tag:blogger.com,1999:blog-7728237645285842332024-03-21T23:17:48.774-04:00HIP-HOP: IT'S ALIVEHip-Hop Album Reviews to Educate and Entertain.Matthttp://www.blogger.com/profile/08809018195805797755noreply@blogger.comBlogger107125tag:blogger.com,1999:blog-772823764528584233.post-4484302545558995952013-10-27T11:02:00.000-04:002013-10-27T11:02:19.250-04:00Album Review: "Blah, Blah, Blah" - Blahzay Blahzay (1996)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvlPO9FmplRKypE-uEjHKkNZVTpacIwxuLAIZivEAaubEHhctYE9mJNWlsj0NWuTycdaVTy9tECi1_5xzDkZrLcvzQZfSdaKVGw_od0qpuPoc8GXKnw7XS8ZjRKf2jULSw8_LzRBEsrCQ/s1600/blahzay+blahzay.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvlPO9FmplRKypE-uEjHKkNZVTpacIwxuLAIZivEAaubEHhctYE9mJNWlsj0NWuTycdaVTy9tECi1_5xzDkZrLcvzQZfSdaKVGw_od0qpuPoc8GXKnw7XS8ZjRKf2jULSw8_LzRBEsrCQ/s1600/blahzay+blahzay.jpg" /></a></div>
<span style="font-family: Verdana, sans-serif;"><b>INTRODUCTION</b></span><br />
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<span style="font-family: Verdana, sans-serif;">So here's what I know about Blahzay Blahzay: they were a Long Island, New York duo comprised of producer DJ PF Cuttin and rapper MC Out Loud and dropped one album, the title of which could accurately describe what rappers have to say nowadays (<i>Blah, Blah, Blah</i>).</span><br />
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<span style="font-family: Verdana, sans-serif;">Blahzay Blahzay burst upon the scene in 1995 when they released their hit single "Danger," and in '96, their debut album hit the shelves. After that, though, they were never heard from as a duo again.</span><br />
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<span style="font-family: Verdana, sans-serif;">PF Cuttin still produces (he is actually tight with Sean Price), and I'm sure Out Loud is doing some rapping <i>somewhere</i>. However, as far as Blahzay Blahzay is concerned, the group is defunct (or, at the very least, in a very, <i>very</i> long period of dormancy).</span><br />
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<span style="font-family: Verdana, sans-serif;">I won't pretend to know anything else about this duo, because, well, I don't. Still, <i>Blah, Blah, Blah</i> has been hailed as an underground gem by some.</span><br />
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<span style="font-family: Verdana, sans-serif;">Let's see how much weight that praise holds.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>TRACK-BY-TRACK</b></span><br />
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<span style="font-family: Verdana, sans-serif;"><b>1. Intro</b></span><br />
<span style="font-family: Verdana, sans-serif;">Well, there's that.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>2. Blah, Blah, Blah</b></span><br />
<span style="font-family: Verdana, sans-serif;">The first actual song on the album freaking <i>knocks</i>. PF Cuttin's beat consists of some banging drums and a sparse piano sample, and Out Loud does a fine job ripping it, especially with his "females feel it in their ovaries" line. The instrumental carries on by itself for the final minute-and-a-half or so, and while I normally cringe when that happens, I actually didn't mind it this time. This title track is just an all-around great record.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>3. Medina's In The House</b></span><br />
<span style="font-family: Verdana, sans-serif;">This short skit, which utilizes Dr. Dre's "Nuthin' But a G Thang" beat for all of 14 seconds, was <i>kind</i> of a West Coast diss. Too bad Blahzay Blahzay didn't have enough of a following for it to make any sort of dent.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>4. Danger Part 2</b></span><br />
<span style="font-family: Verdana, sans-serif;">The sequel to the aforementioned hit single. I'm not sure why this comes before the original in the tracklisting, but who cares? This absolutely <i>bangs</i>. You've gotta love PF Cuttin's dusty drums, and the light sample is awesome. Trigger Tha Gambler, Dark Man (who, contrary to popular belief, is <i>not</i> La The Darkman; just listen to his verse, for God's sake; sounds <i>nothing</i> like La) and Smoothe Da Hustler all drop by to apply guest verses. They all tear it to bits, too, with Smoothe walking away the victor. This is<i> fantastic</i>.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>5. Don't Let This Rap Shit Fool You</b></span><br />
<span style="font-family: Verdana, sans-serif;">The first misstep. The organ sample that PF Cuttin utilizes just isn't all that palatable, and not even a solid performance on the mic by Out Loud can save it. It doesn't help that this runs nearly <i>six freaking minutes long</i>, either.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>6. Pain I Feel</b></span><br />
<span style="font-family: Verdana, sans-serif;"><i>Ah</i>, back on the right track. Much like the first two actual cuts on <i>Blah, Blah, Blah</i>, "Pain I Feel" (which was the album's second single) <i>rocks</i>. PF Cuttin's production is both hard and soulful at the same time, and Out Loud absolutely <i>shreds</i> it, even if he doesn't actually talk about the pain he feels at any point of the song (unless I missed something).</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>7. Posse Jumpa</b></span><br />
<span style="font-family: Verdana, sans-serif;">The first thing I noticed about this track is how guest artist Mental Magician sounds like a combination of Smoothe Da Hustler and Top Dog from Originoo Gunn Clappaz. Anyway, the PF Cuttin beat is a bit repetitive, but it isn't bad, and Out Loud, Mental Magician and Dark Man (once again, <i>not</i> La) all do it justice. Decent record, even if it runs a bit too long.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>8. Maniac Cop</b></span><br />
<span style="font-family: Verdana, sans-serif;">Skit.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>9. Good Cop/Bad Cop</b></span><br />
<span style="font-family: Verdana, sans-serif;">One thing you'll notice about PF Cuttin's instrumentals is how consistently dusty his drums are, and that's always a positive. He integrates some pretty dope vocal samples into his productions, too, which is also a plus. Out Loud engages in some pretty vivid storytelling here, showcasing his versatility as a rapper and making you wonder why his career never really took off.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>10. Sendin' Dem Back</b></span><br />
<span style="font-family: Verdana, sans-serif;">This cut just isn't able to match the energy level of much of the rest of the album. That's all I've got.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>11. Long Winded</b></span><br />
<span style="font-family: Verdana, sans-serif;">Mental Magician (who I really like) is here again, and Verbal Fist (who <i>also</i> sounds like Top Dog; what the <i>hell</i> is going on here?) and Verbal Hoods join him and Out Loud over the simple PF Cuttin beat. In the end, "Long Winded" just isn't all that impressive and is exactly what its title says.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>12. Jackpot</b></span><br />
<span style="font-family: Verdana, sans-serif;">Believe it or not, "Jackpot" is the first song on <i>Blah, Blah, Blah</i> that clocks in at under four minutes long. That doesn't mean it's any good, though, as this is nothing more than average. It's more boring than anything else, but hey; it's short, so that counts for <i>something</i>.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>13. Danger</b></span><br />
<span style="font-family: Verdana, sans-serif;">The aforementioned single, and I can definitely see why it was such a hit: it's entertaining as <i>hell</i>. Oddly enough, this wasn't produced by PF Cuttin. Domingo is on the boards here, and his instrumental (which contains a vocal sample from Jeru The Damaja's famous track "Come Clean") is actually somewhat goofy while still being extremely effective, and Out Loud blesses it properly. Even if I do like the sequel better, "Danger" is still pretty freaking good.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>FINAL THOUGHTS</b></span><br />
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<span style="font-family: Verdana, sans-serif;"><i>Blah, Blah, Blah</i> isn't a classic album, as there are too many dull songs on it for me to give it that label. Still, this was a fairly entertaining listen, and like I say about a lot of other overlooked '90s projects, the best tracks on here are <i>really</i> good.</span><br />
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<span style="font-family: Verdana, sans-serif;">You will likely be impressed with MC Out Loud's ability on the mic; he sounds like Superman in the booth on quite a few of these records. He is able to easily match his delivery to the flow of PF Cuttin's beats, and he is actually a very solid lyricist on top of that.</span><br />
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<span style="font-family: Verdana, sans-serif;">Many of you will also find a lot to like in PF Cuttin's instrumentals, especially if you're a fan of artists like the Wu-Tang Clan. As I said numerous times in the review, his drums are very dusty and grimy, and his samples are generally sparse enough where they don't interfere with the rapping.</span><br />
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<span style="font-family: Verdana, sans-serif;">That being said, quite a few of PF Cuttin's productions on <i>Blah, Blah, Blah</i> were rather boring, and the worst part about that is the fact that most of them were also <i>really</i> long. There was absolutely no reason why some of the cuts on this album had to be over five minutes long, especially when the final two minutes or so of the songs consisted of the beat playing out until the end.</span><br />
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<span style="font-family: Verdana, sans-serif;">All things considered, this is a solid piece of work that absolutely deserves a listen. Out Loud warrants some attention as an MC, and PF Cuttin is certainly worthy of some praise as a producer, even if he laid some clunkers on here.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>TOP TRACKS</b></span><br />
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<span style="font-family: Verdana, sans-serif;">1. Danger Part 2</span><br />
<span style="font-family: Verdana, sans-serif;">2. Pain I Feel</span><br />
<span style="font-family: Verdana, sans-serif;">3. Blah, Blah, Blah</span><br />
<span style="font-family: Verdana, sans-serif;">4. Danger</span><br />
<span style="font-family: Verdana, sans-serif;">5. Posse Jumpa</span>Matthttp://www.blogger.com/profile/08809018195805797755noreply@blogger.com0tag:blogger.com,1999:blog-772823764528584233.post-67996331444353227282013-10-15T12:23:00.001-04:002013-10-15T15:06:48.998-04:00Album Review: "Life's a 50/50 Gamble" - Trigger Tha Gambler (1998)<div class="separator" style="clear: both; text-align: center;">
<a href="http://slupmi.zip.net/images/triggerthagambler.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://slupmi.zip.net/images/triggerthagambler.jpg" /></a></div>
<span style="font-family: Verdana, sans-serif;"><b>INTRODUCTION</b></span><br />
<span style="font-family: Verdana, sans-serif;"><b><br /></b></span>
<span style="font-family: Verdana, sans-serif;">Trigger Tha Gambler's rap career started in 1996 when he appeared on <i>Once Upon a Time In America</i> (which I reviewed <a href="http://hiphopitsalive.blogspot.com/2013/09/album-review-once-upon-time-in-america.html">here</a>), the debut album of his brother, Smoothe Da Hustler. Trigger teamed up with Smoothe for four songs, with "Broken Language" and "My Brother My Ace" being the two biggest "hits." Def Jam liked his performance so much that they signed him to a deal.</span><br />
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<span style="font-family: Verdana, sans-serif;">Little did Trigger Tha Gambler know that he was about to be screwed over (a record label screwing over an artist? <i>Never</i>).</span><br />
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<span style="font-family: Verdana, sans-serif;">His first single, "My Crew Can't Go For That" (which featured Smoothe Da Hustler), actually garnered some radio airplay and reaffirmed Def Jam's faith in their decision to sign the man. However, that faith quickly dissipated once they heard Trigger's finished product, <i>Life's a 50/50 Gamble</i>.</span><br />
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<span style="font-family: Verdana, sans-serif;">The label shelved the album, and it was never officially released. I guess it wasn't "radio-friendly" enough, and let's remember that 1998 represented a time where we were beginning to see a shift in hip-hop, a shift that would ultimately destroy the genre and result in the type of garbage that we hear permeating the airwaves today.</span><br />
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<span style="font-family: Verdana, sans-serif;">Trigger Tha Gambler would never be heard from as a solo artist again. He made a few guest appearances here and there, but that was it. My guess is that he became so disgusted with the industry that he simply chose to give up and pursue other interests, but who knows what really happened?</span><br />
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<span style="font-family: Verdana, sans-serif;">Anyway,<i> Life's a 50/50 Gamble</i> is produced entirely by DR Period, the man who also produced most of <i>Once Upon a Time In America</i>. So, obviously, you'd expect the two projects to sound very similar.</span><br />
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<span style="font-family: Verdana, sans-serif;">I am actually not sure how similar this LP sounds to Smoothe's debut disc, however, for the mere fact that this will be my first time listening to it. Yep; that's right. <i>Life's a 50/50 Gamble</i> will be a new experience for what I assume to be all of us.</span><br />
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<span style="font-family: Verdana, sans-serif;">Let's see how right or wrong of a decision Def Jam made.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>TRACK-BY-TRACK</b></span><br />
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<span style="font-family: Verdana, sans-serif;"><b>1. Intro</b></span><br />
<span style="font-family: Verdana, sans-serif;">A standard intro? Well, so far I'm siding with Def Jam.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>2. Hitman</b></span><br />
<span style="font-family: Verdana, sans-serif;">Well, not anymore. Trigger Tha Gambler gets things off to an <i>awesome</i> start with the first actual song on the album. DR Period's beat <i>knocks</i>, and D.V. Alias Khrist comes through and puts down an outstanding guest appearance much like he did on Smoothe Da Hustler's "Dollar Bill." It also helps that Trigger freaking <i>rips</i> this.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>3. My Crew Can't Go For That</b></span><br />
<span style="font-family: Verdana, sans-serif;">The aforementioned first single by Trigger Tha Gambler. D.V. Alias Khrist is here again, and not surprisingly, he delivers, although this isn't as good as some of his other guest spots. Smoothe Da Hustler also makes his first of many appearances on <i>Life's a 50/50 Gamble</i>, and as you're listening to his verses on this track, you'll have to remind yourself that this is not <i>Once Upon a Time In America</i>. The overall verdict for "My Crew Can't Go For That"? It's decent, but DR Period's instrumental leaves a little to be desired.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>4. Broken Language Pt. 2</b></span><br />
<span style="font-family: Verdana, sans-serif;">The sequel to <i>Once Upon a Time In America's</i> "Broken Language." To be perfectly honest, this sounds strikingly similar to the original. I do like Trigger's performance on this better than the former, however. That's all I've got.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>5. Nickel Plated Nine</b></span><br />
