Friday Nights Lights review.

You would think that after dropping a classic mix-tape in 2009 and following that up with an appearance on The Blueprint 3, there would be a huge buzz surrounding Roc Nation artist, J. Cole. However, even after releasing a single this summer to promote his still unnamed debut album, Cole didn't get the buzz he thought he would and pushed the release date back till next year.

However, after releasing the track Villematic, which is over Kanye West's Devil in a New Dress beat, Cole decided to do a mix-tape. He said the tape would be for all his fans that have stuck with him throughout his young career, but in addition to that, it was released to re-gain that buzz. With the plan laid out - release the mix-tape, a single around Thanksgiving, then another before the album is ready around January or February 2011 - he created just the hype he wanted with Friday Night Lights, as it both crashed his blog and the first two download links, but it was also the second most searched topic on Google at the time.

The tape starts with a piano loop, as Cole is trying to motivate himself before a game. (If you didn't know by now, every mixtape is related to his basketball background.) Once he leaves with his last quote, the beat switches up to something relaxing for Too Deep for the Intro. The title fits perfectly, as it really is too deep for the intro. The subject matter shifts from social class to an abusive marriage, to his first sexual experience, to finally how he never told anyone about his early rap career due to the fear of criticism.

Before I'm Gone begins with a choir singing/humming a melody, then Cole unleashes a weed-laden verse to begin the song, discussing how he's speeding away from the cops so he doesn't get caught for smoking and thrown in jail beside his brother. The third verse is probably one of my favorites on the entire tape, as he addresses what he stands for with his rhymes and recalls his rags to riches story.

Following that is Back to the Topic, which is just a freestyle with many punchlines sprinkled through there. You Got It is a fun track that features a Janelle Monae sample and a song-stealing guest verse from Wale at the end. And Villematic was the song that basically started the tape, but the next track is another one of many highlights from the tape.

Combining a hook from one of Tupac's most recognized songs, Hail Mary, and the best guest verse on the entire tape from Omen, Enchanted is definitely one of the best songs on Friday Night Lights. His verse, located as the second one the track, starts with a grand opening - "Let's see God/I know you only do what's best for me/But is it cool if we negotiate my destiny?" - before he lets loose on 20 bars that deal with his destructive hometown.

Blow Up was the another track that I heard before the tape dropped and it was an instant favorite of mine from day one. Directing it towards his haters, Cole goes off with three verses that are filled with punchline after punchline. The self-produced beat, as most on the tape are, is one of my favorites from the entire project.

Then two potential radio singles come up back to back with Higher leading them off. The hook is catchy and the beat is a fun one, as Cole raps about hooking up with this girl he knew from before. In the Morning features Drake and is another one of my favorites on the tape, even though this is a very familiar song to most J. Cole fans. Cole uses the same first verse as an earlier version of this track then Drizzy comes in after the hook and spits a very impressive verse. After his rendition of the hook, Cole takes center stage and barely one-ups him, leaving fans of both parties satisfied. (There's an unofficial rivalry between the two young talents, even though both say they are friends with one another and are even going on tour together in the near future.)

2Face is another incredible track that provoked a lot of emotion from the talented rapper, whereas The Autograph continues the success with the first verse featuring Cole's XXL freestyle. Best Friend samples an Aaliyah song on the hook and Cost Me a Lot tries to follow up on the epicness the last four songs showed.

Premeditated Murder is another song that was leaked earlier this year, as Cole again remembers his shady past and how he's about to take over the rap game. Home For the Holidays' beat features a lot of brass and is a change-up from the rest, but it's a very good change as it makes the song another one of my favorites on the tape. Pretty much he's reminiscing on his high school days and says he can only return to his hometown for the holidays otherwise he'll end up like most of the recognizable kids from high school. Meanwhile, Love Me Not is a short song that deals with a relationship and how feelings change.

