Just hours away from his scheduled performance on the 2007 BET Hip-Hop Awards, T.I. was arrested for attempting to purchase several unregistered machine guns and silencers. He was bailed out, but required to stay inside his home at all times. While under house arrest, T.I. decided to make good use of his time. He cut an album called Paper Trail. The title refers to the technique of writing down rhymes, something he has abandoned after his 2001 debut, I’m Serious.

Although T.I. has proved his lyrical skills without the aid of pen and paper, his rhymes get more complex and evocative when he takes the time to write them down. The John Legend assisted “Slide Show” provides snapshots of T.I.’s life in vivid details as well as some retrospection: “If I only knew back then what I know now / how much better life would have been if I slow down.” The jazz-inflected “You Ain’t Missing Nothing” is a devotion to his hommies who are locked behind the walls counting months after months. The stories are eloquent and sentimental, but T.I. managed to throw in some light humors: “The club on hold and the bras on pause / You get home it’s going to be waiting on y’all.”

Still, T.I. is at his best when he boasts his braggadocio. On “I’m Illy,” T.I. presents his virtue in rich rhythmic flow and doses of arrogance: “hip-hop champion,” “five-star general,” “OG veteran,” and “stack cash like US treasury.” One of T.I.’s assets has to be his swag. He knows it and never shies away from displaying it. On a contagiously catchy “Live Your Life” with Rihanna holding down the hooks, T.I. boosts: “I am the opposite of moderate… Spirit of a hustler and a swagger of a college kids.” On “No Matter What,” T.I. spits with confidence: “Never have you seen in your lifetime / a more divine southern rapper wit a swag like mine / Facing all kind of time, but smile like I’m fine / brag with such passion and shine without trying.” If those aren’t showcasing enough swag already, T.I. invited three more swaggers (Jay-Z, Lil Wayne and Kanye West) to join him on “Swagga Like Us.” Unfortunately Kanye and Lil Wayne killed the track with the use of Auto-Tune.

Paper Trail suffers when T.I. throws a bone for the ladies (“No Matter What’), drops a club hit (“Swing Ya Rag”), and reveals his horniness (“Porn Star”). Toss out the mainstream fillers, the album is quite impressive. With his virtuosic flow and articulate lyricism, T.I. lives up to his self-proclaim title: “king of the south.”

Van Son needs some serious renovation in his production. The skits have always been his niches, but Van Son 40 in Dallas had shown that the comedies were getting drought out. I tried my hardest to get through Kieu Oanh and Le Huynh’s charmless acting as well as Quang Minh and Hong Dao’s phoniness, and I couldn’t. Kieu Oanh annoyed the heck out me. Even Van Son and Bao Liem’s second skit was such a repetitive.

What Van Son needs to revamp the most is the musical production. Nguyen Khang and Diem Liem gave a superb performance of “The Phantom of the Opera,” but the music brought down their vocals. Van Son should invest in real orchestra, but the budget wouldn’t allow that (my prediction). I could barely get through the songs because of the crappy arrangements. As for the singers, V-pop sang and moved like a bunch of pussies. They even had a clown-ass rapper to join them.

One of the enjoyable performances was Tinna Tinh. She’s cute rock chick and Viet Thao needs to cut out his dick joke. He kept pressing on and on about how many “cu” she brought with her. I don’t know about you, but that shit is sexual harassment to me.

As for Van Son, was he mocking Tuan Anh in his rendition of “Nail Nail Nail.” But then again, the song is actually more suitable for him than Don Ho. The lyric is such a joke and only a joker like Van Son could make it funny. Van Son 40 is a waste of time.

Ha Tran apparently realizes the disaster of going overboard with the production on her Communication ’06. With her new release, Ca Khuc Tran Tien, she scales all the way back to a minimal approach. Electric guitar is the main instrument and the beats are mostly spare and ambient. Wise decision.

“Ra Ngo Tung Kinh” is a great starter. Although the production is very subtle, you could hear the temple bell ringing, voices of the children chanting, organic sounding, electric guitar licks, zither plucking and clap-like drums all come together to create an atmospheric vibe. Best of all, Ha Tran’s angelic voice never drowns in the production. “Ngau Hung Pho” sets in a straightforward Latin rhythmic and her vocals ebb and flow effortlessly along with the guitars. “Mot Minh” is an unadorned beauty. She starts off with the first few bars naked and then the simple plucking guitar joins in to allow her to pour out her heart and soul.