<span style="font-family: Verdana, sans-serif;">DR Period certainly likes using piano-laden samples; that's for sure. This is pretty boring overall.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>6. Nothing Can Stop Me</b></span><br />
<span style="font-family: Verdana, sans-serif;">I actually like this quite a bit. DR Period's production is thoroughly engaging, and Case adds a nice element to the record with his crooning on the hook. Plus, Wu-Tang affiliate Rhyme Recka comes through and drops a couple of pretty tight verses to complement Trigger Tha Gambler's satisfactory output.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>7. 50/50 Gamble</b></span><br />
<span style="font-family: Verdana, sans-serif;">I really like Trigger as an MC. He takes what is nothing more than a decent beat on "50/50 Gamble" and makes it infinitely listenable with an <i>extremely</i> dope performance on the mic. Smoothe Da Hustler is on this cut as well, but he only does the hook. That's a good thing, too, because it would have been a shame if he interrupted this scintillating showing by his brother.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>8. Smoothe Da Hustler Interlude</b></span><br />
<span style="font-family: Verdana, sans-serif;">Skit.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>9. Welcome To The World</b></span><br />
<span style="font-family: Verdana, sans-serif;">This is alright. DR Period's beat is kind of bland, and while Trigger Tha Gambler is once again solid, this time, his raps just aren't enough to overcome the repetitive instrumental. Also, this album may as well have been called <i>Once Upon a Time In America Pt. 2</i>.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>10. Bust</b></span><br />
<span style="font-family: Verdana, sans-serif;">What the <i>hell</i> is that on DR Period's production? A freaking orgasm? This is absolutely <i>awful</i>. Good <i>God</i>. Not even D.V. Alias Khrist is able to save this song from its utter awfulness, and Smoothe Da Hustler sounds incredibly out of his element on the fast-paced production.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>11. Rugged</b></span><br />
<span style="font-family: Verdana, sans-serif;">DR Period's beat sounds like something RZA would have made when he was 12. Still, anything that resembles a prime RZA instrumental is passable in my book. I'm not sure what purpose Foxy Brown's contribution served, though. At the very least, this is a hell of a lot better than "Bust," although I suppose that is not much of an accomplishment.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>12. Can U Feel It</b></span><br />
<span style="font-family: Verdana, sans-serif;">Alright. This album is really starting to get boring.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>13. Meetcha Maker</b></span><br />
<span style="font-family: Verdana, sans-serif;">Keith Murray stops by here, and appropriately, DR Period's production sounds very Erick Sermon-ish. Albeit, it's more of a poor man's Erick Sermon beat, but it works, nonetheless. Murray steals the show, although Trigger is able to remain in the same ballpark.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>14. Scandalous</b></span><br />
<span style="font-family: Verdana, sans-serif;">Rhyme Recka, who actually sounds quite a bit like Redman, makes his second appearance on <i>Life's a 50/50 Gamble</i> here, and he does a <i>great</i> job over a solid beat. Trigger Tha Gambler comes correct, as well. The only downside to "Scandalous" is the fact that D.V. Alias Khrist comes with what is probably his weakest (and most useless) performance.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>15. Make a Move</b></span><br />
<span style="font-family: Verdana, sans-serif;">I like this one a <i>lot</i>. DR Period's instrumental is almost J Dilla-like with a touch of Da Beatminerz, and Trigger <i>rips</i> it. D.V. Alias Khrist drops a pretty awesome verse, too. This is a <i>great</i> way to end the album, which really picked up some much-needed momentum at its conclusion.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>FINAL THOUGHTS</b></span><br />
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<span style="font-family: Verdana, sans-serif;"><i>Life's a 50/50 Gamble</i> is a decent album that absolutely (and not surprisingly) parallels Smoothe Da Hustler's <i>Once Upon a Time In America</i>. Trigger Tha Gambler is thoroughly entertaining throughout, and although some of DR Period's beats are pretty bland, enough of them work to make this listenable.</span><br />
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<span style="font-family: Verdana, sans-serif;">As you can tell, there are quite a bit of guest appearances on this project, and while that is usually frowned upon, they predominantly work here. Rhyme Recka shines twice, and D.V. Alias Khrist adds a nice element to most of the songs he is on. That dude really should have blown up. I'm not sure why he didn't.</span><br />
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<span style="font-family: Verdana, sans-serif;">So, did Def Jam make a mistake in shelving this?</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">Well, yes and no.</span><br />
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<span style="font-family: Verdana, sans-serif;">Yes in the fact that <i>Life's a 50/50 Gamble</i> is certainly a competent LP that would have been looked favorably upon by hip-hop critics, and no because it sounded far too much like<i> Once Upon a Time In America</i> and probably would not have moved too many units.</span><br />
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<span style="font-family: Verdana, sans-serif;">Is that necessarily fair? No, because there has been plenty of trash released on Def Jam, but let's be honest: in 1998, we were beginning to reach a point where actual quality did not matter as much. Hip-hop had fallen off dramatically after '96, and much of that blame falls on the record labels.</span><br />
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<span style="font-family: Verdana, sans-serif;">Anyway, if you liked <i>Once Upon a Time In America</i>, you should definitely give this a spin. Everyone else can just pick and choose your favorite tracks from here and put those onto your iPod.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>TOP TRACKS</b></span><br />
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<span style="font-family: Verdana, sans-serif;">1. Hitman</span><br />
<span style="font-family: Verdana, sans-serif;">2. Make a Move</span><br />
<span style="font-family: Verdana, sans-serif;">3. Nothing Can Stop Me</span><br />
<span style="font-family: Verdana, sans-serif;">4. 50/50 Gamble</span><br />
<span style="font-family: Verdana, sans-serif;">5. Scandalous</span>Matthttp://www.blogger.com/profile/08809018195805797755noreply@blogger.com2tag:blogger.com,1999:blog-772823764528584233.post-62478260302801745862013-10-09T11:23:00.000-04:002013-10-09T11:23:17.714-04:00Album Review: "Between a Rock and a Hard Place" - Artifacts (1994)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsOIsHNdFNJ3wWyPM4l4_iNiWwslqDvagcY56zyIhG3G69nr179Gq7mOCKTD1LsoBvb7wirKiLdPND4txcYejOG6264z8aAcO5yYo_q1qne8ODQH-4tGe3HKoZDuQFLRzn016exlChApqO/s400/00-artifacts-between_a_rock_and_a_hard_Place-1994-nhh_int-front.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsOIsHNdFNJ3wWyPM4l4_iNiWwslqDvagcY56zyIhG3G69nr179Gq7mOCKTD1LsoBvb7wirKiLdPND4txcYejOG6264z8aAcO5yYo_q1qne8ODQH-4tGe3HKoZDuQFLRzn016exlChApqO/s400/00-artifacts-between_a_rock_and_a_hard_Place-1994-nhh_int-front.JPG" /></a></div>
<span style="font-family: Verdana, sans-serif;"><b>INTRODUCTION</b></span><br />
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<span style="font-family: Verdana, sans-serif;">The Artifacts are a hip-hop group from Newark that released two critically acclaimed albums in the '90s, the first being the subject of this review, <i>Between a Rock and a Hard Place</i>.</span><br />
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<span style="font-family: Verdana, sans-serif;">There are three members: El Da Sensei, Tame One (Redman's cousin) and DJ Kaos. Due to some internal differences within the group, the trio broke up after their 1997 release, <i>That's Them</i>, but they resurfaced in 2010 and apparently have a third album in the works. God only knows whether they will actually complete it, though.</span><br />
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<span style="font-family: Verdana, sans-serif;">Artifacts first gained popularity with their single, "Wrong Side of Da Tracks," which is one of the more well-known graffiti songs in hip-hop. In case you were wondering, yes; Artifacts <i>are</i> graffiti artists themselves.</span><br />
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<span style="font-family: Verdana, sans-serif;"><i>Between a Rock and a Hard Place</i> is considered an underground classic, consisting of some production by Buckwild, Rockwilder and Redman (no surprise there). However, most of the beats are predominantly handled by T-Ray, who also did some work with Cypress Hill.</span><br />
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<span style="font-family: Verdana, sans-serif;">I don't really know much else about the Artifacts, so let's just jump into the review, shall we?</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>TRACK-BY-TRACK</b></span><br />
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<span style="font-family: Verdana, sans-serif;"><b>1. Drama (Mortal Combat Facility)</b></span><br />
<span style="font-family: Verdana, sans-serif;">Artifacts sure wasted a pretty dope beat (not to mention a pretty dope song title) on an album intro.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>2. C'mon Wit Da Git Down</b></span><br />
<span style="font-family: Verdana, sans-serif;">Buckwild is on the boards here, and like I've said numerous times on this blog: not many producers are seeing a prime Buckwild. This freaking <i>knocks</i> and was a great choice for a single. Well, back in '94, anyway. If this song were to be released as a single today, it wouldn't even see the light of day on even the grimiest of grimy underground radio stations.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>3. Wrong Side of Da Tracks</b></span><br />
<span style="font-family: Verdana, sans-serif;">The aforementioned "breakthrough" single for the Artifacts. You've gotta love the melody of T-Ray's beat, and it's cool to hear this type of content considering you absolutely <i>never</i> hear it anymore. <i>Between a Rock and a Hard Place</i> is certainly off to a great start; that's for <i>damn</i> sure.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>4. Heavy Ammunition</b></span><br />
<span style="font-family: Verdana, sans-serif;">This may very well be the best track here so far. This <i>bangs</i>, right from the T-Ray instrumental to the choice of vocal samples on the hook. It also helps that Tame One and El Da Sensei <i>rip</i> this. El Da Sensei's performance was particularly impressive.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>5. Attack of New Jeruzalem</b></span><br />
<span style="font-family: Verdana, sans-serif;">Another Buckwild production. Not surprisingly, it's engaging as hell. Both Artifacts rappers tear it to shreds, but it's guest rapper Jay Burnz who steals the show and absolutely, positively <i>demolishes</i> this. Also, for those of you who may not know, "New Jerusalem" is a nickname for the state of New Jersey. I'm not necessarily sure how Jersey relates to Jerusalem, but hey; I didn't invent the moniker.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>6. Notty Headed Nigguhz</b></span><br />
<span style="font-family: Verdana, sans-serif;">The only aspect of 2013 hip-hop that is superior to golden era hip-hop is spelling. I'm not sure why just about every '90s artist felt it was necessary to butcher 90 percent of their song titles, but whatever; this <i>knocks</i> regardless, which is becoming a rather common theme on this album.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>7. Whayback</b></span><br />
<span style="font-family: Verdana, sans-serif;">This is the first track on <i>Between a Rock and a Hard Place</i> that doesn't truly "knock." That's not to say this isn't solid, though, because T-Ray's beat is decent enough and both El Da Sensei and Tame One do well for themselves. Still, this ultimately ends up running a bit too long.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>8. Flexi Wit Da Tech (Nique)</b></span><br />
<span style="font-family: Verdana, sans-serif;">Well, this record is proof that the Artifacts aren't invincible. This is really boring and actually ends up sounding more something like a West Coast group such as Hieroglyphics would do. That's not to say that Hieroglyphics are boring, because they are certainly <i>not</i>, but this is <i>East</i> Coast hip-hop.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>9. Cummin' Through Ya Block</b></span><br />
<span style="font-family: Verdana, sans-serif;">Why in the world the Artifacts had to spell the word "coming" like that, I have no idea. <i>Anyway</i>, this is the cut that Redman produced. He makes an appearance here, too, but don't get too excited: it's just on the hook. Lame; I know. Also, Reggie's bassline is <i>far</i> too overwhelming, as it simply overpowers the instrumental and the rappers. Perhaps this song would have been better if Redman dropped an actual <i>verse</i>. Probably not, though, because the production just isn't all that good.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>10. Lower Da Boom</b></span><br />
<span style="font-family: Verdana, sans-serif;">This is a weed track, which is kind of weird, because I don't see how the title has <i>anything</i> to do with smoking, but whatever. This record is <i>okay</i>, but I am actually starting to lose some interest in this album thanks to the sheer mediocrity of these last four cuts. There is absolutely no reason why "Lower Da Boom" needed to be over five minutes long, either.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>11. What Goes On?</b></span><br />
<span style="font-family: Verdana, sans-serif;">Yet another song that has very little replay value, and this was actually produced by my boy Buckwild. Seriously; what the heck <i>happened</i> to this album after track No. 6?</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>12. Dynamite Soul</b></span><br />
<span style="font-family: Verdana, sans-serif;">And we're <i>finally</i> back on the right track. This is pretty freaking good, especially the vocal sample on the hook. The horns that are scattered throughout the record add a nice touch, too. T-Ray's drums could have been a tad stronger, though.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>13. Whassup Now Muthafucka?</b></span><br />
<span style="font-family: Verdana, sans-serif;">This absolutely <i>bangs</i> and was a great way for Artifacts to close out B<i>etween a Rock and a Hard Place</i>. It was too short, though. Seriously guys; of all songs to make under three minutes long, you chose <i>this</i> one?</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>FINAL THOUGHTS</b></span><br />
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<span style="font-family: Verdana, sans-serif;">Thanks to the start of the album (and, to a lesser extent, its conclusion), I can safely say that <i>Between a Rock and a Hard Place</i> is somewhat deserving of the "classic" label that has been thrown upon it by some. It's not one of the best albums of all-time or anything, but as a whole, it's still pretty damn good.</span><br />
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<span style="font-family: Verdana, sans-serif;">What I like about the Artifacts is that El Da Sensei and Tame One are equally skilled as rappers; neither one outshines the other like in just about every other duo or group known to mankind. Both are extremely effective on the mic, bringing great energy, infinitely listenable voices and solid lyricism and delivery.</span><br />