However, out of all the songs, I think the tape's best lies in See World. With the song's inspiration based off a very sad and disturbing story, Cole angrily lashes out at the person that committed such a crime to little Shaniya Davis in the first verse. In the second verse, he shifts to a lighter subject, saying how tough it is to make it in the rap game, especially when you're competing with artists you looked up to growing up. Audio clippings of the Davis story are featured in the song as well, only adding to an already epic track.

Farewell is a great closing track, as Cole wonders how he will be remembered once he's gone and lets everyone know that he won't forget the ones that pass away. The bonus track, Looking For Trouble, is from an earlier G.O.O.D. Friday. Featuring a star-studded cast that includes Kanye West and Pusha T, Cole steals the show with the final verse that has him spitting acapella for the last few bars ("What you been prayin' for? What you been screamin' 'bout?/Ironic, you been sleepin' on the one that you been dreamin' 'bout").

Friday Night Lights is an overwhelming success. Although it's not as good as the classic The Warm Up, it's still exactly what Cole needed to put his name out there to even the strictly mainstream folks. This tape isn't only a showcase of his rhymes, but also his underrated production ability and let's the listener get maybe a peek of what's to come on his still untitled debut album, since himself and No I.D. will be handling the production for it.

One of the most notable lines on Villematic is: "It's the feeling in the air you 'bout to drop a real classic/He said Cole, 'A lil' birdy told me on the low you got an Illmatic'". Cole might not have an Illmatic, but after all the material he's given us through the last two years, there's no reason to believe that his debut album won't be a classic.

1.) Friday Night Lights (Intro) - 4.5
2.) Too Deep for the Intro - 5
3.) Before I'm Gone - 4.5
4.) Back to the Topic (Freestyle) - 3.5
5.) You Got It ft. Wale - 4.5
6.) Villematic - 4.5
7.) Enchanted ft. Omen - 5
8.) Blow Up - 5
9.) Higher - 2
10.) In the Morning ft. Drake - 5
11.) 2Face - 5
12.) The Autograph - 4.5
13.) Best Friend - 4.5
14.) Cost Me a Lot - 3
15.) Premeditated Murder - 5
16.) Home For the Holidays - 5
17.) Love Me Not - 3.5
18.) See World - 5
19.) Farewell - 4.5
20.) Looking For Trouble ft. Kanye West, Pusha T, Cyhi da Prynce & Big Sean - 5

Overall: 4.43/5

My Beautiful Dark Twisted Fantasy review.

Arrogant, gifted and brave; those are just three of the adjectives that describe the controversial rapper, Kanye West. West's arrogance is shown from quotes like one in 2009, when he pronounced himself as "the New King of Pop." Although the statement might not be true, he's still very gifted, evidenced by his longevity in music industry from a production standpoint, in addition to his first two albums, The College Dropout and Late Registration, which were heralded as hip-hop classics by many. And 808's and Heartbreaks was a sign of his bravery, as he stepped out of the box to create an album composed completely from auto-tune. So what adjective can be tacked onto West's name after listening to his fifth album, My Beautiful Dark Twisted Fantasy?

How about ingenious? With My Beautiful Dark Twisted Fantasy, West has earned the label of "musical genius" in my mind, as I think this LP joins his first two efforts as classic albums. However, if this was judged on just rapping, I wouldn't have it in the conversation. Although the actual rapping isn't bad, it's not nearly as good as it was on The College Dropout or Late Registration. What makes this a classic though, is the production and his objective of what he wanted the album to represent.

The album starts with Nicki Minaj explaining what to expect throughout the entire LP, before a female voice cries out "can we get much higher?" with another following her, before an entire choir joins to create something that would you'd imagine be heard during church. The beat for Dark Fantasy then drops, as West describes his early years in Chicago and eventually makes a Family Matters reference saying "too many Urkels on your team, that's why your Winslow", which has a double-meaning to it.

