The last album from Specialist & Tru-Skool was a masterclass in how to unite Western hip-hop and traditional desi sounds. Many have tried and many have failed, but these guys really brought the pind to the middle of Harlem. However, this means that the levels are high and they have now released 'Repazent', and as the Aunties say, 'you reap what you sow yaara!'…

Word Is Born was the only release on the quickly extinct Easylife Records label, so 'Repazent' has found a new carrier, DJ Vips's label. As you would expect from VIP, the album comes in the funky red trigger case, will not work in your computer (meaning this can't go on your iPod, boo) and the anti piracy warning which make it a bit like a cigarette packet (supporting piracy while pregnant can seriously harm your baby). The one thing I do like is that Specialist and Tru-Skool have maintained the CD graphic to make it look like a piece of vinyl, which reflects the product.

'Nach Ke' is the first track and begins in the typical Specialist/Tru-Skool fashion of a soulful hip-hop intro joined by a desi instruments before a dhol beat kicks in. Vocals are supplied by VIP in house singer Jaswant Heera, who sounds like he had some fun making this and it's a nice, pleasant opening to the album.

Kulvinder Johal made his debut on 'Word Is Born', and he features again here with his unequivocal vocal style. His haughty and shoutish voice is well placed on the singalong 'Hak Dhi Kammai' which is fairly simple with its sarangai, algojey and dhol but the quality of the vocal is awesome and steals the show. However, this does sound something like I've heard before…after casting my mind back eighteen months; this is an almost complete regurgitation of track two from the last outing. The keys are the same, as is the vocalist and it appears that ideas were running dry on how to use Johal's voice.

The more established Kaka Bhainiavaala takes to the microphone for 'Eshareh', our track three. This tune is dominated by the hip-hop chords and Specialist scratching over a sweet tumbi melody. Bhainiavaala is on form, but the engineering on the beat leaves something to be desired as the silences happen too early and sound like a poor DJ who can't mix.

'Bhangre'ch' is track four and is a more desi song with Tru-Skool playing loads of different instruments for Dippa Dosanjh to sing with. He lives up to his typically high standards and the dancefloor will shake and roof lift to the beat each time the chorus comes in.

Bhainiavaala returns for one of my favourite tracks, 'Dharru Pee Ke'. His singing is perfect here, although chopped a little in production, and it's another classic singalong chorus on music which is easier on the ear. But unfortunately it's another case of re-submitting last year's coursework as we have been treated to what is in essence a 'Raah Ni Labhney Part Two.' Same production base again. Disappointing.

The main track from 'Word Is Born' was 'Sanhevaal Chounk', which featured Bhainiavaala over a well put together 'nach' beat and I said that the singer sounded remarkably like Lembher on it. I've never been truly convinced that I am an influential body in the desi music scene but when you say something like that and the tune is then put in front of you again with Lembher on it instead of Bhainiavaala then I must be owed some creative consultancy money. Track six is another big dancefloor anthem and features Mr Lembher Hussainpuri doing what he does best over tablas, tumbis and the SAME CHORD SEQUANCE. It's great, it's got soul, energy and some nice lyrics…..but I've heard this before; new music please!!! It is actually my favourite song on the album as well, and not just because I seem to have helped co-produce it.

Track seven is another track spun around from the last album, this time 'Mooho Boldhi' is turned into 'Kaali Gani' with Gurbhej Brar dropping his own lyrics on top. If you want to know what the music is like then read my last review.

We get something new with track eight, Kulvinder Johal returning on 'Panjabian Dha Dhol' which has a darker hip-hop beat behind it and after a chop-up introduction, it has a little less of a desi element.

Start clapping and smiling for the penultimate track, 'Phrangi Rall Ke'. Johal stays in charge of vocals in a different type of performance which sounds like great fun again, but his vocal style means some clarity is lost. This is something you will either love or hate; it seems really cheesy but I thought it was great, had loads of soul and a massive feel good factor. The tumbi is excellent and the happiness swallows everything I don't like about it.

Gurbhej Brar comes back on for the final track which is raw and hosts some perfectly executed drama beats. The 'Paun Boliyan' is dark and mysterious like a crime thriller (where I think the chord was sampled from) but it's just sewn together really well. The technical mishaps of some of the earlier tracks are forgotten as this has been laced up so well.

Hip-hop would never have got anywhere had so many artists not sampled the entire of Quincy Jones's back-catalogue as sampling has played such an important part of the genre. Now, the current climate in bhangra is that 'thou shalt not sample' and VIP's is someone who is intent on being ahead of the game with copyright. But when you can't sample anyone else it doesn't mean sample your own old tunes. This isn't so much the 'Repazent' album but more of a 'Word Is Re-Born' album, and I do feel a bit cheated. But, and it's a massive but: this is great music!!! I love listening to this type of thing and I am saddened that I have to mark it down for not being original. 'Repazent' gets 7.5 out of 10.