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<span style="font-family: Verdana, sans-serif;">I also think it's pretty interesting how both rappers can kind of pass for West Coast guys. Like I said in "Flexi Wit Da Tech (Nique)"; they do have a Hieroglyphics-like cadence at times. That probably means that fans of that type of West Coast hip-hop will gravitate toward these dudes, and that's great, because it means that the Artifacts' fanbase is potentially nationwide.</span><br />
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<span style="font-family: Verdana, sans-serif;">As far as the beats, save for that four-track lull in the middle of the project, most of them freaking <i>bang</i>, making me wonder why T-Ray didn't really blow up as a producer and get any calls elsewhere. Seriously; Redman couldn't hit this dude up for a couple of beats? Maybe he did. If I am wrong, let me know, but I don't recall ever seeing T-Ray's name in the liner notes of any of Reggie's albums.</span><br />
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<span style="font-family: Verdana, sans-serif;">Overall, I'd definitely recommend <i>Between a Rock and a Hard Place</i> no matter <i>what</i> type of hip-hop you prefer. Yes, there are a few songs on here that are pretty skippable, but the album holds up well as a whole.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>TOP TRACKS</b></span><br />
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<span style="font-family: Verdana, sans-serif;">1. Heavy Ammunition</span><br />
<span style="font-family: Verdana, sans-serif;">2. C'mon Wit Da Git Down</span><br />
<span style="font-family: Verdana, sans-serif;">3. Attack of New Jeruzalem</span><br />
<span style="font-family: Verdana, sans-serif;">4. Whassup Now Muthafuckas?</span><br />
<span style="font-family: Verdana, sans-serif;">5. Wrong Side of Da Tracks</span>Matthttp://www.blogger.com/profile/08809018195805797755noreply@blogger.com0tag:blogger.com,1999:blog-772823764528584233.post-35390428529699767842013-10-04T10:33:00.000-04:002013-10-04T10:33:38.203-04:00Album Review: "Bacdafucup" - Onyx (1993)<div class="separator" style="clear: both; text-align: center;">
<a href="http://therapup.net/wp-content/uploads/2013/07/Bacdafucup-Onyx.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="315" src="http://therapup.net/wp-content/uploads/2013/07/Bacdafucup-Onyx.jpg" width="320" /></a></div>
<span style="font-family: Verdana, sans-serif;"><b>INTRODUCTION</b></span><br />
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<span style="font-family: Verdana, sans-serif;">When you think of raw, grimy and uninhibited hip-hop (wow; try saying "uninhibited hip-hop" 10 times fast), one of the first groups that <i>should</i> come to your mind is Onyx.</span><br />
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<span style="font-family: Verdana, sans-serif;">Onyx was originally comprised of four members: Sticky Fingaz (being the most well-known member of the group), Fredro Starr, Suavé (who would later change his name to "Sonsee") and the late Big DS, who left after Onyx's debut album and the subject of this writeup, <i>Bacdafucup</i>.</span><br />
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<span style="font-family: Verdana, sans-serif;">Onyx formed in 1988 without Sticky Fingaz (yes; believe it or not, he was the last member to join, which is funny because he became the only one out of the group to forge a successful solo career). In 1990, they released their first song called "Ah, and We Do It Like This." Two years later, after Sticky had jumped aboard, Onyx dropped "Throw Ya Gunz," a track that would end up being the first single off of <i>Bacdafucup</i>.</span><br />
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<span style="font-family: Verdana, sans-serif;"><i>Bacdafucup</i> enjoyed both critical and commercial success, thanks much in part to the hit record "Slam" which became a staple in hip-hop (seriously; do you know anyone who <i>hasn't</i> heard that song before?). The album achieved platinum status just seven months after its release.</span><br />
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<span style="font-family: Verdana, sans-serif;">Featuring production mostly from Chyskillz and the late Jam Master Jay (yes; of Run-DMC), <i>Bacdafucup</i> has been praised for its gritty, hardcore sound that is considered some of the best pump-up music that hip-hop has to offer.</span><br />
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<span style="font-family: Verdana, sans-serif;">Is <i>Bacdafucup</i> a classic?</span><br />
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<span style="font-family: Verdana, sans-serif;">Well, let's get to it. You know the drill.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>TRACK-BY-TRACK</b></span><br />
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<span style="font-family: Verdana, sans-serif;"><b>1. Bacdafucup</b></span><br />
<span style="font-family: Verdana, sans-serif;">Oddly enough, I haven't seen many intros or skits named after the album title. This is one rare example. It's really disappointing that the beat for this 48-second intro absolutely <i>knocks</i>. Onyx should have used it for an actual song rather than waste it on a freaking <i>skit</i> (a huge pet-peeve of mine).</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>2. Bichasniguz</b></span><br />
<span style="font-family: Verdana, sans-serif;">The horrendous spelling of the title notwithstanding (get used to it), the first real track on <i>Bacdafucup</i> <i>bangs</i>. The instrumental by Chyskillz and Jam Master Jay is <i>awesome</i>, and each Onyx member tears it to shreds. It's really cool how well all four dudes sound together, as they possess very similar voices and deliveries. Also doesn't the hook ("bitch ass niggas I'ma have to pull your skirt up") apply to so many "rappers" in the game today?</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>3. Throw Ya Gunz</b></span><br />
<span style="font-family: Verdana, sans-serif;">The aforementioned first single. The Chyskillz production freaking <i>knocks</i>, and Suavé, Fredro Starr and Sticky Fingaz rip it up. You'll probably notice that Fredro Starr's first line in his verse is the vocal sample that is used in Jeru The Damaja's "Come Clean." Also, one of Sticky Fingaz's bars was sampled in Chino XL's "Riiiot!" Obviously, other artists respect what a <i>dope</i> record "Throw Ya Gunz" is.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>4. Here 'n' Now</b></span><br />
<span style="font-family: Verdana, sans-serif;">This isn't bad, but it's not on the same level as the two-headed monster that <i>Bacdafucup</i> opened with. That's all I've got.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>5. Bust Dat Ass</b></span><br />
<span style="font-family: Verdana, sans-serif;">This is a skit, but you know what? <i>It's really freaking catchy</i>. This is the first time I have ever complimented a skit, and it will almost surely be the <i>last</i>.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>6. Atak of Da Bal-Hedz</b></span><br />
<span style="font-family: Verdana, sans-serif;">I don't think it's possible to butcher the spelling of this cut any worse than Onyx did, but hey; I'm not here to judge their English. The energy level is <i>extremely</i> high here, but I found myself lamenting the fact that Fredro Starr (who is my favorite Onyx member, by the way) isn't on this song.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>7. Da Mad Face Invasion</b></span><br />
<span style="font-family: Verdana, sans-serif;">Skit.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>8. Blac Vagina Finda</b></span><br />
<span style="font-family: Verdana, sans-serif;">I find it pretty funny how "vagina' is one of the only words Onyx chose to spell correctly on <i>Bacdafucup</i>, but then again, <i>is</i> there a way to spell that differently (and incorrectly) without <i>completely</i> changing the pronunciation? Wow, who am I <i>kidding</i>? I'm sure Onyx could have found a way. <i>Anyway</i>, despite the goofy title and unbelievably questionable (and grossly misogynistic) content, this <i>bangs</i> thanks to the beat by Chyskillz and Jam Master Jay.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>9. Da Bounce Nigga</b></span><br />
<span style="font-family: Verdana, sans-serif;">Okay; the volume of these skits is getting irritating, and by "volume," I don't mean how loud they are, which is actually pretty ironic given how loud the dudes in Onyx actually rap.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>10. Nigga Bridges</b></span><br />
<span style="font-family: Verdana, sans-serif;">This is probably the worst track here so far, so, naturally, it's the second-longest record on the album. Interpolating "London Bridge" on the chorus is pretty humorous, though.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>11. Onyx Is Here</b></span><br />
<span style="font-family: Verdana, sans-serif;">And we're back on the right track. This absolutely <i>bangs</i>, and Fredro actually sounds convincing in saying "Onyx is the antidote for all of your problems." The best part of "Onyx Is Here," however, is easily the hook. The horns and the chanting by Onyx will make your blood boil.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>12. Slam</b></span><br />
<span style="font-family: Verdana, sans-serif;">I'll say it again: who <i>hasn't</i> heard this song? If you watch the NBA at all, chances are, you've definitely heard it, as it was the background music for a Vince Carter commercial back in the day (I'm sure some of you at least <i>vaguely</i> remember that). Anyway, "Slam" dropped back in a period where the most radio-friendly record on an album could also be its best cut, unlike today where it is laughable piffle 99.9 percent of the time. This will <i>always</i> knock, and if you disagree, then maybe you should go listen to EDM or something. Or you can monitor the ever-interesting life of Kanye Kardash...er, Kanye <i>West</i>.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>13. Stik 'n' Move</b></span><br />
<span style="font-family: Verdana, sans-serif;">"Stik 'n' Move" contains what is probably the most playful beat on <i>Bacdafucup</i>. You can decide for yourself whether that is a good thing or a bad thing. </span><br />
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<span style="font-family: Verdana, sans-serif;"><b>14. Bichasbootleguz</b></span><br />
<span style="font-family: Verdana, sans-serif;">Skit No. 568.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>15. Shifftee</b></span><br />
<span style="font-family: Verdana, sans-serif;">This was actually the third and final single off of the album. While it's not "Throw Ya Gunz" or "Slam," it's still pretty freaking great. The hook in particular is awesome, and Fredro Starr absolutely eats up the dark-as-hell beat by Chyskillz and Jam Master Jay. "Shifftee" also carries the distinction of being the longest track on <i>Bacdafucup</i>.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>16. Phat ('N' All Dat)</b></span><br />
<span style="font-family: Verdana, sans-serif;">I know Onyx is supposed to be loud, but on this record, their voices just overpower the instrumental to the point where it is barely even audible. I feel like this cut is more filler than anything else.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>17. Da Nex Niguz</b></span><br />
<span style="font-family: Verdana, sans-serif;">This song just does not fit within the context of the album. At <i>all</i>. Not only that, but it just isn't very good.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>18. Getdafucout</b></span><br />
<span style="font-family: Verdana, sans-serif;">You know, instead of wasting dope-ass beats on both the intro <i>and</i> the outro, why not make an actual <i>song</i> out of at least one of them?</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>FINAL THOUGHTS</b></span><br />
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<span style="font-family: Verdana, sans-serif;"><i>Bacdafucup</i> is definitely an entertaining listen; there is no doubt about that. Each and every member of the group is a good MC, and that even includes the late Big DS who doesn't rap nearly as often as the other three. Plus, a lot of the production on here <i>knocks</i>.</span><br />
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<span style="font-family: Verdana, sans-serif;">When you first hear Onyx, the first thought that probably pops into your mind is, "Okay; I can definitely listen to a couple of their songs, but a whole album would be overkill." It's not a baseless expectation either, as I can definitely see why their constant shouting could seem off-putting. That being said, <i>Bacdafucup</i> holds up surprisingly well from start-to-finish.</span><br />
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<span style="font-family: Verdana, sans-serif;">Perhaps what is most impressive about Onyx is their ability to reach various audiences without compromising their style. "Slam" is not only a radio hit that is one of the few hip-hop songs that still receives rotation in clubs, but it is also a grimy, abrasive track that stays true to the Onyx formula.</span><br />
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<span style="font-family: Verdana, sans-serif;">Yes, there are a few missteps on here, but the good outweighs the bad. <i>Bacdafucup</i> deserves the classic label that it has been given, and in the sing-songy state that hip-hop is currently in, it's a refreshing breath of fresh air. Give this a listen, and you'll know exactly what I'm talking about.</span><br />
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<span style="font-family: Verdana, sans-serif;">That's really all I've got on this album. There really isn't much to criticize about it, and I think it's safe to say that the project--and its intention--is fairly self-explanatory.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>TOP TRACKS</b></span><br />
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<span style="font-family: Verdana, sans-serif;">1. Slam</span><br />
<span style="font-family: Verdana, sans-serif;">2. Onyx Is Here</span><br />
<span style="font-family: Verdana, sans-serif;">3. Throw Ya Gunz</span><br />
<span style="font-family: Verdana, sans-serif;">4. Bichasniguz</span><br />
<span style="font-family: Verdana, sans-serif;">5. Shifftee</span>Matthttp://www.blogger.com/profile/08809018195805797755noreply@blogger.com3tag:blogger.com,1999:blog-772823764528584233.post-67036642726477429222013-10-02T10:08:00.000-04:002013-10-02T12:36:11.055-04:00Album Review: "Legal Drug Money" - Lost Boyz (1996)<div class="separator" style="clear: both; text-align: center;">
<a href="http://store.street-vibe.com/images/15210.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://store.street-vibe.com/images/15210.jpg" width="320" /></a></div>
<span style="font-family: Verdana, sans-serif;"><b>INTRODUCTION</b></span><br />
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<span style="font-family: Verdana, sans-serif;">The Lost Boyz were one of those groups of the '90s that dropped a couple of hits and then vanished.</span><br />
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<span style="font-family: Verdana, sans-serif;">Comprised of Mr. Cheeks (the main rapper in the group), Freaky Tah (the hypeman who occasionally raps), Pretty Lou (who doesn't really do anything) and DJ Spigg Nice, Lost Boyz came onto the scene in 1995 when they dropped their debut single, "Lifestyles of The Rich & Shameless." That song landed them a deal with Uptown Records, and soon after, they released the hit track "Renée."</span><br />
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<span style="font-family: Verdana, sans-serif;">"Renée," which achieved gold status in 1996, led to the group's first LP, <i>Legal Drug Money</i>. Consisting of production from the likes of Easy Mo Bee and Pete Rock, the album was certified gold in the same year it was released. </span><br />