A guitar riff comes in to introduce the second track, Gorgeous, with G.O.O.D. Music label-mate Kid Cudi responsible for hook duties. West mainly goes after the government in this song, claiming racial issues are America's downfall. Then in the next song, Power, he shifts the subject from just typical egotistical boasting, to a shot at Saturday Night Live for making fun of him, to contemplating suicide in the outro behind a beat sampled from British rock band King Crimison.

A piano and cello accompany each other on the interlude of All of the Lights, as they play a slowed-down melody of the actual track. Horns then introduce the start of the song and Rihanna lays down a great hook, singing about how the spotlight is always on celebrities. West follows that up with verses saying how he abused his celebrity status, which is referring to the Taylor Swift incident. He also gathered up a group of artists to make appearances through the song, whether it's a short verse from Fergie or a piano solo from Elton John.

Bon Iver kills the bright mood from All of the Lights with his first line in Monster, singing "I shoot the lights out." The beat is dark and scary, with thunderous bass only adding onto the "monster" theme. Kanye and Jay-Z deliver some impressive verses, but they are outshined by Nicki Minaj, who's ever-shifting voice is perfect for the subject matter. She mainly is taking shots at the people who claim she - mainly her body - is fake, but like I said, her voice just portrays the theme of the song perfectly.

So Appalled is just another track with numerous impressive guest appearances, but Jay-Z steals the show with one of his best verses of the year (his verse on Free Mason isn't going to be topped). This verse also started the strange beef between Hov and MC Hammer, with the line, "I lost 30 mil, so I spent another 30/cause unlike Hammer, 30 million can't hurt me." Then on the next track, Devil in a New Dress, another great guest feature comes through with Rick Ross on the third verse. This really surprised me, because I'm not a fan whatsoever of the former correctional officer, but even I have to admit he did his thing.

Runaway was the song that started it all, when West chose to debut it at the MTV Video Music Awards earlier this year. He admits that he has a problem with women throughout the song and although he tells the woman he's referring to (more than likely on and off-again girlfriend Amber Rose) to runaway from him, he doesn't know what he'd do without her. And I might be in the minority here, but I feel like the three-minute outro with Kanye using the vocoder is the best part of the song. You can't make out what he's saying, but that's the point, because it's showing how he's struggles to be understood, not only by the media but by the women in past relationships. You can feel the emotion coming through the vocoder as the orchestra keeps their melody.

From admitting his faults with women to marrying a porn star; no wonder this is a beautiful, twisted, dark fantasy. Hell of a Life opens up with a confession, with Kanye revealing he's fell in love with a porn star. This song takes you in many directions, with some out-of-this-world lyrics that will make you want to do a double-take. The hook is very, very catchy and a little wood block solo leads you into the next track, which is the best song on the album and one of the best in West's discography.

Blame Game starts with a piano playing Avril 14th from Aphex Twin while the drums and strings come in just seconds after the first note. John Legend lends his smooth R&B vocals for the hook, singing about how the blame game works, before West makes his intro. Again he struggles to decide what he wants from his girlfriend, whether to stay with her despite their constant fighting or to cheat on her. His full verse explains the abusive relationship they are in, but it also is a metaphor to his relationship with fame. He abused his fame with all the incidents throughout the last few years, but he felt like he had no choice. After another hook and outro by Legend, Kanye fades out once he says he called his girlfriend and she didn't pick up. However, she unknowingly calls him right back and the phone conversation is a hilarious skit from Chris Rock, who asks this woman all these questions about how she became so skilled at sexual intercourse, in which she would reply with "Yeezy taught me."

Bon Iver leads off the final full track, Lost in the World, before the hook comes in twice. West continues his struggle with the woman he's been speaking about in most of the second-half tracks, saying she brings out the best and worst in him with lines such as: "you're my devil, you're my angel" and "you're my freedom, you're my jail." As the track ends, the beat shifts right into the outro, Who Will Survive in America, which is an excerpt from Gil-Scott Heron's poem Comment #1. It's truly an epic ending to an epic album.

