Apart” is this track, called “Brand New Day”, which is in the same vein but has more of a beat to it and is in some ways a kind of party song. This song also features female vocals and a very catchy, singable chorus. One of the things I’ve always loved about KJ-52 is his eternal optimism, as a Christian it can just put you in a good mood and make you HAPPY to be a believer. This is one of those tracks, in the vein of “I Feel So Good” from “It’s Pronounced Five Two” (thematically) and this is arguably my favorite song. Like “So Far Apart” it also features a powerful backing female (and male) vocal that truly adds a lot of layers to this song. And KJ-52′s verses about simply giving the Lord praise are great. I particular love the female bridge of “I’m not where I wanna be, but I’m not where I used to be”. For sure a HIGHLIGHT. Buy it!
Track #10. Speed That Light (Feat. Rhema Soul)
This is one of the best rap tracks on the album and this track, like with “Shake Em Up (Feat. This’l)”, really shows KJ-52′s ability to rep some skills at the mic that defies the norm for him. This is a very strong track, and is made much more powerful due to the latter verses which showcase strong black rappers including both a male and a female. The female’s voice I recognize from some old rap albums, I think she may formerly be from TunnelRats, either way this is one of his best tracks and features a strong beat and an awesome chorus. “I’m gonna speed that light, I’m gonna let Him shine, I’m gonna be that Light till they all know Christ till they all know LIFE!” One of the best tracks on the album. HIGHLIGHT for sure.
Track #11. That Was My Life (Feat. Dre Murray)
This is arguably the most powerful song on the album, and tackles heavy subject matter in the form of sex addiction, an extremely common issue that people grapple with, and one that is not sung about often enough. While I cringe thinking about a song about sex or porn addiction being told by KJ-52, luckily it’s not. Black rapper Dre Murray tackles that subject during the first verse and kills it with his strong voice. “Cause outside I’m a lion, but inside I’m dying… That was my life.” He speaks with a conviction that helps to pull this song through, and this is another strong rap performance by KJ-52 who raps with conviction himself. The chorus and beat of this song is also really strong, and it even features a rock section near the end! Another awesome KJ-52 mashup that only he can pull off. Add it all together and it makes “That Was MY Life” another HIGHLIGHT.
Track #12. Go
Why this song has such a forgettable name is beyond me, but this track is a fantastic worship song, that features sung vocals throughout. Who is the one singing I am not sure because it isn’t marked, but it’s great. This is a singable worship track, and features a pretty nice rap section by KJ-52. Like with “Brand New Day”, this song features a dance beat behind it, and also features lyrics that entirely praise Jesus from beginning to end. It’s a fitting and nice end to the album, and another HIGHLIGHT.
All in all, Dangerous by KJ-52 is one of his strongest albums, and I actually like almost every single track on the whole album. Although I feel like KJ-52 hasn’t really evolved any, and his skills haven’t improved. Either way though, he has truly mastered his craft of putting together fantastic songs in multiple genres with a focus on rapping and collaborating with folks whose skills far exceed his own to produce a cohesive whole that impresses.
If you liked KJ-52′s other albums you’ll be hard pressed to be disappointed with this album, and if you haven’t heard him before I recommend you pick this album up and give it a shot. Although if you never liked KJ-52 previously, this album likely won’t change your mind.
Either way I found it to be fantastic personally. If I gave ratings to albums, I’d give it a 9 out of 10. :)
And now…. for a rant on KJ-52 and a look at his history and discography:
I must admit that I am a fan of KJ-52. Quite simply, I like this dude. You gotta respect him and just accept who he is and what he does. Remember kids, it’s VERY easy to criticize, it is much harder to look at something objectively, and enjoy it on its own merits without comparing it to something else. And it is very easy to disregard a less popular work as inferior to something that’s popular and well known. A wise man once said to hold your tongue if you don’t have anything nice to say… KJ-52 has enough criticism to go around (around the world that is, TWICE); so let it rest, and try to look at his material with uncritical eyes. If you don’t like it, you don’t like it. Case in point, when I first heard Eminem, not only did I think he was BLACK, I thought he sounded like a high-pitched girl. And I LAUGHED. True story.