The major flaw of the album is that Ha Tran allows too many guest spots and they just interrupt the flow. Hoa Tran isn’t contributing anything outstanding. “Lien Khuc Chi Toi” is saved by the hypnotic beat and her gorgeous rendition of “La Dieu Bong.” Tung Duong is also a disappointment. His restrained delivery on “Doc Huyen Cam” is utterly awkward. The album would have been better if Ha Tran is the only one to run the show.

With her new album, Nhip Dap (to the Beat), My Tam tries to take her fans back to the club one more time. After the failed attempt of Vut Bay, she has learned some valuable lesions. Gone are the rubbish rap verses, generic productions and Korean singings. She knows that a dance record has to be driven by the beat, but she also knows damn well not to let the beat overpowers her voice.

Nhip Dap spins off with Le Quang’s “Quen Di Ngay Yeu Dau,” a speedy cut with Andre 3000’s drum loop that will guarantee to groove you. Tran Tuan Anh’s “Nho Anh That Nhieu” features a flavor of sunshine Bollywood sound, but what make the tune works are My Tam’s swift flow and the way she rides the tempo. She has written three tunes for the album. The standout one is “Vu Dieu French Cho Anh,” a fantastic mix of Latin riff guitar and classical sample (Beethoven’s “Fur Elise”) over pounding beat. Mad proper to producer Cho Sung Jin for the hypnotic production.

Getting rid of her useless English singing is something My Tam has yet to learn. Ho Hoai An’s “Lac Loi” and her own “Do It (Niem Tin)” are perfectly ruined by interjecting one or two lines of English into the chorus. On the straight English “Tic Tac Toe,” her accent is somewhat forgivable though. Who wouldn’t even when she sings in imperfect English lines like, “Tic tac toe, trap you in the corner / Where you gonna go?” Wouldn’t you just want to stand there and let her grind you?

All kidding aside, My Tam has definitely upped her game with each release since her previous return. If Tro Lai captured your heart, Nhip Dap would move your feet.

What makes Celebrity Dancing entertaining is that singers don’t have to lip-synch if they don’t want to. They just have to dance. Before the show, I could see why they picked Nguyen Hung and Shanda Sawyer as judges. After the show, I could figure out why they picked Khanh Ly and Duc Huy. They were on the panel to provide comic releases. Among the judges, Sawyer gives the most invaluable criticisms from the way she compliments on the technical skills to body chemistry to facial expression.

Mad props go out to Huong Lan and Huong Thuy. They made my jaw drop, especially Huong Lan. I couldn’t even imagine she could pull it off the way she did. Mai Tien Dung got his swing on. He was such a lovely puppy. Minh Tuyet was hot in Salsa. She knows how to work her assets. Still the one that leaves me breathless is the mambo MILF Khanh Ha. Her dress was sexy and she has the groove as well as the attitude. He spanked her ass and she returned with a slap. Don’t mess with hot mama. Furthermore, her rendition of “Mambo Italiano” is gorgeous. She has the Italian accent down pretty well.

Mad kudos goes out to all the professional dancers too. They have done a great job of turning some of these singers whose feet have no rhythm into some viewable performances. Well, maybe not Tran Thai Hoa. The dude simple can’t dance. But when you watch the chick who was Luong Tung Quang’s partner, you just have to say: God bless dancing.

On Somethin’ Else, Cannonball Adderley somehow managed to snatch up his leader Miles Davis as a sideman. The title track kicks off with a call and response between two gifted musicians. By feeding off each other’s vibe, Davis and Adderley were having a great musical conversation. With Art Blakey, Hank Jones and Sam Jones holding down the rhythm section, Davis and Adderley gives “Autumn Leaves” an ultimate beauty. Davis is a master of selection (only plays notes that are meaningful) and his muted trumpet is both hunting and chilling. Adderley’s intricate phrasing on the alto sax, however, provides a rich contrast to Davis’s minimal approach. This record is simply somethin’ else.

Cardin Nguyen is one hardworking kid in showbiz. He writes his own lyrics, produces his own tracks and sings his own tunes, but he can’t obscure the fact that he doesn’t have what it takes to make even just a passable record. Va Hom Nay… Now I Know, his new release, is a proof. His rhymes are elementary; his beats come straight out of the club factory; and his singing is still mediocre. Even Auto-Tune couldn’t help correct his wimpy pitch.