My Beautiful Dark Twisted Fantasy is not supposed to be your average album; it's a movie with the script coming through your speakers/headphones while you visualize what's happening in your mind. Or you can just watch his 35-minute short film, Runaway, which might not make sense the first time you watch it. However, once you closely listen to the album and recognize the subject matter of each song, the symbolism in the film will fall right into place and only will make you appreciate the album that much more.

Before this album, Kanye West probably could have gone down as one of the greatest music artists of the 21st century. But with the addition of My Beautiful Dark Twisted Fantasy among his classics The College Dropout and Late Registration, West has not only cemented his place on that list, but also is on track to put his name among some of the greatest artists of all-time.

1.) Dark Fantasy - 5
2.) Gorgeous ft. Kid Cudi & Raekwon - 4.5
3.) Power ft. Dwele - 4.5
4.) All of the Lights Interlude - 4
5.) All of the Lights ft. Alicia Keys, Charlie Wilson, Elton John, Fergie, John Legend, Kid Cudi, Rihanna, Ryan Leslie, The Dream & Tony Williams - 4.5
6.) Monster ft. Rick Ross, Jay-Z, Nicki Minaj & Bon Iver - 5
7.) So Appalled ft. Jay-Z, Pusha T, Cyhi the Prince, RZA & Swizz Beatz - 4.5
8.) Devil in a New Dress ft. Rick Ross - 4.5
9.) Runaway ft. Pusha T - 5
10.) Hell of a Life - 4.5
11.) Blame Game ft. John Legend - 5
12.) Lost in the World ft. Bon Iver - 4.5
13.) Who Will Survive in America - 5

Overall: 4.65/5

5.0 review.

Before I start this, I would like to say that if you're a first-time reader of my reviews, I suggest not to make this your first impression. I'm not saying this because I think my writing is going to be bad (it's not), but I'm a big "homer" if you want to say when it comes to Nelly. Basically what I am saying is that I doubt you'll have the same opinion about this album that I do.

Enough about that though, let's actually get into reviewing this album. Nelly was probably my first favorite rapper, whenever Country Grammar hit the scene 10 years ago. I think most hip-hop heads will be able to tell you that his first two albums Country Grammar and Nellyville were pretty damn good, while Sweat and Suit in 2004 were disappointments. (I, however, thought Sweat and Suit were really good as well.)

Brass Knuckles was supposed to be Nelly's return to the spotlight in 2008, but it flopped miserably. (This album I actually didn't like.) With three mediocre albums, according to most, in a row under his belt, it wasn't much of a surprise that when Nelly announced his fifth album, 5.0, it didn't receive a huge buzz around the hip-hop community. Obviously, I was excited about it but most others didn't know he had another album coming out.

Immediately I heard DJ Khaled's voice on I'm Number One [1/5] and wanted to change to the next track; his shouting ruins so many songs. Nelly's first verse is okay, but then Baby a.k.a Birdman comes in during the second and just sucks. The only time I'm ever interested in listening to him rap is if it's a Big Tymers reunion with Mannie Fresh.

I honestly can't tell if Nelly's in Long Gone [2/5] because he's doing the half-singing, half-rapping thing with his voice throughout his verses. Chris Brown isn't too noticeable either on the hook. Plies comes in at the end and drops a hilarious (hilarious in the sense that sucks) verse, but I honestly look forward to it every time this song comes up.

She's So Fly [3.5/5] features T.I., but at first I thought it should say it featured Nelly, because I thought T.I. did all three verses. However, the closer I listened to it, the more I realized it was actually Nelly on verse two and three, which is now the second time I couldn't recognize his voice. Anyways, this is just another fun track, which is what you should expect from the king of St. Louis.

Everyone has heard Just a Dream [4.5/5] by now. Nelly shifts to a R&B style and although it's corny, I can't play this enough. When it released, this actually brought my hype level for 5.0 up a few notches, but the next single pushed it down. The music video isn't necessarily random as hell like I thought it was at first, but it's weird.

