INTRODUCTION
After releasing the classic Mecca and The Soul Brother in 1992 (I reviewed that here), Pete Rock & CL Smooth would go on to release another classic in The Main Ingredient in '94. However, after that, the two sadly disbanded due to internal differences, leaving a gaping hole in the hip-hop industry that would never (and will never) be filled. Still, no one will forget the lasting legacy that Pete Rock & CL Smooth left on the rap game, as the two projects they put out together will forever be renowned as elite albums that changed the course of the genre's landscape and should be a part of every hip-hop fan's collection.
Pete Rock's production on The Main Ingredient is much more subdued than it was on Mecca and The Soul Brother, as the beats on the album tend to be much lighter and less hard-hitting. The contrast is welcome, though, as who wants to hear two records that sound exactly alike? It is for this reason that it is difficult to compare the group's two works.
Most people (myself included) would probably lean toward Mecca and The Soul Brother as being the more complete project, and, therefore, the better album, but both were outstanding, so who really cares, right?
TRACK-BY-TRACK
1. In The House
I said I liked Mecca and The Soul Brother better than The Main Ingredient, but that doesn't have to mean that my favorite song by Pete Rock & CL Smooth has to be off of their debut, as "In The House" takes the cake for me in terms of being their best song. Pete Rock's beat is incredible, and I think he actually outshines CL on the mic on this. Honestly, though, I wasn't paying much attention to the lyrics, as the production just had me mesmerized.
2. Carmel City
I really love the kick drums on this cut. The sample reminds one of a hot summer day by the pool. If you're wondering what the song is actually about, it's one of PR and CL's typical classy ballads to the ladies.
3. I Get Physical
The drums on this sound much more like the type we saw on the duo's debut, as Pete Rock lays down some banging snares along with kicks that knock. The hook on this cut features fairly subtle horns to add some variety. This is really good.
4. Sun Won't Come Out
Remember what I said in my The Sun Rises In The East review about how every producer under the sun (no pun intended) samples Bob James' "Nautilus" at some point? Well, now it's PR's turn. Personally, I think his flip is much better than DJ Premier's. Great record.
5. I Got a Love
Okay; it takes a lot for me to say that I don't like a Pete Rock beat, but I'm saying it here. I just don't like "I Got a Love" one bit, and it has a lot to do with the fact that the vocal sample is annoying. Talk about a poor choice for the album's first single.
6. Escape
Drums, drums, drums. There are the occasional horns sprinkled about the track, but "Escape" is all about...yup; you guessed it: the drums. It's damn good, too.
7. The Main Ingredient
Ehh. I don't dislike this as much as I do "I Got a Love," but this certainly isn't one of my favorite Pete Rock & CL Smooth songs.
8. Worldwide
The shortest song on The Main Ingredient, spanning three minutes and three seconds. That little fact aside, I'm not too infatuated with this record. The album definitely hit a dry spell over three of the last four tracks. Oh; Rob-O makes the first guest appearance on the project here.
9. All The Places
Back on track. This bangs. The drums are phenomenal, and the quiet, subtle sample is fantastic, not to mention the fact that CL Smooth sounds especially great over this. CL doesn't exactly put forth the kind of scintillating lyrical performance on The Main Ingredient that he did on Mecca and The Soul Brother, but his delivery doesn't skip a beat.
10. Tell Me
The drums are very good (maybe this is where RZA got the idea for his "Incarcerated Scarfaces" beat on Only Built 4 Cuban Linx...), and I love how the horns fade in and out throughout. Definitely has a "classic" hip-hop sound.
11. Take You There
This was The Main Ingredient's second single, and it was a great pick. Pete Rock's beat here is incredible and, in my opinion, sounded different than anything he produced prior to this. CL Smooth adjusts to the distinct instrumental accordingly, displaying his usual fantastic flow.
12. Searching
The third and final single of the album, and like "Take You There," it was a wise selection. It's another one of CL's attempts to swoon a woman, and, like always, he manages to make it work without sounding corny. "Searching" exemplifies smooth.
13. Check It Out
Another fairly unique beat from Pete Rock, and it sounds wonderful. The sample may seem a bit busy at certain points, but it still works. The hats and snares will give you chills.
14. In The Flesh
The drums on this sound very similar to that of those on Mobb Deep's "Right Back At You" off of The Infamous. Of course, The Main Ingredient came out first, so if anyone got the idea from the other, it was Havoc. Rob-O and Deda both drop guest verses here, marking the second and final time on the album that guests were featured. Nice, smooth cut.
15. It's On You
I love everything about this track, from the vocal sample to the sampled piano to PR's sick drums to CL's raps. "It's On You" epitomizes what a relaxing song should sound like. Easily one of the best songs on the album.
16. Get On The Mic
You know how I mentioned The Infamous before? Well, Pete Rock's beat on this sounds like it belongs on that album rather than this one; it just doesn't complement CL Smooth very well. It isn't terrible by any means, but I would have picked a much better way to close out the album had I been involved.
FINAL THOUGHTS
I think it should be pretty clear right after the first listen that The Main Ingredient is inferior to Mecca and The Soul Brother, but that doesn't mean this album isn't a classic, as a lot of the songs on here are really good. While the low points are fairly pronounced, the highs of the project significantly outweigh them, making this yet another masterful effort for Pete Rock & CL Smooth.
As I stated earlier, CL doesn't seem to come as strong as he did on the duo's debut, but, fortunately, due to his exceptional flow, you can look past that as a listener. Plus, it's not exactly like CL Smooth laid an egg on The Main Ingredient, because CL on a bad day is still better than 90% of other emcees out there.
As far as Pete Rock goes, he was certainly expanding his horizons as a producer and experimenting with different sounds at this point, as a trained ear should recognize that The Main Ingredient really is a vastly different project than Mecca and The Soul Brother. That's not a bad thing, either, as it is always nice to see a producer demonstrate some versatility, and PR does that on the duo's sophomore release.
You have to wonder how different a third album by these two would have sounded. Pete Rock has evolved considerably as a producer since The Main Ingredient, and it would have been interesting to see how that evolution would have played out on a third effort. Unfortunately, unless PR and CL patch up their differences, we'll never know.
TOP FIVE TRACKS
1. In The House
2. It's On You
3. I Get Physical
4. All The Places
5. Carmel City
SKIPPABLE TRACKS
I Got a Love
INTRODUCTION
If you're a fan of Gang Starr, chances are you at least know who Jeru The Damaja is, as he has collaborated with the group on several songs in their renowned catalog. Jeru is much more than just a Gang Starr affiliate, though, as he released one of the most impressive (and underrated) albums in hip-hop history back in 1994: his debut, The Sun Rises In The East.
Produced entirely by DJ Premier, The Sun Rises In The East obviously has a Gang Starr feel to it. However, the catch is that Jeru might actually be a better emcee than Guru (rest in peace), as he possesses a much more energetic and variable style than the self-proclaimed "king of monotone." He may also be a better lyricist.
Premo's production for Guru is critically acclaimed and is regarded as some of the most impressive beatmaking in rap history. However, I think that his production on Jeru The Damaja's debut may actually be better than anything he did as a part of Gang Starr, and that's saying a mouthful, as the beats on albums like Hard To Earn and Moment Of Truth are simply crazy (and this is coming from someone who has always considered DJ Premier to be a bit overrated).
The Sun Rises In The East is a short record, spanning 13 tracks, only 10 of which are actual songs (didn't I just write that for my Black Star review?). Still, sometimes shorter means better; just look at Illmatic.
TRACK-BY-TRACK
1. D. Original
This is actually my least favorite song on the album, as Premo's beat is pretty meh (it sounds too busy). Looking past that, though, Jeru gives us some insight into the artist he is, and he proves that, much like Guru, he excels at braggadocio rap. Don't think that's what he's all about, however.
2. Brooklyn Took It
Is it just me, or did the sound quality take a pretty significant dip here? Anyway, that aside, this track is sick. DJ Premier's light yet upbeat piano hits remain consistently awesome throughout, and the beautiful kick drums complement them perfectly. As expected, Jeru pays homage to Brooklyn on this cut. It probably wasn't even necessary for me to say that, but what the heck; more text makes the blog look nicer.
3. Mental Stamina
This cut is pretty short, clocking in at two minutes and twenty-one seconds, and yet, it contains the only guest appearance on The Sun Rises In The East, as Afu-Ra aids Jeru on the track. Premo lays down a very effective fast-paced beat for the two, and upon listening, you'll realize that it was probably a good thing that "Mental Stamina" wasn't made to be that lengthy, as I can envision the constant beeping noise throughout the song becoming unbelievably annoying after a while. But, this record isn't long enough to allow that to happen, so I instead was able to focus on how great both Jeru and Afu-Ra sound over this.
