What did “The Wash” fan say after the weed wore off?

This soundtrack sucks.

With only a few select tracks pumping life into “The Wash,” the overall feel of the soundtrack is boring.

There are just enough contributions from hip-hop heavyweights such as Dr. Dre, Snoop Dogg, D12, Xzibit and Busta Rhymes to keep things interesting.

But the space between these artists will put you to sleep if you’re not careful.

Dre and Snoop hook up on two new songs, “On the Blvd.” and “The Wash.” Dre also collaborates with Knoc-Turn’al for the soundtrack’s fist single, “Bad Intentions.”

D12’s “Blow My Buzz” and Bubba Sparxxx’s “Bubba Talk” are material from their already released albums. Xzibit’s track, “Get Fucked Up With Me,” is by far the most amusing track on the record, as it seems like he is smoking something throughout the song, coughing and hacking all the way through.

But songs from artists such as Truth Hurts featuring Shaunta, Bilal and Yero bog down the album so much that it’s hard to keep it in your CD player.

Mixing hard-core R & B with such mainstream rap was the biggest mistake made with “The Wash.”

Rap fans won’t be too into this soundtrack, but even R & B fans will be disappointed, as that form of music isn’t represented to the fullest.

It’s great to hear new material from Dre and Snoop, but it may be hard to justify buying the whole album. Hopefully, the movie will be much better.

-Kyle Moss

In 1994, the clothing line Fubu (For Us By Us) was launched by four entrepreneurs: Carl Brown, Daymond John, J. Alexander Martin and Keith Perrin. Fubu had a great effect on hip-hop and popular culture. Now the Fubu guys have ventured into the record industry with “The Goodlife.”

The compilation album contains great appearances from some of hip-hop’s finest and some of Fubu Records’ own talent.

The album starts off strong with the title track featuring Nas, Nate Dogg and Fubu artist JS. Nate Dogg croons the track while Nas laces it with great flow.

Then there is the girl-friendly party track “Fatty Girl” featuring Ludacris, Fubu’s first spokesman LL Cool J, and the recently-released-from-jail Keith Murray.

LL lays it down when he spits “Gats that be claiming they glocks but really dillingers/ Get it? . glock dillingers/ I’m big you small . more nuts on yo face than graffiti on the wall.”

Another jiggy selection is “Lights, Camera, Action” by Mr. Cheeks. Cheeks brings out a trademark club anthem.

The Fubu Records artists for the most part seem like little children tagging along with their big brother.

There are some highlights such as the catchy track “50 N****z Deep” by Drunken Master and Lola Damone and “Ride” by The E.N.D.

The compilation also features so-so tracks from India Arie, Joe, Erick Sermon and Dawn Robinson.

Over all the album is a nice outing for four guys who broke onto the scene by selling clothes.

-Darryl G. Frierson

It’s doubtful that even Best Buy’s endorsement can save this band now.

After having its debut supported by Best Buy, Remy Zero’s sophomore effort, “The Golden Hum” is a valiant effort. But in the end it falls nothing short of ordinary.

While Remy Zero showcases a darker alternative sound that is relaxing to ears that may be sick of screaming and distortion, it suffers from an excess of production and lack of originality.

However, a few bright spots on the album are evident including the haunted guitar work in “Glorious #1,” which is reminiscent of Soundgarden – but the vocals are no Chris Cornell. Some impressive drumming including a jazz-like solo also saves “Glorious #1.”

“Save Me,” the first single on the album, is the only song that breathes a whisper of pop on “The Golden Hum,” but it, like the rest of the album, suffers from too much production.

Instead of allowing the song to do the talking, Remy Zero drowns the songs in feedback and effects.

For example, “Belong,” one of the better songs on the album, is an emotionally strong ballad that becomes a distraction because of disastrous guitar feedback.

The band tries to slip by with slick production, which, in essence, lifts its bad songs into mediocrity and ruins the perfectly heartfelt ones.

-Dewayne Hankins