KJ-52 is truly an anomaly, and yet one who continues to impress me everytime I listen to one of his new albums. You have simply GOT TO respect the work ethic of this man. Period. His determination to share the word of God has brought him to the place he is at now, selling out large crowds, playing in festivals and stadiums next to A-list artists, and collaborating with the best in the Christian business.
KJ-52 to me, is like Sarah Palin. KJ-52 is biterly hated by people who consider themselves (or rather, consider the worldly artists they love) to be so elite above KJ-52, that the mere mention of his name elicits nothing but disgust, despise, and a string of profanity from their mouths (aka Sarah Palin). He’s labeled a wannabe who embodies the TRUEST sense of the word if there ever was one. The mere mention of his name in the same sentence as Eminem, Dr. Dre, Snoop, 50 Cent, Lil’ Wayne, DMX, Kanye West, Biggie, Bone-Thugs or legions of other secular rappers is so utterly blasphemous its liable to get you shot. At the very least you’ll be laughed out of the room, and at most you’ll be six feet under with glocks pressed to your face in a mere matter of seconds.
Again, I bring up Sarah Palin. “I mean look at her! I hate that b*tch! I see her on TV and I wanna kill her!” Why? I ask. “… Look at her! Haven’t you ever heard her talk? I know rocks smarter than her.” Really? “What are you stupid? I can’t stand to listen to her for one f’n second!” And on and on it goes. Is there any convincing these people otherwise? Of course not. They live in a world of delusion, a world where 50 Cent bubblin’ it up in “da club” and Eminem spitin’ off about raping his mother and killing his wife is somehow perfectly fine and dandy (oh and totally NOT offensive). Not to even speak of all the bitch this, slut that, oh and f*ck you too that is like the bread-and-butter of these rap artists. And they have the gall to find KJ-52 offensive? Please.
Why am I going on about Sarah Palin? Because both of these individuals speak THE TRUTH. They know God, they love God, and they speak God. Neither of them has ever done or said ANYTHING to illicit such hatred in ANYONE (as opposed to the rappers the world glorifies, who have said enough to offend every group under the sun that I don’t even know if God has enough mercy to cover it all…). And yet from those who hate KJ-52 or Sarah Palin, filth spills outta their mouths with such a sharp and piercing profane tongue that the secular behemoths in the rap world they worship at the feet of would be proud.
In their eyes, KJ-52 represents a mockery of all they hold dear (and writing an “open-letter” in song form to Eminem called “Dear Slim” was paramount to out-right treasonous warfare). The fact that KJ-52 has to insert Jesus’ name into each and every song only makes HIM that much more profane, right? Mix in his low level of rapping capability, his penchant for juvenile humor (you know, unlike that Eminem guy…) and many-a-song that seem lifted (or maybe “inspired” is a better word) by that OTHER white rapper, and you have the perfect scapegoat for why Christian rap doesn’t amount to a hill of beans and will never even begin to hold a candle in “the real world”. This is what these people believe… It is their reality.
Despite what anyone thinks or wants to believe about the most hated white rapper since Vanilla Ice however, the reality of KJ-52′s past is actually far from the “truth” as presented by those who oppose this man. KJ-52 had begun rapping at a young age, and his first album was actually put out in 1997 as one part of a duo (the other part being Goldenchild), on an album called “Insightful Comprehensions”, the duo calling themselves “Sons of Intellect”. This album was released one year after Eminem’s Infinite (when Marshall Mathers was a complete unknown) and the same year as Eminem’s “Slim Shady LP”. So, on its face, to call KJ-52 a “ripoff” of Eminem is not quite accurate, he was actually around himself in those early days. The difference being that no one knew who Eminem was.