Making Movies [4/5] is a track that you can tell what it's about by the title. I like the overall feel of the song, kinda reminds me of My Place off of Suit with Jaheim, except it's nowhere near as good. Still a pretty solid track that I wouldn't get tired of.

Move Your Body [2.5/5] was the newest single that came out and is definitely a track for the club. I don't care for the hook or the beat, for that matter, but I can listen to Nelly's verses and T-Pain's "verse" as well.

I really love the Notorious B.I.G. sample on 1000 Stacks [4.5/5]. I love the beat, Nelly's verses are good enough for me but the only thing holding this back from a perfect rating is Diddy's hook. It's not bad, but I think Nelly could have found someone else to make that better.

Kelly and Nelly strike gold again in Gone [5/5]. This is supposed to be Dilemma part two and although it's nowhere as epic as the original Dilemma on Nellyville, this is still a damn good song that gives Nelly his first 5/5 of the album. It doesn't have a flaw in my mind.

Don't It Feel Good [3/5] doesn't stand out in any way to me. Whenever I listen to the album, I go through the tracks and most of the time don't even notice this track already played. Not great, not horrible, just okay.

Broke [2/5] has a really nice beat, but Sophie Green on the hook is so annoying; so annoying that it's funny, like Plies' verse. Yo Gotti is terrible, while Nelly is just there. Another forgettable song pretty much.

Once again, another club track comes forth in Liv Tonight [2.5/5]. I mean seriously, listen to the beat and lyrics and tell me it's not a track made for the clubs. Keri Hilson shows up on the hook.

I am a big sucker for tracks like Nothing Without Her [4.5/5]. The piano at the beginning sets the mood for the rest of the track, as Nelly speaks about a past relationship that he misses and how nothing matters without her in his life. Like I said, I'm a sucker for these types of tracks.

Although I am very biased when it comes to Nelly, I feel like this album is okay [3.25/5] with some nice highlights but numerous meh tracks. It's better than Brass Knuckles, but of course, that's not saying much.

I don't really know where Nelly can go from here. I know in the public's eyes this will be another strike out, so is he done? I think with tracks like Gone and 1000 Stacks, he still has something left in the tank, but I'm not sure if he can create another album that is at least as good as Sweat or Suit. That being said, I would like for him to team up with the Lunatics crew again and see if they can put out some music; I miss some Nelly and Murphy Lee collabs.

Man on the Moon 2: The Legend of Mr. Rager review.

Kid Cudi is one of those artists that you either love or hate. His first mix-tape, A Kid Named Cudi, is a classic in my eyes and I could play it every day of the week with songs like Down & Out, Man on the Moon (The Anthem), The Prayer, Embrace the Martian, Save My Soul (The Cudi Confession), T.G.I.F., Cudi Spazzin' and Cleveland is the Reason. (Basing on the number of tracks I listed there, you can easily tell I really like that mix-tape.) Ever since that mix-tape, I've been a fan of Cudi, despite the path he's taken his musical career on lately.

However, at least to me, he has really regressed since that mix-tape. His debut album, Man on the Moon: The End of Day, drifted a little away from what he brought to the table with A Kid Named Cudi, but it was still a pretty good album nonetheless. When I listened to some leaks for the sequel of that album, Man on the Moon II: The Legend of Mr. Rager, I was disappointed because none of them sounded appealing to me whatsoever.

So with zero expectations, I put off giving this a full listen for a little while after I obtained the leak of it. (There was almost this little mix-tape called Mood Muzik 4 that was restricting my motivation to listen to Kid Cudi too.) Could this surprise me and prove to be a nice sequel to the first chapter of this story?

Scott Mescudi Vs. The World [3.5/5] leads off the album and I like the play on words from Scott Pilgrim Vs. The World. The production on this is nice, like I would imagine since I'm a big fan of all the production Cudi gets, but I enjoy Cee-Lo's hook more than Cudi himself. That's not a bad thing, but it brings down the rating a tad.