4. Da Bichez
Honestly, what is it with rappers intentionally butchering the spelling of their song titles? I guess that's an issue for another day, though, because this cut bangs. Jeru The Damaja talks about all of the trouble girls with baggage can bring to men, so this should be pretty relatable for all listeners. Male listeners, anyway. DJ Premier's beat is very jazzy, and the drums are appropriately sparse.
5. You Can't Stop The Prophet
One word: ill. This is, easily, the best song on the album. The beat is sick and is certainly something you could tirelessly bump in your ride. The way Jeru writes this is genius, too, as he turns words like ignorance, anger, and despair into actual people and raps about how they're running rampant and are all trying to bring "the prophet" (himself) down. Phenomenal cut.
6. My Mind Spray
I think essentially every hip-hop producer, whether they be outstanding, mediocre, or absolutely garbage, has sampled Bob James' "Nautilus." That being said, I just don't get tired of it, as Premo utilizes the sample very well here. Lyrically, this is probably Jeru's best performance on the album: "I annihilate as I articulate, words of power, your rhymes are unconfounding, so death's your fate, ostentatious genius, of rappin', is mentally clappin' to take hip-hop back, that's what's happenin', proficiency and ingenuity, plus more styles, than a Shaolin monastery."
7. Ain't The Devil Happy
Premo's kick drums on this bang, and Jeru The Damaja delivers a good message, saying how the devil is the only one who benefits from all of the violence and corruption that abounds. Really nice cut.
8. Come Clean
The album's first (and only) single. DJ Premier's instrumental simply crawls, and I mean that in a good way a great way, actually). It was also at this point of The Sun Rises In The East that I came to the conclusion that Jeru's rap style is similar to that of Sean Price in that he appears to be spitting nonsense on the surface, but in the grand scheme of things, what he is saying makes perfect sense. This song is awesome.
9. Jungle Music
Premo's beat here is fantastic, and Jeru sounds great over it: "It's inevitable, you can't stop me, try to carbon copy, but it always comes out sloppy, you can't outrap me, you can't outrock me, like the dreads on my head, you try and lock me." Sick punchline there.
10. Statik
The beat sounds just like the title says it should; staticky. You would think that that would be irritating, but somehow, DJ Premier manages to make it work, as does Jeru. I wouldn't say this was The Sun Rises In The East's shining moment, but it wasn't its worst, either. Solid record, and a solid way to close out a classic album.
FINAL THOUGHTS
This album really is great. DJ Premier's production is steadily outstanding throughout, and Jeru The Damaja remains consistently effective for all 10 songs. Jeru is clearly a very good rapper, and he is also quite clearly suited for Premo's style of production. That's why The Sun Rises In The East sounds so good; it's a perfect match.
For some reason, The Sun Rises In The East never got the respect that any of the Gang Starr albums did, and it's a shame, because I think it is unquestionably better than No More Mr. Nice Guy and Step In The Arena and, at the very least, on par with Daily Operation, Hard To Earn, and Moment Of Truth. There are some hip-hop heads that will give Jeru's debut the love it deserves, but they are few and far between.
What I think is most impressive about this album is the consistency. Every track transitions seamlessly into the next, yet, at the same time, every track is unique. The main argument of Premo's critics is that most of his beats sound too much alike (I am guilty of making this argument myself). However, on The Sun Rises In The East, they sound similar enough where they are all relevant to one another, but different enough where they all have their own exclusive place on the project.
Unfortunately, because Jeru The Damaja never really had a big hit single like Guru (who had what seems like countless numbers of them), he never got the appreciation that he rightfully deserved. Also, the fact that the rest of his discography outside of The Sun Rises In The East and his sophomore release, Wrath Of The Math (also entirely produced by DJ Premier), was rather underwhelming probably had something to do with that, too, as Guru had more than just two noteworthy albums to his name.
Many will also point to the argument that Jeru fell off because, after Wrath Of The Math, he and Premo had a falling out, and as a result, Premo never produced another cut for Jeru again, and that assertion may hold some weight. Beats are a big part of successful albums, after all.
Still, Jeru The Damaja's recent slip-ups should not deter you from giving The Sun Rises In The East a spin (or more). It well be well worth your while.
TOP FIVE TRACKS
1. Come Clean
2. You Can't Stop The Prophet
3. Brooklyn Took It
4. Jungle Music
5. Ain't The Devil Happy
SKIPPABLE TRACKS
None.
INTRODUCTION
If the title of this album didn't already give it away, Black Star is a duo comprised of Mos Def and Talib Kweli, two of the most well-respected rappers by hip-hop heads everywhere. They released their debut album, Mos Def & Talib Kweli are Black Star (which, from here on out, I will merely be referring to as Black Star), to critical acclaim in '98. However, since then, the group has gone into seclusion. Sure, Mos Def and Kweli have released solo stuff, but they have yet to collaborate on another album since (and that might have a lot to do with the fact that Mos Def has gotten lazy and has decided to pursue a career in acting).
The strange 12-year hiatus aside, Black Star immediately became one of the most renowned groups in rap history for their outstanding debut, as the project contained marvelous conscious rapping from both members and scintillating production from beatmakers like Hi-Tek, Da Beatminerz, and 88-Keys.
Black Star is a relatively short piece of work consisting of 13 tracks, with only 10 of them being actual songs. Because of that, the album is short, sweet, and the point. When a project contains only 10 records, its chances for missteps obviously plummet, and I'm guessing Mos Def and Talib knew this.
TRACK-BY-TRACK
1. Astronomy (8th Light)
When I first heard this song, I immediately though Hi-Tek produced it, but it turns out it was made by Da Beatminerz. Yes; the same Da Beatminerz known for their grimy, hard-hitting production with Boot Camp Clik. While focused listening will reveal that "Astronomy (8th Light)" does contain a Da Beatminerz sound, this certainly doesn't sound like something Heltah Skeltah would rap over; that's for sure. Instead, it suits Black Star perfectly, making for what is one of the best cuts on the album (and that's saying a lot). The content of the song is basically an homage to the color black, and Mos Def and Talib Kweli tie that into the name of their group, Black Star.
2. Definition
This was Black Star's first single, a Hi-Tek produced banger that fits Mos Def and Kweli like a glove. You wouldn't think Talib is the kind of rapper who could spit nice punchlines, but he does that here: "Expressin' my liberty, it gotta be done properly, my name is in the middle of e-Kweli-ty." Just to clarify for those of you who may not really know how to pronounce Talib Kweli's name, "e-Kweli-ty" rhymes with "equality."
3. RE: DEFinition
Well, what Black Star lacks in creativity in song-naming they make up for in pure rapping ability. Hi-Tek crafts another sick beat (I don't care what anyone says; I think he is the best producer of all-time) for the duo, and both of them kill it. Songs like these make me long for the days when Mos Def actually rapped rather than mumble over everything.
4. Children's Story
Now if someone told me that Da Beatminerz produced this, I wouldn't be too surprised, but "Children's Story" was done by Shawn J. Period. Unfortunately, this sounds more like a cheap Da Beatminerz knockoff rather than something that actually matches their brilliant production, and because of that, this track is pretty boring, not to mention the fact that Talib isn't even on it.
5. Brown Skin Lady
J. Rawls is on the boards here, and he lays down a ridiculously smooth beat for Mos Def and Kweli to spit over. As per the title, they both rhyme about their girls on this record, but they do it extremely eloquently, and they actually don't mention sex once throughout the entire cut (and it's a long one). Well done, Black Star.
6. K.O.S. (Determination)
Is it even possible for Hi-Tek to drop a whack beat? I mean, seriously. "K.O.S. (Determination)" possesses probably the chillest production imaginable, with a hypnotizing sample and sleep-inducing drums that Talib Kweli (Mos Def does not appear on this cut) and female guest artist Vinia Mojica croon over without the slightest bit of discomfort. Due to the fact that I have always considered Talib to be the stronger emcee of the duo, I was pretty happy to see him get a chance to shine solo on this track. If you're wondering, "K.O.S." is an acronym for "Knowledge Of Self," a phrase that Kweli alludes to numerous times throughout this fantastic cut.
7. Hater Players
Shawn J. Period gets another chance after producing the essential snorefest that was "Children's Story," laying out a fast-paced number for Black Star here. I love these few lines from Talib: "I'm like shot clocks, interstate cops, and blood clots, my point is, your flow can stop, by all means, you need more practice, take that ass home, everybody lookin' at you, fish tank syndrome."
8. Respiration
Now for the best track on the album. Hi-Tek's beat is masterful, and Mos Def, Talib Kweli, and Common (who makes a guest appearance) rip it to pieces. The hook on this is also incredible. It's easy to see why "Respiration" was chosen to be Black Star's second single. It is probably the quickest six-plus minute song you will ever have the pleasure of hearing. It's so remarkably good that it just doesn't feel that lengthy at all.