It was after KJ-52 split with GoldenChild that he went on to create a solo album, which eventually lead to him getting signed by Essential Records, a Christian division of Sony Music. KJ-52 then wrote his first major-label release as a solo artist, which lead to the creation, production and eventual release of “7th Avenue” in 2000, his debut major-label album. This happened at a time when Eminem had now hit it big thanks probably exclusively to Dr. Dre discovering him. And just like with Eminem, if you go back and look at both of their initial albums, you’ll find a wide range of differences in style and presentation from the artists we know today as Eminem and KJ-52.
Here is Eminem from his hip-hop debut album “Infinite” from 1996, on the song “It’s OK”.
While Eminem had less of an edge in his debut album Infinite, and was much less profane and violent, KJ-52 had more of an edge on “7th Avenue” (much less on Sons of Intellect), and went in the opposite direction for his post-7th Avenue albums. In fact, if you go back and look at his first album, you’ll likely be very surprised, as his rap skills back then seemed far superior to what he does today… And in fact his rapping with Sons of Intellect was highly praised.
Here is KJ-52 rapping on the song “Press On” from Sons Of Intellect’s 1997 hip-hop album “Insightful Comprehensions” (KJ-52 raps first, Golenchild second):
Here is KJ-52 from 2000, rapping from his 7th Avenue major-label album. This track features Phanatik and Ambassador on the first verse and second verse (respectively) with KJ-52 on the chorus and spitting the final verse.
The truth of the matter for both of these rappers, Eminem and KJ-52, is that BOTH found and then catered to the audience they were shooting for to help them reach more people and build that niche. In Eminem’s case it was the hardcore rap crowd and children, the kind that reveled in shockjock South Park-style perverted humor and over-the-type offensive language and violence; perfectly catering to the immature Junior High crowd. Meanwhile KJ-52 did the same, after “7th Avenue” he toned down the edge to his raps (edge doesn’t mean perverse, mind you) and started catering to the younger set, offering them clean music and easy-to-digest raps that were simpler in nature.
So the next time you hear someone bag on KJ-52 as a wannabe Eminem, inform them of the similarities that both artists share, and remind them that both have a storied past in the game that is not as well known as their current rap personas.
As stated, Dangerous is the 7th album by KJ-52 (8 if you count Insightful Comprehensions). His preceding albums include:
1. Insightful Comprehensions (with Sons of Intellect) (1997, Omega. Re-released in digital, remastered form in 2010)
2. 7th Avenue (2000, Essential, re-released in 2004 minus the skits, intro, outro and minus two tracks, with five new additional songs)
3. Collaborations (2002, Uprok)
4. It’s Pronounced Five Two (2003, Uprok)
5. Behind the Musik (A Boy Named Jonah) (2005, BEC)
6. The Yearbook (2007, BEC. Re-released in 2008 as “Missing Pages” version. Includes 19 tracks from original plus extra disc with 13 more songs!)
7. Five-Two Television (2009, BEC)
8. Dangerous (April 2012, BEC)
1. Peace of Mind (2003, BEC; an awesome full on hardrock album; a rockband side-project formed by KJ-52 by a four-piece that combines rock with rap lyrics)
2. Soul Purpose (with T.C. aka Todd Collins) (2004, BEC, a KJ-52 side-project with Todd Collins)
3. KJ-52 Remixed (Remix Album, 2006 BEC)
4. KJ-52 Television – The Office Prequel Mixtape EP (2009, BEC. EP released previewing KJ-52 Television. Rare EP, buy it NOW)
* Jesus Freak (Feat. KJ-52) Song from Born Again Album By Newsboys (2010, Inpop Records) – KJ-52 raps on this song as a guest. This was the first album from The Newsboys featuring their new lead singer, Michael Tait of DC Talk fame.