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<span style="font-family: Verdana, sans-serif;">Almost exactly a year later, Lost Boyz put out their second project, <i>Love, Peace & Nappiness</i>, off the strength of their hit single "Me and My Crazy World." Although it wasn't nearly as critically acclaimed as <i>Legal Drug Money</i> (and rightfully so), <i>Love, Peace & Nappiness</i> also reached gold status.</span><br />
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<span style="font-family: Verdana, sans-serif;">That was when things spun out of control for Lost Boyz, and it wasn't due to any internal conflict or anything of that nature. No; this went far beyond music.</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span><span style="font-family: Verdana, sans-serif;">In 1999, six months before Lost Boyz put out their third and final full-length album, <i>LB IV Life</i>, Freaky Tah was tragically gunned down at Mr. Cheeks' birthday party. So, after <i>LB IV Life</i>, Lost Boyz split, and they were never to be heard from as a group again.</span><br />
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<span style="font-family: Verdana, sans-serif;">DJ Spigg Nice made the news in 2004, however, as he was sentenced to 37 years in prison after being convicted of several bank robberies.</span><br />
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<span style="font-family: Verdana, sans-serif;">Talk about things unraveling, huh?</span><br />
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<span style="font-family: Verdana, sans-serif;">Rest assured, Lost Boyz were still able to put out some good music when they were active, and many consider <i>Legal Drug Money</i> to be a golden era classic.</span><br />
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<span style="font-family: Verdana, sans-serif;">Are those people right in saying so?</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>TRACK-BY-TRACK</b></span><br />
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<span style="font-family: Verdana, sans-serif;"><b>1. Intro</b></span><br />
<span style="font-family: Verdana, sans-serif;">Exactly like it sounds.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>2. The Yearn</b></span><br />
<span style="font-family: Verdana, sans-serif;">Pete Rock is on the board for the first actual song on <i>Legal Drug Money</i>, and not surprisingly, the beat freaking <i>knocks</i>. Not only that, but on another version of the track, Pete actually drops a verse (track that version down if you're interested in hearing his effort). "The Yearn" is an all-around winner, and it's tracks like this that make you wish Freaky Tah would have rapped more often instead of primarily being a hypeman.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>3. Music Makes Me High</b></span><br />
<span style="font-family: Verdana, sans-serif;">The energy level takes a rather significant dip here. Charles Suitt and Mr. Sex (no; <i>seriously</i>) lay down a pretty lackluster instrumental on what was one of the album's five singles, and Mr. Cheeks isn't exactly able to elevate it to sounding like anything worthwhile. There is a remix of this record featuring Canibus and Tha Dogg Pound. Check that out if you're willing.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>4. Jeeps, Lex Coups, Bimaz & Benz</b></span><br />
<span style="font-family: Verdana, sans-serif;">This was the second single off of the album, and it sounds <i>really freaking good</i>. Easy Mo Bee crafts the production, and you'll be able to tell as soon as the beat starts, as it has his fingerprints all over it (you can just hear The Notorious B.I.G. flowing over this). There really isn't much <i>not</i> to like about this cut, as Mr. Cheeks rips it, too.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>5. Lifestyles of The Rich & Shameless</b></span><br />
<span style="font-family: Verdana, sans-serif;">The aforementioned first single and the second straight Easy Mo Bee-laced song. It isn't as awesome as "Jeeps, Lex Coups, Bimaz & Benz," but it's still pretty damn good. I really like the hook on this track in particular, and Easy's instrumental is solid.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>6. Renée</b></span><br />
<span style="font-family: Verdana, sans-serif;">"Renée," <i>Legal Drug Money's</i> third single and arguably Lost Boyz's most popular record, is actually a very touching cut about a female friend of Mr. Cheeks that was shot and killed. Mr. Sex's beat is really good, and Mr. Cheeks' storytelling is outstanding. The way he ends the song by saying "I'm from the ghetto, so listen this is how I shed my tears" puts the cherry on top. <i>Great</i> track.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>7. All Right</b></span><br />
<span style="font-family: Verdana, sans-serif;">To say Big Dex's instrumental is "unorthodox" on "All Right" would be an understatement (it sounds like he put the sample in reverse). Still, <i>somehow</i>, it works. This record isn't half-bad, and Freaky Tah's verse makes it that much better, as simplistic as it may be. All in all, this was a bit better than just "all right," even if it may have run a bit too long for its own good. Big Dex drops a verse too, by the way.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>8. Legal Drug Money</b></span><br />
<span style="font-family: Verdana, sans-serif;">The beat at the beginning of this cut sounds really awesome. Unfortunately, it's not the beat that Lost Boyz used for this title track. The instrumental that Big Dex ultimately ends up laying down pales in comparison. It isn't terrible, but it certainly could have used some stronger drums. Side note: Freaky Tah's "don't know who wants to kill me, don't know who wants to love me" line just sounds <i>spooky</i> today given what ended up being his fate.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>9. Get Up</b></span><br />
<span style="font-family: Verdana, sans-serif;">This was <i>Legal Drug Money's</i> fifth and final single. You may recognize the Stephanie Mills sample as the same one that would eventually be used for DMX's "When I'm Nothing." Unfortunately, "Get Up" isn't nearly as good as that DMX track.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>10. Is This Da Part</b></span><br />
<span style="font-family: Verdana, sans-serif;">Another Easy Mo Bee joint. "Is This Da Part" is pretty nice, even if the hook is fairly lame. That's all I've got.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>11. Straight From Da Ghetto</b></span><br />
<span style="font-family: Verdana, sans-serif;">This record, which was produced by "Buttnaked" Tim Dawg (the <i>hell</i>?) and Big Dex, isn't really anything spectacular. The beat is decent, if not a bit bland, and Mr. Cheeks' verses are pretty straightforward. All things considered, "Straight From Da Ghetto" felt a bit forced, especially taking into account how "Renée" already flawlessly covered the ghetto topic.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>12. Keep It Real</b></span><br />
<span style="font-family: Verdana, sans-serif;">Unfortunately, this isn't nearly as good as Miilkbone's "Keep It Real," but fortunately, it still sounds <i>really freaking good</i> (no; that statement is <i>not</i> contradictory). The Big Dex instrumental is pleasing, and Freaky Tah's chanting in the background adds a nice element to the cut overall. It helps that Mr. Cheeks really kills this, too.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>13. Channel Zero</b></span><br />
<span style="font-family: Verdana, sans-serif;">The first thing I think of when I see the title "Channel Zero" is the Canibus song, which is funny, because Lost Boyz and Canibus were tight back in the '90s and Mr. Cheeks actually appeared on the hook of that joint. My feelings on <i>this</i> track are ambivalent, however. I can't really decide if I like it or not. I guess that's not a bad thing, but it's not exactly an endorsement, either.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>14. Da Game</b></span><br />
<span style="font-family: Verdana, sans-serif;">Either I'm just getting lazy, or <i>Legal Drug Money</i> if full of records that I don't have much of an opinion on either way. I will say that "Da Game" is superior to "Channel Zero," so take that for what it's worth. Plus, this is under four minutes in length, and that's usually always a good thing.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>15. 1, 2, 3</b></span><br />
<span style="font-family: Verdana, sans-serif;">Is it weird that the best cut on the album is a Freaky Tah solo? Well, honestly, I don't really care, because this song freaking <i>bangs</i>. <i>Bangs</i>. The production by Dwarf The Black Prince absolutely <i>rocks</i> and is simultaneously soulful and raw as hell, and Tah's grimy voice brings "1, 2, 3" to another level of awesome. The chorus is also <i>great</i>; I don't care how simplistic it is. Well done, fellas. <i>Well freaking done</i>.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>16. Lifestyles of The Rich & Shameless (Remix)</b></span><br />
<span style="font-family: Verdana, sans-serif;">Unlike most remixes, this is a completely different song than the original. That being said, "Lifestyles of The Rich & Shameless" really didn't need to be remixed. That should tell you all you need to know about how I feel about this version.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>FINAL THOUGHTS</b></span><br />
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<span style="font-family: Verdana, sans-serif;">Like many other albums that I have reviewed, <i>Legal Drug Money</i> has way too many clunkers for me to label it a classic. That isn't to say this isn't a good project though, because numerous songs on here work really well, and it holds up rather well in 2013.</span><br />
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<span style="font-family: Verdana, sans-serif;">Mr. Cheeks is a solid MC, but his biggest weakness is his voice. It's not bad, but over the course of a full-length LP, it can get old pretty quickly. That is one of two key drawbacks on <i>Legal Drug Money</i>, the other being the fact that some of the beats are nothing better than average.</span><br />
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<span style="font-family: Verdana, sans-serif;">I also really wish Freaky Tah would have gotten more shine on this album. I understand he is the hypeman and that hearing his voice over 16 tracks may become a bit tiresome, but he is not a bad rapper at all, and I don't think it's any coincidence that his solo joint ("1, 2, 3") is the best record on <i>Legal Drug Money</i>.</span><br />
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<span style="font-family: Verdana, sans-serif;">Due to the fact that this project was released during arguably the greatest year in hip-hop history, it tends to be forgotten, and that isn't necessarily fair. While it certainly doesn't hold a candle to some of the best albums of 1996, it is still a fine piece of work, one that may have been looked upon more favorably had it been released a couple of years later when rap was going downhill.</span><br />
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<span style="font-family: Verdana, sans-serif;">I guess I'd recommend that you give <i>Legal Drug Money</i> a spin. At the very least, you need to add "1, 2, 3" to your iPod. It is one of my favorite songs of all-time, and <i>nothing</i> is going to change that.</span><br />
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<span style="font-family: Verdana, sans-serif;">Rest in peace, Freaky Tah.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>TOP TRACKS</b></span><br />
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<span style="font-family: Verdana, sans-serif;">1. 1, 2, 3</span><br />
<span style="font-family: Verdana, sans-serif;">2. Jeeps, Lex Coups, Bimaz & Benz</span><br />
<span style="font-family: Verdana, sans-serif;">3. The Yearn</span><br />
<span style="font-family: Verdana, sans-serif;">4. Renée</span><br />
<span style="font-family: Verdana, sans-serif;">5. Keep It Real</span>Matthttp://www.blogger.com/profile/08809018195805797755noreply@blogger.com0tag:blogger.com,1999:blog-772823764528584233.post-55204283790277083092013-09-30T11:59:00.002-04:002013-09-30T11:59:41.071-04:00Album Review: "The Most Beautifullest Thing In This World" - Keith Murray (1994)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLRzITY02wGLL8lU71P50T6HyW5Ll-_fu81rjj9yAqjAhKfflOpb8zo3lAv6qSd7Z1Ggs2535oLGjdE6j5Y2p3MkeS4pEaG5DRwzz-LzHofkEwGrBM3afD55qazpFSzwzaG7NSXXGvisk/s1600/keithmurray.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLRzITY02wGLL8lU71P50T6HyW5Ll-_fu81rjj9yAqjAhKfflOpb8zo3lAv6qSd7Z1Ggs2535oLGjdE6j5Y2p3MkeS4pEaG5DRwzz-LzHofkEwGrBM3afD55qazpFSzwzaG7NSXXGvisk/s320/keithmurray.jpg" width="320" /></a></div>
<span style="font-family: Verdana, sans-serif;"><b>INTRODUCTION</b></span><br />
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<span style="font-family: Verdana, sans-serif;">Keith Murray is your favorite rapper's favorite rapper. He is the guy who can take a bunch of utter nonsense and turn it into a few lines that will make you have to go and get a dictionary. He is also arguably the best member of Def Squad, a group that includes Redman and Erick Sermon.</span><br />
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<span style="font-family: Verdana, sans-serif;">Basically, Keith Murray is pretty freaking awesome.</span><br />
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<span style="font-family: Verdana, sans-serif;">Murray (that is also his government name, by the way) started his career by battling the legendary Big Daddy Kane under the alias MC Do Damage (good thing he decided to stick with his actual name). Shortly thereafter, he was introduced to Erick Sermon by K-Solo.</span><br />
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<span style="font-family: Verdana, sans-serif;">That was when Keith Murray made his actual debut, as Sermon included Keith on his first solo album, <i>No Pressure</i>. Murray appeared on the song "Hostile," and an extremely successful career was born.</span><br />
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<span style="font-family: Verdana, sans-serif;">Just over a year after Keith Murray's cameo on No Pressure, he released his first LP, <i>The Most Beautifullest Thing In This World</i>. Featuring production almost exclusively by E-Dub, the project would proceed to achieve gold status by 1995.</span><br />
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<span style="font-family: Verdana, sans-serif;">During this time period, Murray also guest starred on several other tracks of prominent artists, most notably LL Cool J's "I Shot Ya" remix which caused a bit of a stir due to the East Coast-West Coast feud that was going on at the time. 2Pac assumed the record was about him (even though it wasn't), and it actually led to an altercation between Pac and Keith. No fisticuffs were thrown, but it's still worth mentioning regardless.</span><br />
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<span style="font-family: Verdana, sans-serif;">Even though most people gravitate toward Redman (who is obviously pretty freaking awesome in his own right), it should be understood that Keith Murray is actually the most talented rapper in Def Squad. When it comes to lyrics, punchlines and metaphors, not many artists are seeing Keith.</span><br />
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<span style="font-family: Verdana, sans-serif;">So, without further ado, let's get to Keith Murray's debut album.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>TRACK-BY-TRACK</b></span><br />
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<span style="font-family: Verdana, sans-serif;"><b>1. Live From New York</b></span><br />
<span style="font-family: Verdana, sans-serif;">Your standard album intro. At least the background music was pretty cool.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>2. Sychosymatic</b></span><br />