9. Thieves In The Night
88-Keys drops the beat for Black Star this time, and Mos Def raps a line that essentially encompasses the theme of the entire album: "This life is temporary, but the soul is eternal." Great, relaxing song.
10. Twice Inna Lifetime
There are a couple of problems with this song. First of all, on an album where, up until now, there were no guest rappers other than Common, throwing in three nobodies (Jane Doe, Punchline, and Wordsworth; exactly) on the final song is not good form and just throws everything out of rhythm. Second of all, this track is way too long for its own good (five minutes and thirty-nine seconds), and that kind of thing will happen when you feature that many guests on a cut. For once, Hi-Tek's beat isn't much to write home about, but that opinion might be jaded by the fact that the song is just so long. Maybe if it were shorter, I would appreciate the production a bit more. This isn't a very good way to finish the album, but the rest of it is so great that "Twice Inna Lifetime" doesn't leave anything more than a minute scratch in Black Star's status.
FINAL THOUGHTS
I don't think there's an argument that can be made against Black Star being a classic album; it just is. The production is spectacular, and Mos Def and Talib Kweli demonstrate that they are two of the most articulate and intelligent rappers in the game.
The sequencing of Black Star is genius, as all of the songs fit together perfectly and the album flows seamlessly because of it. Both Mos Def and Talib possess outstanding flow and delivery (I like Talib's a bit better, though), not to mention distinct voices that make the listening experience that much more enjoyable. Also, as lyricists, these guys are among the cream of the crop; they're incredible.
It really is a shame that Black Star has not put out any releases since its nearly flawless debut. The two rappers have collaborated on a few songs here and there to at least light a flame in the ears of fans trying to relive Black Star's glory days, but that obviously doesn't come close to matching the hype that a full-length album would generate. There have been rumors of a Black Star reunion, but, as of this moment, they are nothing more than that; rumors.
Maybe if Mos Def wasn't so concerned with his acting career (or if Kweli simply slapped some sense into him), Black Star would be more inclined to get together and attempt to create another masterpiece. Then again, perhaps Black Star has already set the bar so high with its debut that anything it put outs as a group from this point on will be looked at as piffle, as the group will always be held to a ridiculously high standard.
All things considered, maybe it's a good thing that Black Star has only dropped one album...but we'll never know that for sure unless they try again, right?
TOP FIVE TRACKS
1. Respiration
2. Astronomy (8th Light)
3. K.O.S. (Determination)
4. Thieves In The Night
5. RE: DEFinition
SKIPPABLE TRACKS
I didn't particularly like "Children's Story" or "Twice Inna Lifetime," but that doesn't mean you won't, so go ahead and just listen to the whole album.
INTRODUCTION
M.O.P. (Mash Out Posse), a duo made up of rappers Billy Danze and Lil' Fame (who produces under the name "Fizzy Womack"), is one of the those groups that you either absolutely love or just cannot even fathom listening to. Their hardcore style has captured the hearts of many hip-hop fans, but at the same time, their act quickly wore thin on many others. Basically, they scream on nearly every track. Think of them as another version of Onyx, or even as DMX times 20.
In the game since 1993, M.O.P. has released eight albums, their most recent being Foundation in September of last year. Over the years, the two rappers formed a partnership with DJ Premier and, subsequently, Premo has contributed productions on nearly every one of their albums since Firing Squad in '96. However, I think it is pretty clear to most rap fanatics that DJ Premier's work with M.O.P. is not his best, so don't get too excited over the prospect of them joining forces.
Of all of the eight albums that M.O.P. has dropped, Warriorz is their most well-known, selling the most copies of any of their projects and being home to the group's most popular song, "Ante Up." That said, the fact that Warriorz is regarded as their best work isn't really saying much, as M.O.P. has always struggled to put together a good, complete album, and, given their style, it's obvious as to why that is.
Let's take a look, shall we?
TRACK-BY-TRACK
1. Welcome To Brownsville
If you're new to M.O.P., you will realize that the two rappers in the group sound very, very similar. The best way to tell them apart is to keep it in your mind that Billy Danze's voice is a bit deeper and gruffer than Lil' Fame's. Anyway, Fizzy Womack lays down this beat, and it's nothing spectacular. Teflon, an M.O.P. affiliate who manages to adopt the duo's sound to a tee, makes a guest appearance, and he just sounds awful. Not a bad start, but not a great one, either.
2. Every Day
You will be able to identify this as a Premo track as soon as it begins. That doesn't mean it's any good, though, as R&B singers (in this case, The G&B Product [yeah; I've never heard of him either]) just do not complement M.O.P. well at all.
3. Ante Up
Now this is a banger, and it has become an anthem for athletes everywhere who want to pump themselves up before a game. You may recognize the "ohh, ohh, ohh" in the beginning as being from Pharoahe Monch's song, "Desire," as The Alchemist sampled "Ante Up" for that cut. Anyway, DR Period's beat on this will make you want to punch the nearest object, so I suggest you distance yourself from any humans or animals (or walls) before playing this.
4. Face Off
DJ Premier's second beat on the album. The production is pretty good, but it's a bit too slow for M.O.P., as Billy Danze and Lil' Fame don't sound too comfortable over this, as they seem to be struggling to adjust to the pace of the instrumental. Fortunately, Premo's work makes this listenable.
5. Warriorz
Mahogany Music produced this record. He makes good use of the vocal sample, but the rest of it is pretty meh. On the bright side, Billy Danze's hook is pretty good.
6. G-Building
Billy Danze yelling "bang your head against the wall!" at the start is pretty funny, and the M.O.P.-produced beat, while actually a bit comical, is alright. Still, this just isn't very good. By this point of the album, "Ante Up" is the only track that possesses any kind of replay value to me.
7. Old Timerz
Laze E Laze's beat doesn't sound like something M.O.P. would rap over, but it doesn't matter, because this comes out sounding really good, both in terms of production and rapping. As the title suggests, M.O.P. pays homage to the old school on this cut, which is by far the second best song on Warriorz thus far.
8. On The Front Line
Another Premo beat. Unfortunately, it pretty much bombs. It's just way too busy, and neither Billy Danze or Lil' Fame put forth any kind of performance worth noting.
9. Nig-Gotiate
"Nig-Gotiate?" Ohhhh. I get it! Anyway, this Fizzy Womack-laced cut is actually solid (funny how none of the best songs on this album so far were produced by DJ Premier). This has a real old-school vibe to it, and when I say old-school, I mean old-school in the sense that it sounds like something you'd hear on one of those videos displaying the streets of New York in the 1920s. Not bad.
10. Follow Instructions
Finally; a good Premo beat on here. Saying this is "good" is actually doing it an injustice, too, because the production is sick. M.O.P. seems right at home on it, as both rappers flow seamlessly without restraint.
11. Calm Down
And then we're given this. Ugh. Fizzy Womack's beat on this just grates on the ears. Avoid "Calm Down" at all costs.
12. Power
Another Fizzy Womack beat, another dud. Although this isn't as bad as "Calm Down," it isn't exactly a sound for sore ears (is that even an expression?).
13. Home Sweet Home
Ahh. Back on the right track. Nottz, one of my favorite producers right now, drops some fire for M.O.P. and guest artist Lord Have Mercy, who sounds pretty damn good on this, making for what is absolutely one of the best songs on Warriorz. Seriously; why don't more big-name artists utilize Nottz? The dude is terrific.
14. Background Niggaz
For some reason, DR Period decided to channel his inner Dr. Dre and DJ Premier and combine them into some awful force comparable to a guy with horrendous B.O. applying cologne without taking a shower. It just makes things worse.
15. Cold As Ice
Yes. Yes. YES. Ladies and gentlemen, allow me to introduce you to the greatest M.O.P. track of all-time. Yes; better than "Ante Up." Much better, actually. The vocal sample that Fizzy Womack uses throughout is phenomenal, and the piano hits and drums are sick. This is not just my favorite M.O.P. song, but one of my favorite songs, period.
16. Operation Lockdown
So we go from "Cold As Ice" to this trash? First of all, naming this song "Operation Lockdown" is doing a major disservice to Heltah Skeltah's classic track of the same name on Nocturnal. Second of all, Chris Coker, who I've never heard of up until now, did an awful job on the boards. His beat somewhat resembles the "Put Up Or Shut Up" instrumental DJ Premier did for Guru on The Ownerz, but the main difference is that Premo's beat was actually, um, good.
17. Roll Call
You've really gotta wonder if Premo just pulled some instrumentals he dumped in his recycle bin and handed them to M.O.P. for this project, because his beat on "Roll Call" is another bust.