On “Sell Out,” a sacrilege sample of Cheryl Lynn’s “Got To Be Real,” Cardin addresses those who talk behind his back. He mumbles some shit about daring someone to write a song and throw it back at him. He also accuses somebody of a copycat who can’t even translate some lyrics. He tries to talk in a tough voice, but you can tell, dude can’t even break grapes in a food fight.

His soft side comes out on Truc Ho’s “Va Hom Nay” and the Chinese-inflected “Mai Yeu Nguoi Thoi” with Chosen who drops some kindergarten rhymes about some chick who had done him wrong, even though he tatted her name on his arm. As if the slow version isn’t dull enough, he cuts another lounge session that is perfect for, well, lounging. And if you isn’t fallen asleep by then, the “Outro Lullaby,” which he sings for his child when it’s time to turn out the lights, will make sure you do.

To be fair, Cardin deserves the props for making his own music. Just give him about twenty more albums and he might get somewhere. We’ll see.

Over a small strumming guitar, Khanh Loan croons, “Bat dau lai thoi ban cua toi oi / Dung khoc them cho nguoi da xa roi / Muon phien nhieu cang lam doi u toi / Hay lau kho di giot nuoc mat tren moi.” With her high, slightly scratchy voice, she delivers the title track on her second album, Bat Dau Lai Thoi, like a songbird trying to heal her own wound. Breakup is excruciating and she determines to start over. She wrote the song and invited Jimmy Nguyen for the duet. His role is to share her pain and to comfort her.

By the time she gets to “Tro Cut Bac Trong Tinh Yeu,” another track under her own pen, she has completely erased him off her memory: “Gio toi xoa vet dau / Gio toi xoa het u sau / Gio toi xoa moi tinh dau do dang.” Yes, he is gone and she makes sure he knows so on “Thoi.” Over a club mix, she declares, “Thoi anh dung khoc nua lam gi. Ky niem sau an tinh cu xa xua.” It’s not the most innovative mix, but it helps break up the emotional tracks that run throughout the album.

Although she could ride up-tempo beats, her dark, soulful voice is more suitable on slow, heart-rending tunes. Hoai An’s “Khong The Xa Hon” is perfect for her voice. She soars out the hook with power and carries out the words like she needs to get them off her chest. Bat Dau Lai Thoi is not a bad pop record at all.

Nguyen Vinh Tien’s Giot Suong Bay Len was a phenomenal debut thanks to Ngoc Khue’s extraordinary performance. The architect/songwriter continues to explore the contemporary-folks direction on his sophomore Ngoi Tren Vach Nang, but without Ngoc Khue.

What obviously missing on Ngoi Tren Vach Nang is Ngoc Khue’s playful idiosyncrasies, the unique elements that made Giot Suong Bay Len so damn hypnotic. Even the elastic Tung Duong is so rigid on “Mot Hat Com Nho.” He doesn’t bend notes or toy with words the way Ngoc Khue would have done. Although Trong Tan’s voice is very charming and he has done a great job of controlling his obstreperous vocals, I can’t help but imagining what Ngoc Khue would sound like on “Ong Toi.”

Anh Tho is the only female vocalist on the album, and she only contributes one track, yet her performance stands out. Her high, crystal-clear soprano floats like ghost passing through glass on “Song Oi Dung Chay.” Tuan Anh (not the weirdo one) is the main singer who is responsible for five of the album’s eight tracks. He has a warm falsetto that is perfect for romantic ballads, but he could also work his way around Nguyen Vinh Tien’s folksy tunes, particularly “Chon Hoang.” Tuan Anh rides in and out of the exhilarating arrangement that made up of both old and new sounds.

What makes Ngoi Tren Vach Nang pulled through is the excellent production. Phan Cuong has done an exceptional job once again behind the board mixing and weaving electronic beats with Vietnamese traditional instruments. Still the album isn’t quite like the one-of-a-kind breakthrough without Ngoc Khue.

Wu Tang’s GZA returns with a superb record that reinforces his street literary. Pro Tools, GZA’s fifth solo album, showcases his signature style: delivering moody and mysterious rhymes over stark beats. “Path of Destruction” glorifies the dark side of street struggles. “Short Race” narrates a life of a kid who is a victim of abuse. “Paper Plate” takes shots at 50 Cent: “One verse will shatter your spine and crush your spirit / No matter what, you still window-shop for lyrics.” With solid track to track, Pro Tools marks a strong comeback from the lyrical Genius.