REVOFEV [2/5] was one of the leaks I heard before the entire album came out and although it has grew on me, I still am not feeling it. After already praising the production in the last paragraph, I've come to not necessarily hate the production on this track, but I don't like it. Cudi's second verse with him singing "I'm so high" constantly isn't too appealing for me.

Don't Play This Song? [5/5] What are you talking about Cudi? I'll play this song all day, every day. This is exactly what I want out of him, because I feel it mixes both the old Cudi with this new version of him and it sounds amazing. Mary J. Blige does a great job on the hook and I'm glad she found an appearance on this album.

We Aite (Wake Your Mind Up) [3/5] is an interlude, I believe. Nice beat, but nothing else is really going on here.

I don't smoke Marijuana [4.5/5] but I am really feeling the song. The beat is awesome, the hook is pretty nice and the first verse is good. I laughed at the comment at the end by Cudi, waiting till the last moment to announce the time "4:20", which is also the track's duration. Very clever Mr. Mescudi, very clever indeed.

Mojo So Dope [3.5/5] was the only original leak that I liked. And although I still like it, it doesn't hold a candle to Don't Play This Song and Marijuana, which lowers the ranking a bit. The hook is nice though, which has always been one of Cudi's strengths.

When I read some other people's thoughts about this album, I got an overwhelming positive response for Ashin' Kusher [5/5]. They were absolutely right. This sounds like it's off of A Kid Named Cudi with the actual rapping from Cudi, an awesome hook topped off with great production once again. Before getting this album, I would have never guessed to give out one 5/5, but two 5/5's means it already surpassed expectations.

Erase Me [4.5/5] should be absolutely horrible. Rock and rap doesn't mix in most cases - see Lil' Wayne and Rebirth for an example - but there's just something, something I can't point out, that makes this song click. I even hated it when I heard the leak, but I can't stop playing it now. Kanye West comes in with a decent feature near the end.

The original leak of Wild'n Cuz I'm Young [3/5] was much better with Kanye on it. However, this track now just doesn't do anything special for me besides nice production once again.

The Mood [4/5] is strange, but in a good way. The production stands out the most, with whatever that is screaming or singing in the background; I can't explain it with words but you all know what I'm talking about when you listen to it. That alone makes this a good track to me.

MANIAC [3.5/5] is another nice track but near the end, there is far too much going on production-wise. Cage did a nice job with his guest feature and Cudi was good, but like I said, the production was nice for most of the track, then just got sloppy near the end and turned me off of it.

I love the hook on Mr. Rager [3/5], but the rest of the track? It's forgettable. I don't think I would have to mention the production again on this album; most of the time, it results in a positive comment.

There's just something about These Worries [2.5/5] that's off for me. Maybe it's because it seems that Mary J. Blige is getting more face time on your own track (That's not a problem in enjoyment value, obviously.) but nonetheless, there's something that I just don't like. The song also seems too long; when I first listened to it, I swore it was at least seven minutes in duration. The ending throws me off too and not in a good way.

Nicole Wray is the lone downfall on The End [4/5] after not delivering with hook duties. I don't really like her voice, but maybe it's because I'm used to hearing Blige on Cudi's hooks on this album; you know, since she has two already. GLC, Chip Tha Ripper and Cudi all come with enjoyable verses however.

All Along [4/5] is just something all of the listeners can vibe to. That's the best way I can describe it. There's nothing bad about it, there's nothing amazing about it; it is what it is. And that's why I enjoy these songs from Cudi.

GHOST! [1.5/5] should have made like a ghost and disappear from the album. I hate the beat and the horn or whatever it is in the background and Cudi's voice seems off. I added half a point to the rating because I do like the last minute, but it doesn't make up for the rest of the song.

Trapped In My Mind [3.5/5] ends the album on a positive note. I catch myself numerous times singing the title's name at the beginning of the song and the overall vibe of this song is solid. I don't like the shift of beat during the second hook though.