18. Foundation
Whoever the heck Curt Cazal is, he should stay away from any music production programs or recording studios, because this crap sounds like, well, whatever crap would sound like.
FINAL THOUGHTS
To be honest, Warriorz was seriously painful to listen to all the way through. Not only are the majority of the beats pretty bad, but hearing those terrible instrumentals plus M.O.P.'s constant yelling for 18 tracks will make you want to dig your eardrums out.
Don't expect any kind of Gang Starr-like production from DJ Premier here, as it seems like he sleepwalked through three of his five productions and just didn't put any effort into them at all. I have never been as big of a fan as Premo as many others, but I have always enjoyed his work with Guru, Jeru The Damaja, and the like. However, his production on Warriorz really sounds amateurish. For his standards, anyway.
Maybe if this album wasn't so long, I could tolerate it a bit more, but the length of this record really ruins any kind of enjoyable listening experience one could take out of this. The fact that it is considered to be M.O.P.'s most impressive album is scary.
Don't get me wrong; there are some really good songs on Warriorz, but as a whole, the album just doesn't hold up very well. There is very little variety, and it obviously isn't for everyone. I'm sure some of M.O.P.'s hardcore fans will enjoy it, but for the non-Stan, this just isn't very impressive. But hey; at least it had "Cold As Ice."
TOP FIVE TRACKS
1. Cold As Ice
2. Ante Up
3. Follow Instructions
4. Old Timerz
5. Home Sweet Home
SKIPPABLE TRACKS
Every song not listed in the top five except for "Face Off" and "Nig-Gotiate."
INTRODUCTION
If you like Canibus, chances are, you will like Ras Kass. He is incredibly similar to 'Bis in terms of lyrical style, rapping about subject matter that you have to have a brain to understand and utilizing a distinctly advanced vocabulary in his rhymes. Also like Canibus, Ras has been criticized for having a poor ear for beats. 'Bis and Ras Kass are even part of a group together, The Four Horsemen, also including Killah Priest and Kurupt. The only difference between the two artists is that Canibus is from the east and Ras is from the west.
Anyway, Soul On Ice, Ras Kass' debut album, is widely considered to be one of the most awe-inspiring lyrical performances in hip-hop history, and one would be hard-pressed to disagree with that sentiment. However, where this outstanding project is chastised is in the area of production. Like usual, I disagree, as I find the beats on Soul On Ice to be very refreshing, but a significant sum of others would beg to differ.
Still, let's ignore the criticisms of this album for the time-being and focus on the fact that it is, quite arguably, the greatest west coast release in hip-hop history (unless you consider Chino XL to be a west coast artist, in which case Here To Save You All tops the cake for me, but I don't, so that's that) and contains one of rap's most thought-provoking and controversial tracks in "Nature Of The Threat."
TRACK-BY-TRACK
1. On Earth As It Is...
Even people who knock the production on this album can't front on the lead cut, co-produced by Bird and Ras Kass himself. Booming drums abound, and horns and light piano hits support them. The track is religious in tone, as Ras Kass uses biblical references left and right, Killah Priest style, to essentially assert himself as rap's messiah. Great opening.
2. Anything Goes
Seriously, who is saying that Soul On Ice doesn't possess good beats? This is one of the most "commercial" tracks on the album, as Ras Kass talks about living the good life, but it's still raw as all hell. Bird and Rassy co-produce an upbeat, feel-good record, and Ras also drops a sick hook. I also love this line: "One for the money, two for the show, three for the ladies but all they wanted was one."
3. Marinatin'
"Marinatin'" certainly has a true west-coast feel to it, and you'll understand what I mean by that as soon as the song starts. DJ Battlecat is on the boards here, and he puts down an extremely relaxing and chill beat for Rassy, who glides over it effortlessly. This cut is very similar in tone to "Anything Goes," containing very basic subject matter about Ras Kass simply having a good time.
4. Reelishymn
"Once I enter psychosis, paranormal focus, I perplex niggas and niggettes, I play this rap shit closer than Gillettes against the neck and jugular vein." Did I mention Ras Kass can drop some sick punchlines? This is another smooth production once again done by Bird and Rassy, possessing a truly calming feel.
5. Nature Of The Threat
The aforementioned controversial track where Ras Kass attacks religion, homosexuality, and the white man. Obviously, because of that reason, "Nature Of The Threat" drew ire from many, and the fact that Rassy's lyrical barrage was nearly eight minutes long didn't help matters much. Now, about the song itself; Ras clearly demonstrates he is incredibly intelligent, but the beat by Vooodu and length of the record really make it difficult to listen to. For me, anyway. That said, Ras Kass' lyrics are certainly interesting, to say the least.
6. Etc.
Love this. Bird really is a hell of a producer. "Etc." has a similar feel to "Reelishymn," but it's a bit better, not just because of the beat, but because Ras Kass rips it: "You'll all suffer the consequences, I dispense dope sentences without a prescription, prefixes asphyxiate bitches who flips linguistics." One of Rassy's best songs.
7. Sonset
The drums on this are identical to those on Raekwon's "Criminology," and while that's not a bad thing, it's just that I've heard it before. I usually find myself skipping this one. That doesn't mean that you should, though, because this cut isn't poor by any means.
8. Drama
"Drama" houses the only guest appearance on Soul On Ice, as Coolio stops by and drops a verse. Basically, the song is about all of the drama (yeah; no subliminal messages here) women bring to men. Side note: I really like Bird's drums on this.
9. The Evil That Men Do
This is the best song on the album. Ras Kass tells his life story here, first talking about his upbringing and then about how he went to prison because he killed someone while driving drunk. He incorporates the title of the track into both of his long verses, first saying that the white men who want to keep blacks down are evil and then concluding the cut by rapping, "I'm lookin' at myself and seein' every other nigga I knew, it's the evil that men do," essentially calling himself evil for his actions. Unlike his work on "Nature Of The Threat," Vooodu's beat here is incredible, matching the mood of the record to a tee.
10. If/Then
Although the hook on this cut is more generic than anything in the world, this song is pretty good. Michael Barber and Ras Kass co-produce a solid beat, and Ras rips through the entire four-minute, fifty-second track with battle raps to the max. He's not as well-built for that as, say, a Chino XL or Canibus, but he still does a damn good job.
11. Miami Life
This tends to be the song most people remember from this album, and I can obviously see why, as it is easily the project's most "mainstreamish" cut. The track doesn't really make much sense, though, as Ras Kass is further away from Miami than any artist could possibly be. Whatever. It still sounds alright.
12. Soul On Ice
This beat by Bird sounds like something that would have been on Here To Save You All, and yes; that's a good thing. "'Cause I don't give a fuck about a menial existence, and I don't give a fuck about nonviolent resistance, civil rights will not suffice, in the name of Jesus Christ, they got my soul on ice," raps Ras. There is a remix version of this cut produced by Diamond D, and the beat (which, on the remix, is actually better) isn't the only thing about the song that's different, as Rassy completely changes up his lyrics. Definitely look that up.
13. Ordo Abchao (Order Out Of Chaos)
This is a really nice way to end Soul On Ice. Vooodu's beat is very solid, containing loud shakers throughout (I'm such a sucker for that). "Ordo Abchao (Order Out Of Chaos)" parallels "Nature Of The Threat," although it's not nearly as incriminating. Still, it's controversial in its own right, as Ras Kass attacks the government and once again throws a jab at homosexuality. Agree or disagree with his views, you have to respect Ras Kass' intelligence and way of arguing his point.
FINAL THOUGHTS
As I stated earlier, Soul On Ice is simply a lyrical masterpiece that has cemented itself in the annals of hip-hop lore. Ras Kass is obviously a very educated and perceptive individual, and he displays these qualities on every one of the records on this album.
What I like most about Soul On Ice is Rassy's ability to focus on more than one topic and rap about the beefs he has with such subjects. For example, on "Nature Of The Threat" and "Ordo Abchao (Order Out Of Chaos)," he spends a significant amount of time discussing how whites oppress blacks and how the government wants complete control of society. On "Drama," he talks about the baggage that females can carry. Then, on "The Evil That Men Do," he fundamentally attacks humanity in and of itself, including himself.
While I can certainly see why many would scoff at the production on this project, I really enjoy this style. Yes; the closest thing Soul On Ice has to a "club banger" would probably be "Miami Life" or possibly "Anything Goes," but I actually prefer the more subdued beats, especially when they match the vibe of the artist, which they do here. Plus, Ras Kass, with his lyrical prowess and outstanding delivery, can carry a track no matter what the production is like.
If you haven't listened to Soul On Ice yet, you are gravely missing out on an essential piece of hip-hop history. It's not every day that rappers like Ras Kass come along and spew the type of knowledge that he does, so when you have the opportunity to listen to someone like him, you really should take advantage of it.