<span style="font-family: Verdana, sans-serif;">You can tell right off the bat that <i>The Most Beautifullest Thing In This World</i> was made during sort of a transition period for Erick Sermon. His beats had advanced past the old-school EPMD stage, but they were caught in between Redman's <i>Whut? Thee Album</i> and the style E-Dub would soon become most known for. Anyway, this song is pretty damn good. Sermon's instrumental knocks, and Keith Murray impresses immediately on the mic, even if the hook was fairly lame.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>3. Dip Dip Di</b></span><br />
<span style="font-family: Verdana, sans-serif;">One of three tracks on the album that isn't produced by Erick Sermon, but to be perfectly honest, the producer extraordinaire isn't missed. "Dip Dip Di" <i>bangs</i>. Rod "KP" Kirkpatrick's production is <i>awesome</i> (those claps in particular are <i>ill</i>), and Keith rips it to shreds. Once again, though, the chorus stinks. That's not too big of a deal, though. This is pretty great regardless.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>4. The Most Beautifullest Thing In This World</b></span><br />
<span style="font-family: Verdana, sans-serif;">This is probably Keith Murray's most well-known record, possibly due to the fact that Erick Sermon's beat utilizes the same Isley Brothers sample that was used for The Notorious B.I.G.'s "Big Poppa." For what it's worth, "The Most Beautifullest Thing In This World" blows Biggie's cut out of the water (and let's face it: "Big Poppa" wasn't exactly one of the best songs on <i>Ready To Die</i>, anyway). You've gotta love Murray's "the astronomical is comin' through like the flu bombin' you" line, a bar that he would later regurgitate on the hook of my favorite track in his catalog, "What a Feelin'." Anyway, this title track freaking <i>knocks</i>.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>5. Herb Is Pumpin'</b></span><br />
<span style="font-family: Verdana, sans-serif;">One of the best parts about <i>The Most Beautifullest Thing In This World</i> is the length of the records. All of them are short, sweet and to the point, and "Herb Is Pumpin'" is no exception. If you don't nod your head to this, you're probably a robot...or just devoid of any emotion whatsoever, which would basically make you a robot...<i>right</i>? <i>Anyway</i>, E-Dub's instrumental <i>bangs</i>, and Keith Murray comes through with his usual impeccable flow to tear it to pieces.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>6. Sychoward</b></span><br />
<span style="font-family: Verdana, sans-serif;">Skit.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>7. Straight Loonie</b></span><br />
<span style="font-family: Verdana, sans-serif;">One of the other three cuts on the project that wasn't laced by Erick Sermon. Rod Kirkpatrick and Busta Rhymes (of all people) are actually on the boards for this one. I'm not exactly sure how much input Busta had in crafting this production, but he's credited, so that's that. E-Dub drops a verse on here, though, and if you didn't look at the liner notes, you would think Onyx had stopped by, as Sermon gets his best Sticky Fingaz impression on. Actually, Keith Murray gets <i>his</i> Onyx on, too. I guess Jamal, another one of Murray's Def Squad brethren who is also featured here, didn't get the memo, as he sounds pretty, well, <i>normal</i>. Oh, this song is <i>really freaking good</i>, by the way.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>8. Danger</b></span><br />
<span style="font-family: Verdana, sans-serif;">This is decent. It's not as good as every other track leading up to it, and Keith actually sounds <i>slightly</i> disinterested, but it's still solid regardless and would be the best record on just about any album in 2013.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>9. Get Lifted</b></span><br />
<span style="font-family: Verdana, sans-serif;">Keith Murray talking about getting high? <i>Never</i>. That little snide remark aside, this is pretty damn good, but what's with Erick Sermon using the same samples that were present on <i>Ready To Die</i>? "Get Lifted" contains the same sample as B.I.G.'s "Respect." Once again, though, Keith Murray's cut obliterates Biggie's, even if his "weed is knowledge because it makes me think" line was kind of...well, okay; it was funny.</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;"><b>10. How's That</b></span><br />
<span style="font-family: Verdana, sans-serif;">This is another one of those songs that sounds like it could have been on <i>Whut? Thee Album</i>, especially considering that Redman is on this track. E-Dub drops a verse of his own. This was just <i>alright</i>, though.</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;"><b>11. The Chase</b></span><br />
<span style="font-family: Verdana, sans-serif;">Skit.</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;"><b>12. Take It To The Streetz</b></span><br />
<span style="font-family: Verdana, sans-serif;">Guests 50 Grand (who would appear again on Keith Murray's second album <i>Enigma</i>) and Ron Jay appear on this record, which is really kind of boring. Ron Jay sounds a bit like Keith, so I guess that's <i>something</i>.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>13. Bom Bom Zee</b></span><br />
<span style="font-family: Verdana, sans-serif;">The actual sound quality of this cut is <i>terrible</i>, and the fact that Hurricane G is here doesn't help matters much. Seriously; why does Def Squad <i>insist</i> on including her on their albums? Well, at least this is short, but this album is experiencing quite a significant lull at this point.</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;"><b>14. Countdown</b></span><br />
<span style="font-family: Verdana, sans-serif;">Skit.</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;"><b>15. Escapism</b></span><br />
<span style="font-family: Verdana, sans-serif;">This is the final song on <i>The Most Beautifullest Thing In This World</i> that wasn't laced by Erick Sermon. Instead, Redman hops behind the boards to craft the beat here, and that was probably a bad idea, unless you want a sleep-inducing instrumental to help cure your insomnia. As a result of the bland production, Keith Murray isn't able to really go off. It kind of sucks that this is the longest track on the album, too.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>16. The Most Beautifullest Thing In This World (Green-Eyed Remix)</b></span><br />
<span style="font-family: Verdana, sans-serif;">This actually sounds strikingly similar to the original, but that's not a bad thing. We could all use a bit more of this record in our lives, and it helps to <i>somewhat</i> offset what was a pretty piss-poor second-half of the album.</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;"><b>FINAL THOUGHTS</b></span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;"><i>The Most Beautifullest Thing In This World</i> gets off to an incredible start, but halfway through, it falls flat on its face and never gets up. Still, the first half of the album is so damn good that you can easily see why many feel this project deserves a mention among the classics.</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;">You'll likely come away with one definitive thought after listening to <i>The Most Beautifullest Thing In This World</i>, and it's that Keith Murray is an incredible MC. He is consistently entertaining, spitting rhymes that are both hilarious and thought-provoking at the same time. It would help if more of the beats on this LP were more engaging, but enough of them work to highlight Murray's skills.</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;">The good news is, Erick Sermon only got better as a producer from this point on. As a matter of fact, two years later in 1996, E-Dub crafted what I think are the two best works of his career: Redman's <i>Muddy Waters</i> and Keith Murray's <i>Enigma</i>. Think of the first half of <i>The Most Beautifullest Thing In This World</i> as sort of a preview of what was to come.</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;">So, what's the final verdict on Keith's first album? Well, it's certainly a good release that absolutely deserves a listen. Again, the first five full songs on this LP are so phenomenal that you'll find yourself not caring too much about the fact that the latter portion of the project is fairly lackluster.</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;">If you're a fan of either of Redman's first two albums, then you'll likely be fond of <i>The Most Beautifullest Thing In This World</i>. My advice is to listen to this at least once, and if nothing else, track down "Herb Is Pumpin'" and put it in your playlist.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>TOP TRACKS</b></span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;">1. Herb Is Pumpin'</span><br />
<span style="font-family: Verdana, sans-serif;">2. The Most Beautifullest Thing In This World</span><br />
<span style="font-family: Verdana, sans-serif;">3. Dip Dip Di</span><br />
<span style="font-family: Verdana, sans-serif;">4. Straight Loonie</span><br />
<span style="font-family: Verdana, sans-serif;">5. Sychosymatic </span>Matthttp://www.blogger.com/profile/08809018195805797755noreply@blogger.com0tag:blogger.com,1999:blog-772823764528584233.post-50083912640654725522013-09-27T13:35:00.003-04:002013-09-27T13:35:17.384-04:00Album Review: "Capital Punishment" - Big Punisher (1998)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg0qTK2X9YQp4liMbrxsSw41zoZ8ka1HKRG3DzivJrVcwd7fBllaTL15VBbrlTBIkLqNvJ4V5DvBdpZpGKW0tZNwbH4th13o0qS-Zn8PbsCu9_OKmwpbz9lYwbY0lifwZX-7SJl82okOQ/s1600/Big+Pun+Capital+Punishment+1024x1037+Front.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg0qTK2X9YQp4liMbrxsSw41zoZ8ka1HKRG3DzivJrVcwd7fBllaTL15VBbrlTBIkLqNvJ4V5DvBdpZpGKW0tZNwbH4th13o0qS-Zn8PbsCu9_OKmwpbz9lYwbY0lifwZX-7SJl82okOQ/s320/Big+Pun+Capital+Punishment+1024x1037+Front.jpg" width="315" /></a></div>
<b><span style="font-family: Verdana, sans-serif;">INTRODUCTION</span></b><br />
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<span style="font-family: Verdana, sans-serif;">This is another one of those reviews that I've taken too long to get to, but I wanted to do this right because, in my opinion, Big Pun is the best pure rapper to ever grace the mic. When you talk about lyrics, punchlines, metaphors, flow and mic presence, Pun had it all. His life was just taken away far too soon (what's with rappers with the word "Big" in their name all dying young?).</span><br />
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<span style="font-family: Verdana, sans-serif;">Big Pun was discovered by Fat Joe, the man everybody loves to hate. Pun brought Cuban Link and Triple Seis with him, both of whom would go on to become members of Terror Squad along with Joe and Pun. At that time, Big Pun was going by the name Big Moon Dawg. Thank God he changed it.</span><br />
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<span style="font-family: Verdana, sans-serif;">After spending a couple of years jumping on Fat Joe songs and lyrically murdering everybody on any track he rapped over, Pun came out with his first record entitled "I'm Not a Player." No; not "Still Not a Player"; "<i>I'm Not a Player</i>."</span><br />
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<span style="font-family: Verdana, sans-serif;">Knobody, who produced Jay-Z's "Can't Knock The Hustle," heard Big Pun's cut and was thoroughly impressed. That was when "Still Not a Player" was born, as Knobody laid down the beat and Pun and Joe (the R&B singer; not Fat Joe) killed it, marking Big Pun's mainstream breakthrough.</span><br />
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<span style="font-family: Verdana, sans-serif;">Shortly after, in 1998, Pun dropped his debut album, <i>Capital Punishment</i>. The effort became the first LP by a Latino rapper to go platinum, and it holds a place in the annals of hip-hop lore.</span><br />
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<span style="font-family: Verdana, sans-serif;">Nearly two years later, Big Pun died of a heart attack at the age of 28. So, like The Notorious B.I.G. and Big L before him, his first album was the only one that was released during Pun's lifetime. Yeeeah Baby hit the shelves almost exactly two months after his passing, and it went on to achieve gold status.</span><br />
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<span style="font-family: Verdana, sans-serif;">If only Big Pun would have taken better care of himself...</span><br />
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<b><span style="font-family: Verdana, sans-serif;">TRACK-BY-TRACK</span></b><br />
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<b><span style="font-family: Verdana, sans-serif;">1. Intro</span></b><br />
<span style="font-family: Verdana, sans-serif;">You know the deal by now.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">2. Beware</span></b><br />
<span style="font-family: Verdana, sans-serif;">After the intro, we get treated to one of the best album openers in history. In <i>any</i> genre. <i>This freaking bangs like an anvil dropping on Wiley Coyote on Looney Toons</i>. The beat by Juju (of The Beatnuts) knocks, and Big Pun comes through with one of the most impressive, most vicious, most thoroughly verbally abusive performances ever known to man. I'm sure you all know this line: "Flawless victory, you niggas can't do shit to me, physically, lyrically, hypothetically, realistically." Good <i>Lord</i>. The Prodigy vocal sample (from "Shook Ones Pt. I," by the way) is dope as hell, too. If "Beware" isn't on your pump-up playlist, then I don't know what the hell you are doing with your life.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">3. Super Lyrical</span></b><br />
<span style="font-family: Verdana, sans-serif;">The energy level takes a massive nosedive here, but that isn't really a criticism of "Super Lyrical." It's just pretty much understood after "Beware," you know? Rockwilder lays down a laid-back instrumental for Pun to rock over here, and the big Latino does it dirty. Black Thought is here, too, but Big Pun is so outstanding that you'll end up overlooking The Roots member's contribution when it's all said and done.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">4. Taster's Choice (Skit)</span></b><br />
<span style="font-family: Verdana, sans-serif;">Well, at least Pun took time out to <i>name</i> his skits. </span><br />
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<b><span style="font-family: Verdana, sans-serif;">5. Still Not a Player</span></b><br />
<span style="font-family: Verdana, sans-serif;">"Still Not a Player" is another perfect example of when radio hits used to be dope and tasteful. You'll <i>never</i> hear anything like this on the airwaves again. This is actually the song that got me into hip-hop, and I'll always remember it for that. The music video is also freaking hilarious, and I was never one to give a crap about visuals. Another interesting note is that "Still Not a Player" is one of the few songs where the clean version is actually superior to the explicit version. Big Pun must have even known that, because the clean version is the one that appears on <i>Capital Punishment</i>. <i>Finally</i>, not enough is said for Joe's performance here. The dude rips it, particularly when he repeats "boricua, morena" as the track nears its conclusion. This song <i>rocks</i> and always will <i>rock</i>.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">6. Intermission</span></b><br />
<span style="font-family: Verdana, sans-serif;">Remember when I said at least Pun took time out to name his skits? Well, I stand corrected. </span><br />
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<b><span style="font-family: Verdana, sans-serif;">7. The Dream Shatterer</span></b><br />