Music Album Reviews
9. Between Here & Lost By Love And Death (helmed by Brian “Head” Welch Former Korn Lead Guitarist) [Posted: January 25 2013]
8. I AM By Becoming the Archetype (Posted: September 14th 2012)
7. Find Your Worth Come Home By To Speak of Wolves (Posted: May 25, 2012)
6. Celestial Progression (Remix Album) By Becoming the Archetype (Posted: May 21, 2012)
5 Return to Life By War of Ages (Posted: April 28, 2012)
4. Thousand Foot Krutch – The End Is Where We Begin (Posted: April 20, 2012)
3. KJ-52 – Dangerous (Posted: April 16, 2012)
2. Manafest – Fighter (Posted: April 15, 2012)
1. Demon Hunter – True Defiance (Posted: April 10, 2012)
5. Turok: Dinosaur Hunter (N64) [Posted: January 31 2013]
4. Resident Evil: Code Veronica Review (Dreamcast) [Posted: October 5 2012]
3. Resident Evil 3: Nemesis (PS1, GameCube) [Posted: September 18th 2012]
2. Resident Evil 2 (GameCube) [Posted: September 3rd 2012]
1. Resident Evil Remake (GameCube) [Posted: August 14 2012]
Gilmore Girls Reviews
4. Gilmore Girls Season One Episode 4 – The Deer Hunters
3. Gilmore Girls Season One Episode 3 – Kill Me Now
2. Gilmore Girls Season One Episode 2 – The Lorelais’ First Day At Chilton Review
1. Gilmore Girls Season One Episode 1 – Pilot Review
3. The Amazing Spider-Man [Posted: December 1 2012]
2. Prometheus (Ridley Scott’s Alien Prequel) [Posted On: November 25 2012]
1. Warhorse (By Steven Spielberg) [Posted On: November 11 2012]
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* ListenToMePlay Resident Evil 0 Part 5
* ListenToMePlay Resident Evil 0 Part 4
* ListenToMePlay Resident Evil Zero Podcast Part 3
* ListenToMePlay Resident Evil Zero Podcast Part 2
* ListenToMePlay Resident Evil Zero Podcast. RE0 Intro (Part 1)
* ListenToMePlay Resident Evil: Code Veronica Finale (Part 7)
* ListenToMePlay Resident Evil: Code Veronica Parts 5 and 6
* ListenToMePlay Resident Evil: Code Veronica Part 4
* ListenToMePlay Resident Evil: Code Veronica Part 3
* ListenToMePlay Resident Evil: Code Veronica Part 2
* ListenToMePlay Resident Evil: Code Veronica Podcast Part 1
* ListenToMePlay Resident Evil 3 Podcast Finale (Part 5)
* ListenToMePlay Resident Evil 3 Podcast Part 4
* ListenToMePlay Resident Evil 3 Podcast Parts 2 And 3
* ListenToMePlay Resident Evil 3 Podcast Part 1
* ListenToMePlay Resident Evil 2 Podcast Final Master Run (Claire Redfield)
* ListenToMePlay Resident Evil 2 Podcast (Leon Scenario A On Normal)
* ListenToMePlay Resident Evil Remake Real Survival Mode Chris
* ListenToMePlay Super Metroid Podcast
* ListenToMePlay Super Metroid Podcast Part 2
* ListenToMePlay Oblivion “Through A Virgin’s Eyes” Podcast Part 1 – Guest Mr. Z
* ListenToMePlay Oblivion Podcast Part 2
* ListenToMePlay The Witcher 2 Podcast Part 1 – Guest: RedWinged Angel
* ListenToMePlay The Witcher 2 Podcast Part 2
* ListenToMePlay Resident Evil Remake Podcast – Guest: MyDad
WatchMePlay Zelda: Majora’s Mask Let’s Play Videos
* WatchMePlay Zelda: Majora’s Mask Part 7 – Empty Bottle GET! Deku Palace And Magic Beans
* WatchMePlay Zelda: Majora’s Mask Part 6 – Granny Robbin For Blast Mask And Kamaro Dance
* WatchMePlay Zelda: Majora’s Mask Part 5 – The Thief And the Curiosity Shop Dealer
* WatchMePlay Zelda: Majora’s Mask Part 4 – Bomb Bag, Bremen Mask, Scarecrow’s Song
* WatchMePlay Zelda: Majora’s Mask Part 3 – Bomber’s Notebook
* WatchMePlay Zelda: Majora’s Mask Part 2 – Repeating Yesterday
* WatchMePlay Zelda: Majora’s Mask Part 1 – Intro and Opening