Unfortunately for Ras Kass, though, he fell off miserably after his debut, as his sophomore release, Rasassination, paled in comparison to Soul On Ice, and that's being kind, as he spent a good portion of that album on topics that have become much-maligned by purists in today's mainstream-dominated world. Rassy then completed two albums that were never officially released (Goldyn Chyld and Van Gogh), and neither of them were anything to write home about.
That said, Ras Kass will always be able to pull the Soul On Ice card whenever someone feels the need to criticize his recent work.
TOP FIVE TRACKS
1. The Evil That Men Do
2. Anything Goes
3. Etc.
4. On Earth As It Is...
5. Reelishymn
SKIPPABLE TRACKS
None.
INTRODUCTION
First of all, I would like to apologize for the lack of activity here lately. I just haven't had much time to post any reviews.
Anyway, you have already read my review of Chino XL's sophomore release, I Told You So (or, at least I think you did), so now let's go back to where it all began for the "lyrical messiah": Here To Save You All, Chino's debut.
Of course, Here To Save You All is home to the track where some feel Chino XL was dissing 2Pac (you can read about that here), "Riiiot!," which features Ras Kass, but that is far from being the album's only notable (even though it actually is the best song on the project). Here To Save You All is much more than a record by a new artist just looking for attention (as many 2Pac fans felt/feel Chino was trying to do in the aforementioned "Riiiot!").
To put it plainly, Chino XL's first album is a masterpiece on many levels. Lyrically, he displays that he is in another stratosphere (I already mentioned in my I Told You So review that he is a part of MENSA, so that should explain that). Not only is his vocabulary astonishingly extensive, but he does a wonderful job of invoking true emotion into his songs, not to mention that he just doesn't give a damn about who he insults. In terms of production, the project is, in my opinion, outstanding, although some actually criticize it, saying that it is too bland. Whatever.
But I can sit here and fawn over Here To Save You All all day, so I'll save your eyes some straining (and perhaps your stomach some nausea) and just jump right into the review.
TRACK-BY-TRACK
1. Deliver
Okay; you can knock the production on this album all you want, but if you seriously rip this beat, then something is wrong with you. Produced by the fairly well-known KutMasta Kurt, "Deliver" contains an eerie and urgent feel with banging drums (and I mean "banging" in every sense of the word; well, every sense except that, you perverts), and Chino XL's intimidating mic presence is evident right from the start: "Clear the runways, 'cause I’ma make you rappers my examples, avoiding battling me like I’m Eazy-E’s blood samples." What an effing way to introduce yourself to the rap world.
2. No Complex
This was the album's lead single, and it marked the time where Chino first made himself known to the public. Chino XL raps his ass off for four minutes and forty seconds over a bouncy, fast-paced beat by B Wiz. "Euphorically, categorically, Chino rips shit historically," he spits early on. And he does just that on this cut.
3. Partner To Swing
B Wiz lays down another good beat for Chino XL on "Partner To Swing," throwing on some tough kicks and snares over varying background sound effects. "Surrounded by more mysteries than the Stone Hedge, warning your friends, Chino X could make the coroner cringe" is one of the many sick punchlines Chino comes up with on this track.
4. It's All Bad
This is another B Wiz production (he produces most of the songs on Here To Save You All). It's somewhat similar to "No Complex," but better. As evidenced by the title of the record, Chino XL explains all of the unfortunate things that have happened to him throughout his life on "It's All Bad," and states that it takes an intelligent individual to understand his music: "The ill eagle, twisted, war novelist, the problem swallowed us, it takes an activated mind to follow this." Oh, and Chino also manages to work his SAT score into the cut. He got a 1430, so I guess it isn't all bad.
5. Freestyle Rhymes
I love Bird's beat on this. It's simple, but it encompasses hip-hop to me, if that makes sense. "I show more blind rage, than Stevie Wonder and Ray Charles wrestling in a steel cage," spits Chino right off the bat. He then follows that up with: "Reject my single I ain't mad at it, like O.J. getting married again, I'll takes another stab at it." Who else would come up with that?
6. Riiiot!
That brings us to the 2Pac "diss," as Chino XL raps, "By this industry, I'm trying not to get fucked like 2Pac in jail," early on in the cut. Now, as I stated in my I Told You So review, Chino insists that he meant both he and 2Pac were trying not to get fucked rather than 2Pac actually got fucked, but honestly, who cares? This track is ill times infinity. Ras Kass makes a guest appearance, and both he and Chino rip Bird's sick beat, consisting of constant shakers and ominous piano hits, to shreds. "Iconoclysmic, twisted without the use of fiber optics, knock his eyeballs out their sockets, I got your Adam's apples in my pockets," spits Chino. Best song on the album.
7. Waiting To Exhale
I love the production on Here To Save You All, but B Wiz's beat on "Waiting To Exhale" is probably the weakest link on the project. It's just way too "busy" and detracts from the verses of Chino XL and the guest artists of the group Gravitation, which Chino used to be a part of.
8. What Am I?
This is a solid cut, as Chino XL reflects on his upbringing and how he never fit in anywhere. He also talks about his stressful move from Middlesex County, New Jersey to Newark (also in New Jersey): "Torn lives, I've never seen so many people depressed, my mental gets molested, physical takes violent threats, stress, walkin' home from school's like a terrorist test, I learned blacks could be racist too, somehow still I felt I was blessed." The B Wiz produced beat is alright.
9. Feelin' Evil Again
Back to some great production. B Wiz lays down a beat very fitting for Chino XL's subject matter: "Slice like a Cesarean, shoot like insulin, hip-hop lives at no radio station, penetrate you like a vaccination, fascination, do you like styrofoam and crush ya, needles inserted in pressure points, acupuncture." Slightly disturbing, but absolutely ill. Great cut.
10. Thousands
"Thousands," produced by DJ Homicide, possesses a jazzy, piano-driven beat backed by booming hours, and Chino's punchlines are more than prevalent: "I'm so full of shame, it's awful strange, local crew complain I'm spitting out more keys than an opera singer's vocal range." This is one of Here To Save You All's more laid back tracks, so it represents a great change of pace.
11. Kreep
This was the cut that got the most airplay on Here To Save You All. On the chill, jazzy beat by Erik Romero, Chino raps about how his girl did him dirty, and now he feels like a loser (I mean, he actually says he's a loser in the hook, so those aren't my words). If you just broke up with your girlfriend and want to listen to a sappy, all-love-is-lost type of song, you can't go wrong with "Kreep." That's not to knock it, though; this record is really good. Oh, and how about this punchline: "I'm throwing you off the deep end, you better pray shit floats." Damn.
12. Many Different Ways
"I'm knockin' niggas out like they homosexual boxers." Think about that line for a second, and then tell me how sick of a punchline that is. This cut, produced by B Wiz, knocks; even the female vocal sample on the hook is great. Chino XL spits three extremely violent and, unsurprisingly, disturbing verses on "Many Different Ways," going through each of the, well, different ways he can wreck you. This is ridiculously good.
13. The Shabba-Doo Conspiracy
Outside of having a very stupid name, this track is pretty nice. The famous Kool Keith is featured, but he is rendered subpar by Chino XL's effort: "I be the receiver, of strange mind patterns, no type of compassion, endless my thought process is like a dark cavern, I was bred of toxic parents, embryonic stages, underdeveloped fetal pages that I burnt like phasers." The smooth, head-nodding production is done by (surprise, surprise) B Wiz.
14. Ghetto Vampire
Okay; this song is seriously creepy. B Wiz's beat, which changes three times throughout, is very, very eerie, and Chino's hook simply adds on to the overall spookiness of the track. Chino literally talks about himself as a vampire for the duration of the cut, once mentioning how he'll "consume your blood and leave you dead" in order to keep his health. Despite the fact that it may cause some 10-year olds to lose some sleep, "Ghetto Vampire" is a classic record, as the production combined with Chino XL's lyrical performance makes for an incredible listen.
15. Rise
Nice segway, Chino. No; seriously. He goes from talking about being a vampire to his spirit rising when he perishes. This song really is fantastic. "Rise" demonstrates the most introspective you will ever hear Chino XL, or any rapper, for that matter. Throughout the record, Chino refers to The Great White Throne Judgment, him being murdered (hypothetically, of course), and then him returning to earth in spirit form with the intent of taking revenge on his killer, but then refusing to do so because he does not want to "destroy another man." Dan Charnas' illusory beat fits Chino's concept like a glove, helping make for one of the best songs on the album. Great finish.
FINAL THOUGHTS
Here To Save You All is, without question, one of the greatest albums in hip-hop history, in my opinion. Chino XL excels (no pun intended) in every possible category that pertains to an emcee: lyricism, flow, breath control, voice, mic presence. You name it, and Chino does it seamlessly on his debut album.
