La Bella Mafia is a refreshingly uncommercial album that demonstrates Kim’s hard-earned mic skills, but the set never really hits its stride. Kim seems to be a woman who favors strong musical partners, yet many of the album’s collaborations fail to inspire.

I already know what you're thinking. I saw it happening while I was writing today's post. My efforts to quietly attempt to continue this blog, sneaking in and completely ignoring the fact that I've been away for nearly two months, are going to be quickly thwarted by reactions of the “ This is what you come back with?!?” variety. And it won't really matter what I write, or that I even returned to begin with, because you two will only focus on the subject of the post, a man whom most of you have already formed an opinion that isn't going to budge regardless of what I say. I certainly didn't want a planned short hiatus to balloon into a forced vacation because of a computer problem turning into an issue with the motherboard, which then turned into my hard drive being wiped clean, which caused me to have to try to rebuild my music collection from nearly the ground up. Ansys crack download. (By the way, I lost a shit-ton of mixtapes in that fiasco, but I just don't give enough of a shit to look for them again, so sorry, Wale, Asher Roth, and everyone else I never got back around to because I quickly lost interest. Although if one of you two happens to have all of Kanye West's G.O.O.D.

Friday leaks (including alternate versions of some of the tracks) and are willing to share, I would greatly appreciate them.) So I'm under enough stress as it is, and I don't really have the time or the patience to deal with people bitching about free content on a site that helps you kill time at work. Let's try listening to the album, track-by-track, and forming opinions based on what you hear, not what you read (that's right, I'm perfectly happy with you disagreeing with me entirely, even though I know I'm right), and, and this is really important, not based on what you already think of the artist. Because here's the thing: everyone hates Puff Daddy.

You're not special. Hell, I do, too. Bad Boy Records is still trying to shake their classification as a label that relies heavily on samples from other, better songs in order to get their points across. And they're doing so while still reeling from the loss of The Notorious B.I.G., one of the best rappers of all time (although even that is based on the fact that we never got to hear Biggie flounder and pick up cameos on inferior artists' projects, but that's a subject for another time). And you have to admit, you have liked (or even loved) some of what the label has released, and at least three of those things include a co-starring role for Sean “Puffy” Combs.

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So get over yourselves, and actually try listening to the goddamn album. If you hate it after the fact, that's on you, but at least your opinion will be much more informed. Came during a time of reconstruction.

Is Puffy's third album, although his debut, No Way Out (which featured the masterful Biggie and Busta Rhymes-featured “Victory” and “It's All About The Benjamins (Remix)”, which I still hear once a week on Sirius XM's Backspin and never fails to brighten my mood), was credited to Puff Daddy & The Family, and the follow-up, Forever, is assigned to Sean only. It wasn't always intended to be his third album: Puffy was actually working on a gospel album alongside Hezekiah Walker entitled Thank You, and got so far as to have press releases and sampler CDs shipped out before abandoning the project altogether.