<span style="font-family: Verdana, sans-serif;">A lot of people go back and forth between this and "Beware" in determining Pun's best lyrical outing on this album. Personally, I'm torn, but I prefer the beat on "Beware," so I guess that settles which record I like better. Make no mistake, though; "The Dream Shatterer" still <i>knocks</i>. Domingo's production will break your neck, and Big Pun obviously tears it to shreds. One thing, though: this is <i>not</i> the original version of this cut. That one was produced by Buckwild, and I am actually a bit partial to that version. It's <i>that</i> good.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">8. Punish Me</span></b><br />
<span style="font-family: Verdana, sans-serif;">This is by far the weakest song here so far, and it may very well be the weakest track on <i>Capital Punishment</i>. It's not that Pun doesn't do his job here; he actually puts together a <i>very</i> impressive lyrical performance. It's just that "Punish Me" sounds sort of out of place on this project.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">9. Pakinamac Pt. 1 (Skit)</span></b><br />
<span style="font-family: Verdana, sans-serif;">You're telling me there is a part <i>two</i>? Great.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">10. You Ain't a Killer</span></b><br />
<span style="font-family: Verdana, sans-serif;">And we're back on track. Younglord utilizes a Michael Jackson sample and combines it with Kool & The Gang's "Summertime Madness" to lace a pretty awesome beat for Big Pun, and he does what he always does in ripping it to pieces. I don't care what <i>anyone</i> says: Pun has the best flow of all-time, and it's not even <i>close</i>. It's also great how all of Pun's threats are legitimately menacing.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">11. Pakinamac Pt. 2 (Skit)</span></b><br />
<span style="font-family: Verdana, sans-serif;">And there it is.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">12. Caribbean Connection</span></b><br />
<span style="font-family: Verdana, sans-serif;">Wyclef hops on this Younglord-produced song, and not only does he kind of <i>sound</i> like Canibus here, but it also sounds like 'Bis wrote his verse. It makes sense, too, as <i>Capital Punishment</i> came out around the same time as Canibus' debut album, <i>Can-I-Bus</i>, which 'Clef played a big hand in creating. I also could swear that I once read that Canibus was supposed to be on "Caribbean Connection," but maybe I'm wrong. Anyway, when you look past the fact that Wyclef's verse may very well have been ghostwritten, you're treated to a pretty great track. The beat is engaging and is very suitable given the title of the record, and Wyclef sounds <i>terrific</i> on this.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">13. Glamour Life</span></b><br />
<span style="font-family: Verdana, sans-serif;">L.E.S. steps behind the boards for this posse cut, and it freaking <i>bangs</i>. Big Pun and his Terror Squad brethren (including Fat Joe) bless the raw instrumental, and to no one's surprise, it's Pun who walks away the winner, from his hook to his scintillating verse, the <i>gigantic</i> breaths he takes throughout notwithstanding. I'm running out of good things to say about this album by now, so I'll just say that "Glamour Life" <i>knocks</i>. </span><br />
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<b><span style="font-family: Verdana, sans-serif;">14. Capital Punishment Medley</span></b><br />
<span style="font-family: Verdana, sans-serif;">This is just alright. The Infinite Arkatechz production kind of sells Big Pun short, as he is not able to fully launch his legendary flow on this track. As a matter of fact, Pun sounds somewhat disinterested.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">15. Uncensored (Skit)</span></b><br />
<span style="font-family: Verdana, sans-serif;">Featuring Funkmaster Flex. What's that? You don't care? Yeah; me neither</span><br />
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<b><span style="font-family: Verdana, sans-serif;">16. I'm Not a Player</span></b><br />
<span style="font-family: Verdana, sans-serif;">The aforementioned first song that Big Pun did on his own, and also the reason why "Still Not a Player" exists. Much like that "remix," "I'm Not a Player" is pretty damn great. Minnesota's beat, which utilizes an O'Jays sample, is really freaking good, and while Pun's sexual lyrics are much more graphic than they need to be, he still sounds great over this.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">17. Twinz (Deep Cover 98)</span></b><br />
<span style="font-family: Verdana, sans-serif;">Big Pun and Fat Joe cover Dr. Dre's debut single that was ironically named "Deep Cover," and Pun drops some of the sickest lines of his career, particularly "Dead in the middle of Little Italy little did we know that we riddled some middlemen who didn't do diddly." Fat Joe holds his own, as well.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">18. The Rain and The Sun (Interlude)</span></b><br />
<span style="font-family: Verdana, sans-serif;">There are far too many skits on <i>Capital Punishment</i>.</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<b><span style="font-family: Verdana, sans-serif;">19. Boomerang</span></b><br />
<span style="font-family: Verdana, sans-serif;">Pun's impeccable flow is on display once again on "Boomerang," and the instrumental provided by V.I.C. suits him perfectly. I don't really have much else to add. This track is just flat-out good.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">20. You Came Up</span></b><br />
<span style="font-family: Verdana, sans-serif;">This Rockwilder-laced record was actually the album's third single. Noreaga is here, but if you're a N.O.R.E. fan, don't get too excited; he only does the hook. The production here is solid, and Big Pun tones down his content a bit to suit the laid-back nature of the beat. Decent cut overall.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">21. Tres Leches (Triboro Trilogy)</span></b><br />
<span style="font-family: Verdana, sans-serif;">That brings us to what is easily one of the best songs on <i>Capital Punishment</i>. Big Pun brings Prodigy and Inspectah Deck along for this track, a track that was actually produced by RZA. It doesn't really sound anything like you'd expect a RZA beat to sound like, but who cares? This <i>bangs</i>. It is literally one of the most intimidating records your ears will ever have the pleasure of hearing. The winner of this cut is the guy you'd probably least expect: Prodigy. P <i>rips this to shreds</i>, although both Deck and Pun also do their thing with impunity.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">22. Charlie Rock Shout (Skit)</span></b><br />
<span style="font-family: Verdana, sans-serif;">The last skit on the album. Thank the good Lord.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">23. Fast Money</span></b><br />
<span style="font-family: Verdana, sans-serif;">While the instrumental by Danny O and EQ is nothing more than pedestrian, but it doesn't matter; Big Pun takes the production and elevates it to another level with a brilliant performance. The trademark of a good rapper is the ability to do your thing without the benefit of a great beat, and Pun is able to do that seamlessly.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">24. Parental Discretion</span></b><br />
<span style="font-family: Verdana, sans-serif;">Showbiz is on the beat here, but it isn't one of this better ones. Also, Busta Rhymes' hook sounds <i>incredibly</i> sloppy. Big Pun was good as usual, but this isn't exactly a great way to close out the album.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">FINAL THOUGHTS</span></b><br />
<br />
<span style="font-family: Verdana, sans-serif;">Some may say that <i>Capital Punishment</i> was the swan song of the golden era. That's not a bad argument, but, in my opinion, the golden era came to a close two years earlier. That's what makes Big Pun's debut album all the more special.</span><br />
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<span style="font-family: Verdana, sans-serif;">Pun put out <i>Capital Punishment</i> during a time when the genre of hip-hop had come to a standstill. Classics were not being released with regularity anymore. Instead, mediocrity saturated the market, and records like Big Pun's were few and far between.</span><br />
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<span style="font-family: Verdana, sans-serif;">What makes <i>Capital Punishment </i>so incredible is that, even if it was released during that period from 1992-96 where everything that dropped seemed to be dope, it still would have been one of the best projects of its time. That's how good this LP is.</span><br />
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<span style="font-family: Verdana, sans-serif;">Big Pun establishes himself as one of the best rappers to ever do it here, and, in my opinion, in terms of pure rapping ability, he is the greatest of all-time, period. No one possesses his impeccable combination of skills, and absolutely no one can even come close to touching his masterful flow.</span><br />
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<span style="font-family: Verdana, sans-serif;">Pun is one of those artists who doesn't even need a beat to sound good. He can put out an acapella album, and the result would still be enthralling. That is what separates the great rappers from the merely good ones, and that is what separates Big Pun from just about every other hip-hop artist in history.</span><br />
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<span style="font-family: Verdana, sans-serif;"><i>Capital Punishment</i> is a classic through and through, and if you disagree with that, then I suggest you start listening to a different genre of music, because hip-hop isn't for you.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">TOP TRACKS</span></b><br />
<br />
<span style="font-family: Verdana, sans-serif;">1. Tres Leches (Triboro Trilogy)</span><br />
<span style="font-family: Verdana, sans-serif;">2. Beware</span><br />
<span style="font-family: Verdana, sans-serif;">3. Still Not a Player</span><br />
<span style="font-family: Verdana, sans-serif;">4. Glamour Life</span><br />
<span style="font-family: Verdana, sans-serif;">5. The Dream Shatterer </span>Matthttp://www.blogger.com/profile/08809018195805797755noreply@blogger.com4tag:blogger.com,1999:blog-772823764528584233.post-21021329119126783762013-09-19T10:38:00.000-04:002013-09-19T10:41:29.198-04:00Album Review: "Juvenile Hell" - Mobb Deep (1993)<div class="separator" style="clear: both; text-align: center;">
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<a href="http://www.playthishiphop.com/wp-content/uploads/2013/03/Mobb-Deep-Juvenile-Hell.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://www.playthishiphop.com/wp-content/uploads/2013/03/Mobb-Deep-Juvenile-Hell.jpg" width="320" /></a></div>
<span style="font-family: Verdana, sans-serif;"><b>INTRODUCTION</b></span><br />
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<span style="font-family: Verdana, sans-serif;">When I started this blog a few years ago, I wanted to make sure that <a href="http://hiphopitsalive.blogspot.com/2011/01/album-review-infamous-mobb-deep-1995.html"><i>The Infamous</i></a> was one of the first albums I reviewed. That was back when I showed absolutely no regard for any sort of chronological order. Then, I also reviewed <a href="http://hiphopitsalive.blogspot.com/2011/01/album-review-hell-on-earth-mobb-deep.html"><i>Hell On Earth</i></a> and <a href="http://hiphopitsalive.blogspot.com/2010/11/album-review-blood-money-mobb-deep-2006.html"><i>Blood Money</i></a>, fully displaying the disorganized chaos that was my blog at that point.</span><br />
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<span style="font-family: Verdana, sans-serif;">Now, I figured it was time to make amends, and that's why today's review will be of Mobb Deep's first album, <i>Juvenile Hell</i>.</span><br />
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<span style="font-family: Verdana, sans-serif;">Those of you who are relatively new to golden age hip-hop (or those of you who don't pay that much attention) may have been under the assumption that <i>The Infamous</i> was Mobb Deep's first LP (let's be real; you probably <i>were</i> under that assumption). Well, you'd be wrong. It wouldn't entirely be your fault, though, as "Shook Ones Pt. II" has been shoved down our throats so much over the past two decades that you'd have almost no reason to believe there was an album before the one that housed that classic.</span><br />
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<span style="font-family: Verdana, sans-serif;">Both Prodigy and Havoc were 19 years old at the time of <i>Juvenile Hell's</i> release, and, interestingly enough, the project hardly featured any production from Havoc. As a matter of fact, the one beat that Havoc <i>did</i> have a hand in crafting is credited to "Mobb Deep," and <i>Prodigy</i> is actually the one who laced a couple of cuts without the assistance of Hav. <i>Weird</i>, huh?</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">Also notable is the fact that DJ Premier and Large Professor contributed instrumentals to <i>Juvenile Hell</i>.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">As you can see, this was not a prototypical Mobb Deep album, even though it was their first one. </span><br />
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<span style="font-family: Verdana, sans-serif;"><i>Juvenile Hell</i> hardly moved any copies, and as a result, Mobb Deep was dropped from the 4th & Broadway record label. That was a <i>smart</i> move by the label, huh? (That was sarcasm, just in case you couldn't tell.)</span><br />
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<span style="font-family: Verdana, sans-serif;">So, is <i>Juvenile Hell</i> an impressive debut effort from the Mobb, or is it merely a formality in what would become a star-studded career for P and Havoc? </span><br />
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<span style="font-family: Verdana, sans-serif;">Let's find out.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">TRACK-BY-TRACK</span></b><br />
<br />
<b><span style="font-family: Verdana, sans-serif;">1. Intro</span></b><br />
<span style="font-family: Verdana, sans-serif;">The background music was decent.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">2. Me & My Crew</span></b><br />
<span style="font-family: Verdana, sans-serif;">Mobb Deep sounds like a <i>much</i> more hardcore version of Da Youngsta's on this lead song, and that's pretty funny because of how ridiculous of a comparison that would be just two years later. Anyway, this track is alright. The problem is that the hook is so playful-sounding that I have a hard time believing that this is a Mobb Deep record...even though it is. Also, spanning nearly five minutes in length, "Me & My Crew" runs a bit too long for its own good.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">3. Locked In Spofford</span></b><br />
<span style="font-family: Verdana, sans-serif;">The fact that Spofford was a juvenile detention center in the Bronx (it was closed in 2011) should tell you a little something about just how young Havoc and Prodigy were when they recorded this album. This is pretty solid, containing a pretty hard beat by Kerwin Young and Paul Shabazz, and both of the Mobb Deep boys drop awesome verses.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">4. Peer Pressure</span></b><br />
<span style="font-family: Verdana, sans-serif;">This was the first single off of <i>Juvenile Hell</i>, and it is the cut that DJ Premier produced. "Peer Pressure" is one of Premo's most overlooked productions, in my opinion. Seriously; did <i>you</i> know that Premo made a beat for Mobb Deep? This is pretty freaking awesome, consisting of a simple piano loop and some great drums. Havoc markedly outshines Prodigy here. He <i>rips</i> this, although hearing P say how he wanted to be an architect before becoming a rapper was pretty intriguing to say the least.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">5. Skit #1</span></b><br />