The production is very impressive throughout Here To Save You All, as well. Nearly each of the 15 tracks contains a solid, head-banging beat, this despite the fact that the production was handled, for the most part, by lesser-known producers. Each beat suits Chino perfectly, and he proves he can sound comfortable over essentially anything.
What I also love about this project is the limited guest appearances. Only Ras Kass, Kool Keith, and Gravitation are featured, and Chino's collaboration with Ras is one of the best I've ever heard. Clearly, Chino XL knows how to construct an album.
While Here To Save You All mainly contains battle raps, Chino also engages in some great storytelling and picture-painting, as seen particularly on "What Am I?," "Kreep," "Ghetto Vampire," and "Rise." Despite what some of his critics may say, he is a versatile artist who can adapt to any circumstances.
This album tends to be very overlooked, and that may have something to do with the fact that diehard 2Pac fans have buried Chino XL so much that many people don't even give him a look because they're listening to the general public. That really isn't fair, because Here To Save You All is a timeless classic. Many great hip-hop albums lose their sense of relevance as time progresses, but this record does/will not.
TOP FIVE TRACKS
1. Riiiot!
2. Deliver
3. Rise
4. Many Different Ways
5. Feelin' Evil Again
SKIPPABLE TRACKS
I mean...
INTRODUCTION
Most people know Chino XL for being the guy who "dissed" 2Pac in his song, "Riiot!," as one of his lines in said song was: "By this industry, I'm trying not to get fucked like 2Pac in jail." Whether or not this was a diss is still up in the air (Chino swears that it wasn't and that people just misconstrued the line, saying that he meant 2Pac was trying not to get fucked in jail rather than 2Pac actually getting fucked in jail), but nevertheless, 2Pac responded to Chino on his infamous diss track "Hit 'Em Up." Although it was primarily aimed at The Notorious B.I.G., Pac dropped one little jab at Chino: "Chino XL, fuck you too."
Anyway, all of that aside, Chino XL, the self-proclaimed "Puerto Rican Superhero" (he is half Puerto Rican and half African American), is a pretty sick rapper that should have garnered attention no matter what his situation with 2Pac was. He is considered by some (including myself) to be the greatest punchline rapper to ever do it, and his metaphors are ridiculously deep and thought-provoking.
Chino released his debut album, Here To Save You All, in 1996 ("Riiot!" was on the album). The project was critically acclaimed for Chino's incredible lyricism and wordplay, although some criticized the rather dull production (much like Canibus' debut, Can-I-Bus). Five years later, he dropped I Told You So, a record with much more variety in terms of beats and a Chino XL that had not lost a step as an artist.
In my opinion, Chino XL is a top three lyricist of all-time (right there with Pharoahe Monch and Canibus). I mean, the guy is so intelligent that he is in MENSA, for God's sake. You will see examples of his advanced mind on I Told You So.
TRACK-BY-TRACK
1. What You Got
Nick Wiz lays down an upbeat piano-driven production to open up the album, and Chino XL opens up with some fire: "Snatch you outta your Roots like I'm from Illadelph, what I do to push your hairline back, Rogaine won't help, my quest for the wealth, like Stone Cold Austin's quest for the belt, I mention myself as a celestial cell, an extension of hell." That's nothing, though; Chino is just getting warmed up.
2. Nunca
Over a slow, intimidating beat by Carlos Bess, Chino drops two monstrous verses, and I mean monstrous in both quantity and quality. A sample: "I spit like Ming the Merciless, blissless bliss, high risk piss, clenched fist, the masochistic sadistic from every verse on this, behold my serpent's hair like Perseus, ill impossibly, larceny, broken velocity through lightning speed viscosity, my philosophy, speak animosity, keep shit in a bag like a colostomy, I'm pro you're junior varsity." I mean, that is just effing sick.
3. Asshole
"Clark told me to just kill it when I write rhymes, but how many murders can I commit in one lifetime?" Chino XL was referring to Clark Kent (the producer of this track; not Superman) with that line, but it's really the only thing I really remembered about this track. The beat is pretty lackluster and the rest of Chino's lines are average.
4. That Would Be Me
"I roll with killers that spent more time in the pen than ink, don't even blink, and turn your voice down a decibel, or start lookin' for studios that's wheelchair-accessible," raps a scintillating Chino over a fast-paced banger produced by Nick Wiz. The production fits Chino's aggressive style perfectly.
5. Last Laugh
B-Real of Cypress Hill drops a guest verse on this track, but although he flashes some great delivery, his voice does not mesh with Chino XL's at all, and Nick Wiz's production is just meh.
6. Let 'Em Live
Kool G Rap, whom Chino has dubbed the best rapper of all-time in the past, joins Chino XL on this Nick Wiz-produced banger. Imagine; those two lyrical beasts were in the same booth. "I'm innovational, mind unobtainable, merciful vocal verbal versatile, killing these niggas recreational, universally disperse the curse, verse controversial, illest on earth so, out of this world like Captain Kirk's hoe," raps an inspired Chino XL on his second verse. The hook on this cut is sick. This is definitely one of I Told You So's best tracks.
7. Sorry
A producer by the name of "Rock The World" lays out a very light beat for Chino and guest artist Shaunta here, as the two artists play ex-husband and ex-wife and talk about all of the problems they've had/are having. Decent record.
8. Chino XL
Nick Wiz is on the boards once again, and he lays out one of the top two beats on the album. This is a typical boast record, but Chino handles it incredibly well, utilizing his ridiculous breath control to rip off three terrific verses. He concludes his final verse with: "Air fair, exotic vacations, bought my mom so many minks, animal activists plot my assassination, I'm rockin from aggravation, shit on any compilation, amazin' with rhymes written while the president was Ronald Reagan." Love it.
9. You Don't Want It
When you first look at the tracklisting, you might say to yourself, "Well, this song is going to be lame," but it isn't. Nick Wiz's beat is sick, and Chino XL's punchlines are in prime form: "You soft, I'm upper echelon, the only other hot cats I seen on a plate was at a Chinese food restaurant." Damn.
10. I Told You So
Meh. I'm pretty indifferent to this one. The beat, by Mixture, is just alright, and Chino XL has spit much better verses than he did here.
11. Don't Say a Word
The late great J Dilla produced this cut, and, what a shock, it turns out to have the best beat on I Told You So. It is very laid back and, like almost all Dilla beats, will put you in another world. Chino drops three outstanding verses, highlighted by these bars in his first one: "Vocab extensive and glossy, expose a flow so expensive it could drain a small Latin country's economy, commit a verbal sodomy with a dime on Sodom, he shot at me, rappers claiming original, but sounding just like Nas to me." His flow throughout this entire track is phenomenal. This is the best record on the album.
12. It's My World
Nick Wiz lays out a hard-hitting beat for Chino XL here, and Chino does his usual thing: "360 degree of unadulterated battle rhyme, you must be inebriated wanting to challenge mine, my distance so accurate any time-lapse cameras capture it, tearing apart time's fabric, no exaggerate." The urgency of both the beat and Chino's rhymes match up perfectly.
13. Chianardo Di Caprio
Umm...yeah; no.
14. How It Goes
This is another J Dilla beat, and it sounds like something Nas and AZ would have teamed up to rap over (that's a good thing, by the way). Saafir drops a guest verse, and both he and Chino XL rap about their game with females. Although the lyrics are pretty pedestrian for Chino's standards, the production makes this a solid cut. Also, this line from Chino was pretty nice: "So many tears shed over me, don't make a scene, make an Ark."
15. Be Here
I really like this. I can't find who produced this track anywhere, but whoever was on the boards did an outstanding job, throwing in some great guitar strums and violins throughout. The song is about Chino XL's fling with a married woman, and then she kicked him to the curb. The cut ends with the woman actually murdering her husband. Needless to say, it's pretty interesting.
FINAL THOUGHTS
I Told You So is a very good album from start-to-finish. Chino XL's rhymes, metaphors, and punchlines are on another level, and the production is pretty solid all-around. Chino's content is generally very braggadocio, but when you are able to boast with that kind of intelligence, you deserve major props.
What's also extremely impressive about Chino XL is his godly breath control. Until I first heard him rap, I thought Big Punisher couldn't be matched in that category, but Chino is right there with him. He is able to maintain his powerful voice while spitting several bars without even taking a breath in between. And with good breath control comes good flow and delivery, and Chino exhibits that on this project.
I've always thought Here To Save You All was a severely underrated debut album, as Chino XL demonstrated remarkable talent throughout the record and immediately stamped his name among rappers that no one wanted to mess with. Most people would probably agree that Chino's lyrical barrage on Here To Save You All was spectacular, but those same people would more than likely cite the album's bland production as the main reason why it isn't elite (I disagree, though, as I actually liked the beats on that project). Well, that argument does not apply to I Told You So, as the beats on this album display solid variety and truly match Chino's style.
