CDs in brief

Capsule reviews of recent CD releases. Star ratings are out of four.

Lloyd Banks

The Hunger For More (G-Unit/Interscope) ** 1/2

On Lloyd Banks' solo debut, it's clear that cronyism has its benefits and drawbacks. As the first foot soldier in 50 Cent's G-Unit camp to spin off on his own, Banks is virtually assured of moving major units. His homie already unlocked the multi-platinum gates.

Yet unlike 50, who boasted a death-defying back story, new best friends Dr. Dre and Eminem, and bad boy appeal, Banks perhaps only knows by association what it feels like to be America's favorite thug. Here, he seems to strike some of the same notes that made 50 a star - melodic hooks, slick beats and his own mumbled monotone delivery.

But where 50 offers humor, a smirking arrogance and an anti-hero's jaded worldview, Banks rarely extends himself beyond mildly menacing gun talk and cocky punch lines.

Finally on the last track "Southside Story," when Banks reveals the horror he felt when he saw his first shooting death, does any vulnerability surface. Otherwise, besides the undeniably funky Eminem-produced club smash "On Fire" and the R&B-propelled ghetto love ditty "Karma," it's difficult to distinguish the uniqueness of the other tracks - musically or lyrically.

Don't blame Banks for taking his mentor's shtick and running with it. He's just satiating rap fans' actual hunger for more 50 Cent.

Lil Wayne

The Carter (Cash Money) * 1/2

Lil Wayne is a lyrical rap pro, no doubt about it. But his solo album is simply rehashed street swagger and has little of the ingenuity from his recordings with the Big Tymers crew.

Lil Wayne leaves you wanting something with rougher edges and saltier rhymes than his Cash Money Millionaire cohorts are best known for.

Some of his rap buddies drop in on several hot tracks, including Mannie Fresh on "Bring It Back" and Baby on "Get Down."

But this album falls prey to some hit-and-miss remixing.

Songs that beg for more energy, like "I Miss My Dawgs" featuring Reel, end up too subdued and subtle in contrast to Lil Wayne's sparkling voice. It feels as though most of the beats and melodies were crafted in a studio months before Lil Wayne even began to think about crafting a song or album around them. Stock and disappointing stuff.

On other tracks like "BM J.R.," Lil Wayne sounds like he's whispering when he raps about hollow-point bullets destined for street foes.