After listening to the entire album [3.53/5], I have to give Cudi a round of applause because it definitely exceeded the little, to no expectations I had. There's a slightly different vibe (I feel like I've used this word too much during the review.) to this album compared to The End of Day, but I'd definitely have this below the first chapter of the Man on the Moon saga.

Before I get some negative feedback, with some comments like "oh, you gotta smoke to love this album", remember that my album of the year at this point, Pilot Talk, is classified by many as a "smoker's album." The difference between the two, besides the stellar production on Pilot Talk to just the good/great production on this, is that Curren$y throws around some clever punchlines and really does his best to make it known that he's a rapper first, entertainer second. I know Cudi is falling back from actually rapping, but it still makes a mark on me because I really, really loved A Kid Named Cudi and want that Cudi to come back.

After 12 years, Randy Moss is finally in Tennessee.

In 1998, the Tennessee Titans had the 16th pick in the draft. With receiver as their biggest need and the best receiver in the draft still available, it looked like they'd take the talented wideout from Marshall. However, they didn't and took Utah receiver Kevin Dyson instead. Even though Dyson was a good player for Tennessee, it was still one of the biggest misses in draft-day history because they passed on a future hall of famer.

Now, 12 years later, they picked up that receiver. Randy Moss is finally a Tennessee Titan.

The Titans were the only team to claim him off of waivers and he'll join the team (happily, according to Adam Schefter: LINK) with a chance to get that elusive Super Bowl ring that is left to gain in his incredible career.

First off, even as a Titans fan, I'm not going to sit here and say we're the Super Bowl favorites with Moss coming in. However, this does make Tennessee a legitimate contender to get to Dallas in February, instead of the darkhorse candidate they've been for the first eight weeks of the season.

Let's get into the risks and rewards of the move.

To be honest, I don't see a risk by acquiring the disgruntled receiver. If it doesn't work out, this is still a playoff-caliber team and could get in as Wild Card team. However, the rewards are unimaginable.

With Moss, the offense could be one of the most explosive in the league. And he fits in absolutely perfectly for Mike Heimendinger's offense, which features a deep play-action pass once or twice a quarter. Did I mention yet that Vince Young throws one of the best deep balls in the NFL?

Moss in the offense doesn't only give him the opportunity for big stats; he opens up the playing field for his teammates as well. Look at how Percy Harvin performed with Moss on the other side. Damian Williams and Nate Washington could be having some huge performances if the opposing defenses decide to double-cover the former Viking/Raider/Patriot.

Oh, and there's that guy in the backfield that might finally get some of the pressure taken off of him. Are opposing defenses going to keep eight in the box and take their chances with Moss facing one-on-one coverage? Chris Johnson isn't going to get to his self-projected goal of 2500 rushing yards but he is going to find a lot more success.

"But Moss is a cancer...the Titans can't deal with a cancerous player!"

There's a reason why Jeff Fisher has been a head coach for 16 years. As much as his coaching ability is overrated, he is still a good enough coach to take this team to a Super Bowl. He has dealt with "cancerous" football players (i.e. Pac-Man Jones, Albert Haynesworth) so adding Randy Moss to that list won't affect him too much. If there's another coach in the league other than Bill Belichick that can handle Moss's baggage, it's Fisher.

Moss is in a contract year and he's already gone through two teams. Do you really think he's going to screw around and cost himself more money by giving up on a third team? I believe that Fisher will get the most he can about of him.

And can you imagine the offense when Kenny Britt returns from a hamstring injury? Young under center with Johnson behind him, Moss and Britt split out wide with Williams or Washington in the slot; good luck trying to stop that!

Once Moss was placed on waivers, I felt like this move made perfect sense, but I didn't think the front office had the balls to do it. Thankfully I was wrong and now I get to see one of my favorite players suit up for the team I love. Now the only question that needs to be asked is...

"Randy, are you going to be wearing #84 or #81?"