Of course, one of the main reasons why Chino XL does not get his due respect is the fact that the good majority of 2Pac fans hate his guts. Still, even those detractors cannot deny that the man has otherworldly talent as a rapper, and I wouldn't be the least bit surprised if they secretly bump Chino on the side when none of their friends are around.
I'd pick up this album, if I were you.
TOP FIVE TRACKS
1. Don't Say a Word
2. Chino XL
3. Nunca
4. You Don't Want It
5. Let 'Em Live
SKIPPABLE TRACKS
Chianardo Di Caprio
INTRODUCTION
Time to look at a criminally underrated album by a criminally underrated artist: Black August, by Killah Priest.
Those who are familiar with Killah Priest probably (no; definitely) know that he is a Wu-Tang Clan affiliate and has appeared on numerous Wu-Tang cuts. His rise to fame (well, not really, as, sadly, Priest still doesn't have much notoriety) began when his track "B.I.B.L.E." was featured as a bonus cut on GZA's classic Liquid Swords album. Priest would then release his debut, Heavy Mental, in '98. The album actually sold surprisingly well (then again, he is a Wu-Tang affiliate), reaching gold status.
Three albums later, KP put out Black August, a project that is, in my opinion, one of Killah Priest's best works to date. The production on the record is appropriately dark, and Priest is in top form lyrically.
Be forewarned, though: Killah Priest is not for everyone. His lyrics tend to be either very religious and spiritual or extremely violent in tone, and he sometimes intertwines both aspects. If you like rappers that will make you think (a la Canibus), then chances are you will like KP. If not (or if you're, um, not the sharpest tool in the shed), then you should probably avoid Priest.
Killah Priest certainly does not receive the respect he deserves, as his lyrical genius and massive intelligence is omnipresent on every one of his albums.
Let's use Black August as an example.
TRACK-BY-TRACK
1. Black August (Daylight)
The album actually starts off with a light and soulful beat done by Anton Kallisto, and it's damn good, and Killah Priest displays his lyrical prowess immediately: "My man used to say that, 'This ain't rap, Priest, your lyrics, are too vivid, they more like pictures, you can feel it, yo, you gifted, it flows like liquid, mystic,' I never witnessed such things as beautiful, as unusual, like a musical." This track will put you in a zone. Terrific start.
2. Excalibur"Who gives a fuck if you're platinum, if you're lyin' in a wooden casket?" Spit that realness, Priest. Spit it. The beat on this cut, produced by Godie, is somewhat unusual, but it's very effective, and, as evidenced by the bar above, KP rips it.
3. When I'm Writing
Killah Priest raps about how he feels he is in another dimension when he writes his rhymes over a heavily piano-driven production here. The beat by Jahson is crazy, and Priest does his thing: "My pen's a crayon with coloring books displayin' chaos, the black seance, with ink that pores out, great art, age quasars explorin' where the mind caves are, a rich being dug from a key's graveyard, it's the inscription written on Egyptian clay jar."
4. Do The Damn Thing
This seems like Killah Priest's attempt at a commercial cut, and while many rappers of Priest's stature fail miserably at this kind of thing, this is actually pretty good. Mr. Khaliyl lays down a very generic sounding beat, and while KP doesn't really go in on this in true Killah Priest fashion, he still does an admirable job, especially with these lines: "Plus I'm not, 50, or Biggie, or Diddy, I'm witty, unpredictable, lyrical masterful mind, chapters of rhymes, irresistible lines, metaphors is clever than yours, sever your jaws, I'm ready for war." His rhyme scheme is a bit awkward on this, though.
5. Time
Priest provides some nice storytelling on "Time," rapping about how he shoots and kills someone and is then judged at heaven's gates: "Was this my fate, to be judged in this place? Angels watchin' me, I step up to plead my case, I see His face in black space, okay let me back trace, somethin' went wrong between that gat and my waste." The beat by G 13 is pretty boring, though.
6. Robbery
Jahson's beat on this is sick, consisting of horns and pianos backed by loud hats throughout. Once again, Priest engages in storytelling for the entirety of the cut, rapping about how he desperately needs money to take care of his family and, surprise surprise, robs a bank. I bet you never expected that, huh?
7. Come With Me
The booming horns that appear on the Jahson-produced "Come With Me" really make the track, and said track turns out to be one of the more graphic records on Black August: "Yo, enter with caution, it's the hood, dark and haunted, see those crackheads with dead eyes, their souls been torment, look at the old man throwing up his body organs, smell an odor in the air 'cause of dead corpses." Priest clearly has a message for his listeners on this cut, though, as he describes how Satan (whom he refers to as "the beast") is controlling the hood and is laughing at the tragic deaths of the many individuals who live within it.
8. Breathe
This is the best track on the album. Anton Kallisto, the man behind "Black August (Daylight)," puts down another feel-good beat for Killah Priest, and KP puts together what is probably the best hook on Black August: "I just breathe, the breath of life in the mics, feel my notepads with sites, now, guide you like God did the Israelites, I just breathe." The production here is nothing short of phenomenal.
9. Musifixtion
The title of this track is obviously a play on the word "crucifixion." It contains an extremely dark, yet fairly fast-paced, beat produced by Prose' Ipso, and Priest kills it: "I look down, people spittin' and cursin', everybody quiet listening to the sermon, record execs dress like Romans, pierce in my side, I'm going through convulsions, starin' straight to a jet black ocean."
10. Déjá Vu
Jahson's beat on this knocks, possessing a dark and simultaneously soulful quality, just like this song itself. Killah Priest pieces together an incredible story here that puts Raekwon and any other Wu member to shame. I'm not even going to ruin it for you by explaining it, but I guarantee you that by the end of the track, you will think, "Woah." Go ahead and listen. It's genius.
11. Goodbye
A female rapper by the name of Solstice accompanies Priest on this track, and while the production by Jahson leaves something to be desired, the lyrics on it are ill. It's painfully obvious that KP wrote Solstice's lines, but it's no matter, as Solstice comes through with a solid delivery, and her voice adds some variety. "Goodbye" contains multitudes of deep religious references, so this track may not be for everybody.
12. Black August (Dark)
First there was "Black August (Daylight)," and now there's "Black August (Dark)." While I like the "Daylight" version better, this track still bangs, having what is probably Black August's darkest production (once again by Jahson). Biblical references abound, as Killah Priest describes his birth and how a "king" was born. More outstanding storytelling from KP.
13. Robbery (Remix)
Elephant Man? Am I hearing this right? Killah Priest and Elephant Man? Well, somehow, on some twisted level, this collaboration works wonders. The beat on this is slightly different from the original version, but it's barely noticeable.
14. Do You Want It
Seriously Priest? What the hell?
FINAL THOUGHTS
Killah Priest demonstrates on Black August that he is one of the best storytelling emcees to ever do it. You might have to listen to some of these cuts a couple of times through before you truly understand the meaning of them, but it's well worth it, as this album is terrific on so many levels.
Although the production becomes dense at certain points, for the most part, it is very effective, suiting Priest's deep, dark style perfectly. Some of the beats on Black August are ridiculously good and greatly aid KP in setting the mood (like "Déjá Vu," for example).
Generally, Heavy Mental is considered to be Killah Priest's strongest effort, but Black August isn't too far behind. The production is a bit more versatile here, and Priest just seems more energized overall.
It seems a bit peculiar that KP is a Wu affiliate, because, although a solid portion of his records are violent, his style is quite a bit different from any of the Wu-Tang members. Lyrically, Priest is simply on another level, and not even Raekwon (as I stated earlier) can match him when it comes to storytelling ability. I'm not sure anyone can, to be honest (and I know that will rub a lot of Andre 3000 fans the wrong way). Plus, the core Wu members hardly ever touch on religion, a subject that KP is obviously very comfortable with.
Killah Priest fits in much better with The HRSMN, a group consisting of himself, Canibus, Ras Kass, and Kurupt. The fact that they have only put out one album together is a shame (although they are apparently working on another project now).
There really is no middle ground for Killah Priest. You either love him or you don't dig him at all. It's not like he's an acquired taste, either, because his subject matter never oscillates from its deep, religious focus.
You might as well try out Black August, as there is a good chance that you will bump this forever after hearing it for the first time. Just make sure you skip "Do You Want It"; I have no idea how that piece of garbage made it on to this fantastic album.
TOP FIVE TRACKS
1. Breathe
2. Déjá Vu
3. Black August (Daylight)
4. When I'm Writing
5. Excalibur
SKIPPABLE TRACKS
Do You Want It
INTRODUCTION
Continuing with the Boot Camp Clik theme, I think it's time to take a look at another 90s classic, Dah Shinin', Smif-N-Wessun's debut album, a project produced entirely by Da Beatminerz.