<span style="font-family: Verdana, sans-serif;">...</span><br />
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<b><span style="font-family: Verdana, sans-serif;">6. Hold Down The Fort</span></b><br />
<span style="font-family: Verdana, sans-serif;">This is the only beat on <i>Juvenile Hell</i> that is credited to Mobb Deep. I'm not exactly sure just how much input Prodigy had into making this beat, but considering that he and <i>not</i> Havoc is credited as a producer on a couple of other songs, you have to think he had some <i>sort</i> of influence. "Hold Down The Fort" is decent, even if the instrumental is a bit repetitive.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">7. Bitch Ass Nigga</span></b><br />
<span style="font-family: Verdana, sans-serif;">I'm not sure if you can come up with a more generic title for a hip-hop song than this, but I digress. The track itself isn't anything special, either. The beat just isn't engaging enough.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">8. Hit It From The Back</span></b><br />
<span style="font-family: Verdana, sans-serif;">This was the second and final single from the album, and it freaking <i>bangs</i>. The production, credited to Prodigy and Method Max, knocks so hard that you'll be left wondering why P didn't pursue more of a career in beatmaking in the future. I especially like the horns. The hook is also ridiculously infectious, even if it basically exemplifies why you should <i>never</i> play this record with your girl around (although the title is pretty much a warning sign in and of itself).</span><br />
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<b><span style="font-family: Verdana, sans-serif;">9. Skit #2</span></b><br />
<span style="font-family: Verdana, sans-serif;">I like how Mobb Deep actually labeled their skits with numbers. It's as if even <i>they</i> knew that including them was pretty annoying.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">10. Stomp 'Em Out</span></b><br />
<span style="font-family: Verdana, sans-serif;">Prodigy is the lone producer credited for "Stomp 'Em Out," and while this isn't exactly "Hit It From The Back," it's still pretty freaking good. The chorus is pretty addictive here, as well, reminding us all of a time when hooks on rap songs were both simple and effective and didn't have to consist of a popular R&B artist crooning about something he probably has no business crooning about. Plus, Big Noyd makes his debut here, and he sounds great.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">11. Skit #3</span></b><br />
<span style="font-family: Verdana, sans-serif;">And we're finally done with those. </span><br />
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<b><span style="font-family: Verdana, sans-serif;">12. Peer Pressure (Large Professor Remix)</span></b><br />
<span style="font-family: Verdana, sans-serif;">Take a guess who produced this one. This remix isn't nearly as good as the DJ Premier-laced original, although the beat does fit the lyrics very well.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">13. Project Hallways</span></b><br />
<span style="font-family: Verdana, sans-serif;">"Project Hallways" is another one of those "decent" tracks on this album. I really liked some elements of this beat (namely the organ, or whatever the hell instrument that is that surfaces several times throughout), but those elements are too few and far between for me to label this a great record.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">14. Flavor For The Non-Believes</span></b><br />
<span style="font-family: Verdana, sans-serif;">I'm not sure why Mobb Deep couldn't just include the "r" in non-believers, but whatever. This cut is pretty damn <i>great</i>. The Kerwin Young instrumental is a real head-nodder, and Havoc rides it like Buckshot (Hav <i>did</i> appear on <i>Enta Da Stage</i>, after all). P was also <i>awesome</i> on this. Great way to close out the album.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">FINAL THOUGHTS</span></b><br />
<br />
<span style="font-family: Verdana, sans-serif;"><i>Juvenile Hell</i> is a very solid debut album from two teenagers who had no idea what type of impact they were about to make on the genre of hip-hop. There are no truly bad songs on here, and quite a few of the tracks are really,<i> really</i> good, even with limited production from Havoc.</span><br />
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<span style="font-family: Verdana, sans-serif;">What you'll probably notice is how similar Prodigy and Havoc sounded at this age. It can become a bit hard to differentiate between them at times, but it just serves as more proof that they mesh with each other <i>incredibly</i> well. They also demonstrated their propensity for street-flavored topics right off the bat, hinting at what was to come.</span><br />
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<span style="font-family: Verdana, sans-serif;">The beats on this project are, for the most part, thoroughly entertaining, even if some of them do get a bit redundant. While there isn't much diversity, the instrumentals blend together very effectively, and that (along with the short length) makes <i>Juvenile Hell</i> an easy, straightforward listen, something that is always an important quality with an album. </span><br />
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<span style="font-family: Verdana, sans-serif;">All of that being said, <i>Juvenile Hell</i> is not <i>The Infamous</i> or <i>Hell On Earth</i>. Not even close, actually, but that is not a slight. After all, Mobb Deep's second and third albums may be the best one-two punch in hip-hop history, and <i>Juvenile Hell</i> was just the precursor to that.</span><br />
<span style="font-family: Verdana, sans-serif;"><br />If only 4th & Broadway would have seen the potential. I can only imagine how stupid they all feel now seeing what Mobb Deep was able to accomplish after their debut.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">TOP TRACKS</span></b><br />
<br />
<span style="font-family: Verdana, sans-serif;">1. Hit It From The Back</span><br />
<span style="font-family: Verdana, sans-serif;">2. Peer Pressure</span><br />
<span style="font-family: Verdana, sans-serif;">3. Flavor For The Non-Believes</span><br />
<span style="font-family: Verdana, sans-serif;">4. Stomp 'Em Out</span><br />
<span style="font-family: Verdana, sans-serif;">5. Hold Down The Fort </span>Matthttp://www.blogger.com/profile/08809018195805797755noreply@blogger.com0tag:blogger.com,1999:blog-772823764528584233.post-44907850662331520072013-09-18T09:57:00.000-04:002013-09-18T09:58:19.000-04:00Album Review: "World Ultimate" - The Nonce (1995)<div class="separator" style="clear: both; text-align: center;">
<a href="http://31.media.tumblr.com/tumblr_lxwxz0i0P21qeap35o1_500.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="314" src="http://31.media.tumblr.com/tumblr_lxwxz0i0P21qeap35o1_500.jpg" width="320" /></a></div>
<b><span style="font-family: Verdana, sans-serif;">INTRODUCTION</span></b><br />
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<span style="font-family: Verdana, sans-serif;">One of the main purposes of this blog is to introduce you to artists/albums you may not have heard of, and that's why I will be reviewing The Nonce's <i>World Ultimate</i> in this writeup.</span><br />
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<span style="font-family: Verdana, sans-serif;">Perhaps some of you are familiar with The Nonce, but for those of you who are like "who?" (and I am assuming that is most of you), they were a West Coast duo comprised of rappers Nouka Basetype (a.k.a. Sach) and Yusef Afloat that was active during the '90s. In 2000, Yusef was found dead alongside of Freeway 10 in Los Angeles (the cause remains a mystery), thus marking the end of the group.</span><br />
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<span style="font-family: Verdana, sans-serif;">During their short time in the game, The Nonce, whose style could probably be lumped in the same category as groups like The Pharcyde and A Tribe Called Quest, dropped one full-length album. While it was not exactly a commercial success, it achieved sort of a cult following over time, and now, if you Google search for the most underrated rap albums of the '90s, there is a good chance you will find <i>World Ultimate</i> mentioned (that's how I originally came across it).</span><br />
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<span style="font-family: Verdana, sans-serif;"><i>World Ultimate</i> is entirely self-produced. It's funny, because it possesses a laid-back sound that was synonymous with the West Coast at that time, but on that same token, it sounds <i>very</i> different from the G-funk that dominated L.A. back then. </span><br />
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<span style="font-family: Verdana, sans-serif;">The lead single "Mixtapes" is the most well-known song off of the project (well-known by The Nonce's standards, anyway), and a remix of the track is also featured at the end.</span><br />
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<span style="font-family: Verdana, sans-serif;">Disturbingly enough, the word "nonce" is actually a slang term used in British and Australian prisons to identify sex offenders, but we'll just ignore that and assume (or <i>hope</i>) that that is <i>not</i> where Nouka and Yusef got their group name from.</span><br />
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<span style="font-family: Verdana, sans-serif;"><i>Anyway</i>, let's review an album that some consider to be a West Coast classic. </span><br />
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<b><span style="font-family: Verdana, sans-serif;">TRACK-BY-TRACK</span></b><br />
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<b><span style="font-family: Verdana, sans-serif;">1. On The Air</span></b><br />
<span style="font-family: Verdana, sans-serif;">The Nonce decide to forgo an album intro for an actual song here, so they're already in my good graces. As for "On The Air," imagine the chillest, most easygoing track you can think of. Even if you do that, you <i>still</i> won't be able to capture the relaxing mood of this record. Nice job, fellas.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">2. Keep It On</span></b><br />
<span style="font-family: Verdana, sans-serif;">The instrumental here is considerably more energetic than the preceding cut, and it's better, too. I have to say that the hook on "Keep It On" is pretty damn awesome in particular. Also, if you're listening along, does anyone else think Yusef occasionally sounds a little like a young, toned-down Havoc with a touch of Q-Tip?</span><br />
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<b><span style="font-family: Verdana, sans-serif;">3. Bus Stops</span></b><br />
<span style="font-family: Verdana, sans-serif;">Aceyalone, one of the greatest lyricists to ever come out of the West Coast, marks the first of three total guest appearances on <i>World Ultimate</i> here. Don't get too excited, though; he only drops a few "ad-libs" in the middle of the song. Overall, "Bus Stops" was not very engaging. While the beat is smooth, it lacks diversity. You might want to track down the "Token & a Transfer" remix. It's better than this version.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">4. The West Is...</span></b><br />
<span style="font-family: Verdana, sans-serif;">Now this freaking <i>bangs</i>. The instrumental absolutely <i>knocks</i>, and both Yusef and Nouka <i>kill</i> it. There are also two guests on "The West Is...," a female rapper named Butta B and a dude who goes by the name of Meen Green. Not that this track needed any features, but, fortunately, they don't drag the product down one bit.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">5. Mix Tapes</span></b><br />
<span style="font-family: Verdana, sans-serif;">The aforementioned first single. This is just <i>awesome</i>. The production is terrific, and the way both Nonce rappers flow over it makes it sound <i>that</i> much better. The hook is a little cheesy, but it doesn't do much to diminish how good of a record "Mix Tapes" is.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">6. Testing</span></b><br />
<span style="font-family: Verdana, sans-serif;">Interlude. The beat is pretty cool, though.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">7. World Ultimate</span><span style="font-family: Verdana, sans-serif;"> </span></b><br />
<span style="font-family: Verdana, sans-serif;">The title track contains a really playful--and effective--instrumental, and both Nouka and Yusef (who are very evenly matched as far as ability is concerned) do it justice. By this point of the album, you should be able to tell how these dudes are essentially a West Coast version of A Tribe Called Quest. The only complaint I might have about this record is that it ran just a <i>bit</i> too long.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">8. Good To Go</span></b><br />
<span style="font-family: Verdana, sans-serif;">This is quite easily the darkest cut on <i>World Ultimate</i>, and by now, you should know how much I love dark productions. This is <i>great</i>. The ominous horns and piano keys are hypnotizing, and a subtle bassline accompanies them. Also, I'm not sure how no one has sampled this hook yet. It just sounds like one of those "types" of hooks.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">9. On The Road Again</span></b><br />
<span style="font-family: Verdana, sans-serif;">This is decent, but it doesn't sound different from anything else we've already heard on this project, and the fact that "Good To Go" is the preceding song doesn't do "On The Road Again" any favors. Plus, this is much longer than it needs to be. Figures of Speech make a guest appearance here, marking the final guest spot on <i>World Ultimate</i>.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">10. Hoods Like To Play</span></b><br />
<span style="font-family: Verdana, sans-serif;">And we're back on the right track in a <i>big</i> way. This freaking <i>knocks</i>, as the beat combines both dark and playful elements to make "Hoods Like To Play" one of the best tracks on the album. Also, Nouka saying how he'll "diss your whore" is both funny and somewhat intimidating at the same time.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">11. J To The I</span></b><br />
<span style="font-family: Verdana, sans-serif;">The first thing I noticed about this record was that the snare was one of the grimiest drums I've ever heard. Then, the smooth, soulful sample kicked in, and my head started nodding that much more compulsively.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">12. Eighty-Five</span></b><br />
<span style="font-family: Verdana, sans-serif;">I don't have much of an opinion one way or the other on this cut, which lasts for about a minute-and-a-half until the instrumental rides out for the final minute and change.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">13. Mix Tapes (1926 Sunday Night Remix)</span></b><br />
<span style="font-family: Verdana, sans-serif;">You'll probably recognize that Moments sample right away, because it's been used what seems like one million and five times. Anyway, the lyrics for this remix are the same as the original. The production is just different, and quite frankly, the beat <i>sucks</i>. There is another remix of "Mix Tapes" called the "81st Street Subliminal Remix." Go listen to that one instead. It's <i>much</i> better.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">FINAL THOUGHTS</span></b><br />
<br />
<span style="font-family: Verdana, sans-serif;">I can easily see why many consider <i>World Ultimate</i> to be an overlooked classic. It is a very relaxing listen all the way through, and it is also relatively consistent. Plus, I'm sure plenty of the fans who love this album are also A Tribe Called Quest fanatics, and they obviously <i>love</i> this type of sound.</span><br />