For those of you who may be unfamiliar with Smif-N-Wessun, they are a two-man group, much like Heltah Skeltah, consisting of rappers Tek and Steele. They are known for their both violent and laid-back lyrics and are considered by many to be one of the better hip-hop duos ever. Like Originoo Gunn Clappaz, Smif-N-Wessun sometimes incorporates reggae-ish elements into their songs, as both members of the group display the capability to change up their flows to portray a Jamaican-like style.
Dah Shinin' is not considered to be on the same level as Enta Da Stage, but it occasionally finds itself on top 100 lists and is generally a staple in the collections of true hip-hop heads.
There really isn't much more to say, so let's get that review going.
TRACK-BY-TRACK
1. Timz N Hood Check
Like I said; this album is produced solely by Da Beatminerz, so expect an unlimited amount of dusty drums with little in the way of background instruments. Don't take that as a bad thing, either, because the beats on Dah Shinin' knock, and "Timz N Hood Chek" is a perfect example of that, as booming, dusty kicks are backed by similarly booming and dusty hats and snares. This track doesn't have much in the way of lyrics, as it consists of Tek and Steele talking about how rough they are, but it bangs, nevertheless. DJ Evil Dee is the member of Da Beatminerz who produced this cut.
2. Wrektime
The kicks on "Wrektime," produced by Mr. Walt, are not as blatant as on "Timz N Hood Chek," but the hats and snares pick up the slack. Plus, it's the sick hook that makes this track, as Tek and Steele both trade small bars back and forth in a hypnotizing fashion. A siren-type sound surfaces on the hook, as well, making it that much more enjoyable.
3. Wontime
While I am not exactly sure what the heck either "Wrektime" or "Wontime" exactly means, both songs work. Hard-hitting kicks return here, even more pronounced than they were on the album's lead track. Rock of Heltah Skeltah is featured here, but he doesn't drop a verse. He does, however, rap another ill hook for Dah Shinin'. Also, this time, Tek and Steele spit some good lines, like these bars by Steele, for instance: "I got one in store for hardcore fanatics, bangin' from basement to attic put static if ya got dramatics." This record is nails, and I have a feeling I'm going to be saying that a lot the rest of the way. Oh, and this was another Mr. Walt production.
4. Wrekonize
The snares on this are crazy, but this time, the hook doesn't really work for Smif-N-Wessun. Tek and Steele go back and forth on it like they did on "Wrektime," but on this occasion, it sounds forced, and it actually sounds like they are out of breath as they are doing it. Still, Baby Paul's instrumental knocks. P.S.: Did Tek and Steele miss a couple of sessions in English class? I mean, "Wrektime?" "Wrekonize?" Seriously?
5. Sound Bwoy Bureil
This reggae-flavored track (it uses a sample of the reggae cut "Dust Out a Sound Bwoy" by Super Beagle on the hook) is one of Dah Shinin's most popular tracks, and for good reason. Mr. Walt and DJ Evil Dee team up to produce this cut, and while the beat is ridiculously simple (it is probably the simplest beat I've ever heard; seriously), it is so damn good. O.G.C. members Starang Wondah and Top Dog are featured here, and both them and Tek and Steele adopt reggae-ish flows to accommodate the sample. Sick, sick cut.
6. K.I.M.
'K.I.M." possesses what is, by far, the "busiest" beat on the album thus far. Blaring horns appear throughout the record, and standard kicks, snares, and hats abound. The hook on this is definitely a winner. Nice track. Mr. Walt is on the boards. Also, for those of you who may be curious, "K.I.M." stands for "Keep It Moving."
7. Bucktown
Like "K.I.M.," "Bucktown" features horns throughout, but these horns are much more subdued. The hook on this is a bit peculiar, though, as it features Steele rapping, "Bucktown, home of the Originoo Gunn Clappaz," eight times. Is it just me, or are the Originoo Gunn Clappaz not even present on this song? That aside, this cut, co-produced by Mr. Walt and DJ Evil Dee, is pretty nice.
8. Stand Strong
DJ Evil Dee incorporates a sample of Isaac Hayes' "The Look of Love" on "Stand Strong" to form one of the best beats on Dah Shinin', and Smif-N-Wessun once again takes on a reggae-style delivery during different parts of the track. Really strong record here (no pun intended).
9. Next Shit
Mr. Walt lays down an unbelievably chill beat for Tek and Steele here, using a soft piano and some other light instruments to back the banging drums. Smif-N-Wessun drops some nice bars. In his first verse, Steele raps: "Pressures be buildin' in my mind sometimes and ways, that have me countin' the many reasons why crime pays, I think about the hustlin' games, should I maintain, or flip and then shift to the fast lane?" Buckshot is featured on this cut, as he continuously raps the line, "Stoned is the way of the walk, stoned is the way of the walk" toward the end. One of the album's best records.
10. Cession At Da Doghillee
I'll ignore the fact that I have absolutely no clue what the hell "Cession At Da Doghillee" actually means and just focus on the song itself. Guest artists abound, as this track features Heltah Skeltah, Originoo Gunn Clappaz, and Buckshot (who does the hook). Ruck leads things off, and man does he sound different than he did on Nocturnal (keep in mind that Dah Shinin' was released a year before, so Ruck was still a neophyte at this point). He still puts down some solid lines, though: "Do we, have to result to fisticuffs? See I get swift with myself, that's when the Ruck erupts." DJ Evil Dee lays down a crawling, relaxing beat for everyone to rap over, but "Cession At Da Doghillee," spanning five minutes and twenty-six seconds, runs too long for its own good, as the production becomes rather boring after a while.
11. Hellucination
Putting two five-and-a-half-minute songs back-to-back on an album is never a good idea, and that's what happens here. "Hellucination" isn't bad, but after hearing "Cession At Da Doghillee" drag on for nearly six minutes, you certainly aren't in the mood to hear this cut do the same thing.
12. Home Sweet Home
Baby Paul produces what is probably the darkest beat on Dah Shinin' for "Home Sweet Home," but the sample just doesn't too good. Every time it pops up, it sounds like it cuts off far too abruptly. This isn't a very good stretch of the album.
13. Wipe Ya Mouf
Ah, now we're out of the woods. Baby Paul gets the production for "Wipe Ya Mouf," too, but this time, he comes to play, as his sample fits in perfectly with his drums (which sound a lot like they do on "Leflaur Leflah Eshkoshka," and that's a great, great thing). The hook here is simple, as it is simply a part of Top Dog's verse from "Sound Bwoy Bureil," but it's sick. Outstanding track.
14. Let's Git It On
This is another dark beat, but this go around, it works. Mr. Walt and DJ Evil Dee once again team up to make this cut, and Tek and Steele just sound vicious on it. "Let's Git It On" also contains yet another great hook from the duo. Love it.
15. P.N.C.
To me, it's fairly clear by now that Steele is the superior MC of the duo, and that notion is thoroughly verified on "P.N.C." (That stands for Partners 'N Crime, by the way.) While Tek decides to spend most of this cut talking about guns, Steele gets his introspective side on, discussing his partnership with Tek and paying homage to those who have fallen. DJ Evil Dee lays down a less than stellar beat for the duo to rap over, but Steele's content is enough to overcome that...almost.
FINAL THOUGHTS
If I had to use one word to describe Dah Shinin', I would say that it is consistent. Very consistent. The production is fairly uniform throughout, as it consists mainly of those dusty, banging drums I alluded to earlier supported by the occasional light instruments. Smif-N-Wessun's subject matter remains virtually the same on all 15 tracks, too, as they mainly talk about their life on the streets and puffing...you know.
While I don't think Dah Shinin' is as good as Nocturnal or Enta Da Stage, it certainly has its place in hip-hop history, as Da Beatminerz lay down some of the best simple beats (if that makes sense) I've ever heard. This is the quintessential album to listen to when you just feel like laying back and clearing your head.
If you're looking for deep lyricism, Dah Shinin' probably isn't the way to go. Tek and Steele are not great lyricists. They do, however, possess outstanding mic presence and phenomenal flow and versatility. Few rappers can switch up their delivery right in the the middle of the track like Tek and Steele can; it is an art that they have mastered.
I think it's pretty obvious that Smif-N-Wessun's debut would not hold up all that well in today's market. There are no club bangers on this, and, for the most part, the production is relatively subdued. Still, that does not mean it isn't a classic that should be a part of any rap fan's musical assortment.
TOP FIVE TRACKS
1. Next Shit
2. Let's Git It On
3. Wipe Ya Mouf
4. Stand Strong
5. Sound Bwoy Bureil
SKIPPABLE TRACKS
None.