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<span style="font-family: Verdana, sans-serif;">This is no doubt a very good album. Just about every song on here is listenable, and some of them are really freaking good. Both Nouka and Yusef are very talented on the mic, and perhaps the best part about The Nonce as a duo is that neither rapper outshines the other.</span><br />
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<span style="font-family: Verdana, sans-serif;">The fact that <i>World Ultimate</i> is entirely self-produced is pretty impressive, as well. The beats on here are, for the most part, very solid, and while there isn't too much variety from one instrumental to another, they all blend in seamlessly. The subject matter is predominantly nonchalant to match the mood of the production, too.</span><br />
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<span style="font-family: Verdana, sans-serif;">If you're a fan of groups like A Tribe Called Quest, The Pharcyde, or De La Soul, you should definitely give <i>World Ultimate</i> a listen. You will absolutely find something to like, and, chances are, you will be pretty enthralled with the overall product.</span><br />
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<span style="font-family: Verdana, sans-serif;">Everyone else should give this a spin, as well. I can't guarantee you'll be as entertained, though, especially considering this isn't your typical mid 90s West Coast album (there is not even a <i>hint</i> of G-funk on here).</span><br />
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<b><span style="font-family: Verdana, sans-serif;">TOP TRACKS</span></b><br />
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<span style="font-family: Verdana, sans-serif;">1. Good To Go</span><br />
<span style="font-family: Verdana, sans-serif;">2. The West Is...</span><br />
<span style="font-family: Verdana, sans-serif;">3. Hoods Like To Play</span><br />
<span style="font-family: Verdana, sans-serif;">4. Mix Tapes</span><br />
<span style="font-family: Verdana, sans-serif;">5. Keep It On </span><b><span style="font-family: Verdana, sans-serif;"> </span></b>Matthttp://www.blogger.com/profile/08809018195805797755noreply@blogger.com0tag:blogger.com,1999:blog-772823764528584233.post-14424431673599087582013-09-15T10:55:00.003-04:002013-09-15T10:55:38.961-04:00Album Review: "No More Mr. Nice Guy" - Gang Starr (1989)<div class="separator" style="clear: both; text-align: center;">
<a href="http://media.tumblr.com/153cd20b6c2f8eca1b70575537a20dcc/tumblr_inline_mpmx9pxLVK1qz4rgp.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://media.tumblr.com/153cd20b6c2f8eca1b70575537a20dcc/tumblr_inline_mpmx9pxLVK1qz4rgp.jpg" width="320" /></a></div>
<b><span style="font-family: Verdana, sans-serif;">INTRODUCTION</span></b><br />
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<span style="font-family: Verdana, sans-serif;">The Gang Starr story is certainly an interesting one.</span><br />
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<span style="font-family: Verdana, sans-serif;">The group was originally formed in 1985 by Massachusetts native Guru (rest in peace) and two artists named DJ 1 and 2-B Down (that's right; DJ Premier was <i>not</i> part of the group's initial proceedings). They also received help from various producers.</span><br />
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<span style="font-family: Verdana, sans-serif;">From what I understand, Gang Starr was not a rap group from the start. I think I remember DJ Premier saying in an interview one time that Guru and his boys were actually singing at the beginning. Intriguing stuff, huh?</span><br />
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<span style="font-family: Verdana, sans-serif;">Well, after a few singles, the original Gang Starr disbanded, and Guru found himself the only member willing to remain. That was when he got in touch with Premo, and thus, the Gang Starr that we have come to know and love today was born.</span><br />
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<span style="font-family: Verdana, sans-serif;">The duo had an illustrious career together, releasing six full-length albums from 1989 to 2003. Sadly, they had a bit of a falling out at the end, but the two thankfully patched things up before Guru's grim, untimely death in 2010.</span><br />
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<span style="font-family: Verdana, sans-serif;">When most people think of Gang Starr, they think of the four albums they released during the '90s. Some may not even know that the first project they actually dropped was <i>No More Mr. Nice Guy</i> in 1989.</span><br />
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<span style="font-family: Verdana, sans-serif;">Now, before getting into the review, I will warn you that the duo's debut was almost nothing like their later work. The choppy, hard-hitting production that DJ Premier is now known for was not yet there on this LP. Instead, <i>No More Mr. Nice Guy </i>is a jazzy effort, one that could possibly be referred to as the cousin of <i>Step In The Arena</i> (it wasn't really until <i>Daily Operation</i> that Gang Starr really hit their formula).</span><br />
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<span style="font-family: Verdana, sans-serif;">So, without further ado, let's begin the discography of one of the best groups to ever grace hip-hop.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">TRACK-BY-TRACK</span></b><br />
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<b><span style="font-family: Verdana, sans-serif;">1. Premier & The Guru</span></b><br />
<span style="font-family: Verdana, sans-serif;">You can already tell how dated <i>No More Mr. Nice Guy</i> is going to sound the second "Premier & The Guru" kicks off. Unlike many other rappers who change up their deliveries as their careers progress, you'll realize here that Guru's flow remained exactly the same from Gang Starr's first album all the way through to their last. That's cool. As far as this song goes, it's decent. Again, very dated (as expected), but decent.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">2. Jazz Music</span></b><br />
<span style="font-family: Verdana, sans-serif;">If the title of this track doesn't tell you the type of samples DJ Premier used to produce this album (in this case, a Ramsey Lewis sample), then you're lost. <i>Very</i> lost. Anyway, this record is pretty boring overall.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">3. Gotch U</span></b><br />
<span style="font-family: Verdana, sans-serif;">Now <i>that's</i> more like it. This sounds a step closer to the type of instrumentals that Premo laced for Guru on <i>Step In The Arena</i>, consisting of an energetic drum loop, a pretty addicting guitar riff and some solid horns. Guru blesses the production with an upbeat performance of his own.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">4. Manifest</span></b><br />
<span style="font-family: Verdana, sans-serif;">This is alright. A little long and repetitive, but alright. That's all I've got.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">5. Gusto</span></b><br />
<span style="font-family: Verdana, sans-serif;">"Gusto" was actually <i>not</i> blessed by DJ Premier. This was laced by DJ Mark The 45 King, one of the producers who used to step behind the boards for the original Gang Starr. You <i>should</i> be able to tell from the first few seconds of the cut that this is not a Premo joint, but with the way he produced back then, you're forgiven if you didn't realize it. Anyway, this song isn't bad, but Guru sounds like he was rapping over the telephone. Then again, hip-hop equipment wasn't exactly state of the art back then, so I guess <i>he's</i> forgiven, too.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">6. DJ Premier In Deep Concentration</span></b><br />
<span style="font-family: Verdana, sans-serif;">DJ Premier was so pissed that Guru rolled without him on the previous track that he decided to drop a beat here without Guru's raps. Actually, that probably isn't what happened, but this <i>is</i> a Premo solo instrumental, with a sample of Kool & The Gang's classic "Summer Madness" as the centerpiece. You never see this type of thing in hip-hop anymore.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">7. Positivity (Remix)</span></b><br />
<span style="font-family: Verdana, sans-serif;">I'm not really sure why the remix comes before the original, but who am I to judge DJ Premier and Guru? This was pretty nice, consisting of a <i>really</i> smooth horn sample and some pretty cool drums. Guru's delivery sounds extremely natural on here, and that's not much of a surprise considering "Positivity" is another one of those tracks on <i>No More Mr. Nice Guy</i> that bears similarities to the records on <i>Step In The Arena</i>.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">8. Manifest (Remix)</span></b><br />
<span style="font-family: Verdana, sans-serif;">This remix is more well-known than the original version, and with good reason: it's better. Premo's production possesses considerably more energy than most of the rest of the album (even though he utilizes the same sample as the parent version), and while Guru's lyrics are the same as on the original, they simply sound stronger over the beat. Here and there, we get little tastes of Gang Starr's later work on this project, and the "Manifest" remix is one of those examples.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">9. Conscience Be Free</span></b><br />
<span style="font-family: Verdana, sans-serif;">DJ Premier's laid-back beat on here is pretty freaking awesome, and Guru indulges with a fine performance of his own. Definitely one of the best songs on <i>No More Mr. Nice Guy</i>.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">10. Cause and Effect</span></b><br />
<span style="font-family: Verdana, sans-serif;">I don't like how Guru's voice echoes throughout, and I wasn't all that impressed with Premo's instrumental, either. Oh well.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">11. 2 Steps Ahead</span></b><br />
<span style="font-family: Verdana, sans-serif;">You know how I said some of the tracks on here parallel the <i>Step In The Arena</i> formula? Well, "2 Steps Ahead" sounds like it could have been on Public Enemy's <i>It Takes a Nation of Millions To Hold Us Back</i>. A classic album? Yes. Incredibly dated? Also yes. Completely irrelevant to this review? Yes as well.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">12. No More Mr. Nice Guy</span></b><br />
<span style="font-family: Verdana, sans-serif;">I really like the piano sample that DJ Premier used for this; it reminds me of some of his later, more renowned work. Guru seems to ramp up his intensity a bit on this title record, making this an all-around winner.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">13. Knowledge</span></b><br />
<span style="font-family: Verdana, sans-serif;">The other cut on <i>No More Mr. Nice Guy</i> that wasn't crafted by Premo. DJ Mark The 45 King is here again, and he lays down a beat that fits right into the rest of the album. That doesn't mean "Knowledge" is all that great, though, because this is pretty boring, and the vocal sample on the hook borders on creepy. The most notable aspect of this song is that it houses the only guest appearance, one that comes in the form of Damo D-Ski.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">14. Positivity</span></b><br />
<span style="font-family: Verdana, sans-serif;">I'm gonna be honest: I'm not seeing any difference between this and the remix (did we really <i>need</i> a remix, guys?)</span><br />
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<b><span style="font-family: Verdana, sans-serif;">FINAL THOUGHTS</span></b><br />
<br />
<span style="font-family: Verdana, sans-serif;"><i>No More Mr. Nice Guy</i> sounds pretty much exactly what you would expect a 1980s hip-hop album to sound like: dated, jazzy and full of braggadocio raps. Not that that's a bad thing, and you know what? Gang Starr's debut was a bit ahead of its time.</span><br />
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<span style="font-family: Verdana, sans-serif;">While no one will confuse this album for any of Gang Starr's best work, there are bits and pieces of it that foreshadow what the duo's career would ultimately become. Yes, it may be a relatively boring listen overall, but don't you want to know about the roots of one of the most legendary groups in hip-hop history?</span><br />
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<span style="font-family: Verdana, sans-serif;">What I really appreciate about <i>No More Mr. Nice Guy</i> is the fact that DJ Premier and Guru do not try to do too much. For the most part, the project is a short listen, as 10 of the 14 songs fall under the four-minute mark. Plus, there are no annoying skits that too many rappers feel necessary to include on their albums.</span><br />
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<span style="font-family: Verdana, sans-serif;">Clearly, Premo had not fully hit his stride yet, and how could you have expected him to at this point? These were some of the first beats of his career, a career that would eventually become one of the most respected ones in rap lore. Guru, on the other hand, is the Guru we know. He never changed up his style, and that just makes him all the more endearing as an artist. Rest in peace, my man.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">I wouldn't recommend that you go out of your way to listen to <i>No More Mr. Nice Guy</i>, as it is hardly anything groundbreaking. However, again, if you are interested in the history of hip-hop and, particularly, the legacy of Gang Starr, then I suggest you track this down and give it a listen.</span><br />
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<span style="font-family: Verdana, sans-serif;">You may even find yourself pleasantly surprised by what you hear.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">TOP TRACKS</span></b><br />
<br />
<span style="font-family: Verdana, sans-serif;">1. Conscience Be Free</span><br />
<span style="font-family: Verdana, sans-serif;">2. No More Mr. Nice Guy </span><br />
<span style="font-family: Verdana, sans-serif;">2. Gotch U</span><br />
<span style="font-family: Verdana, sans-serif;">3. Manifest (Remix)</span><br />
<span style="font-family: Verdana, sans-serif;">4. Positivity (Remix)</span><b><span style="font-family: Verdana, sans-serif;"> </span></b>Matthttp://www.blogger.com/profile/08809018195805797755noreply@blogger.com0tag:blogger.com,1999:blog-772823764528584233.post-85597372948491819162013-09-13T11:15:00.002-04:002013-09-13T11:15:08.552-04:00Album Review: "Once Upon a Time In America" - Smoothe Da Hustler (1996)<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Verdana, sans-serif;"><b>INTRODUCTION</b></span><br />
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<span style="font-family: Verdana, sans-serif;">Smoothe Da Hustler is another one of those rappers whom I admittedly do not know too much about, and I'd be surprised if anyone really knows too many details about his life. </span><br />
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<span style="font-family: Verdana, sans-serif;">I'll tell you what I <i>do</i> know. He broke in to the rap game with his debut single, "Broken Language," in 1995. The song features his brother, Trigger Tha Gambler, who also makes numerous appearance on Smoothe's debut album, <i>Once Upon a Time In America</i>.</span><br />
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<span style="font-family: Verdana, sans-serif;">The aforementioned first LP dropped in '96, and it was the only album Smoothe Da Hustler would release until 2008. It was produced almost exclusively by DR Period, a fairly well-known beatmaker who has also worked with M.O.P.</span><br />
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<span style="font-family: Verdana, sans-serif;">After <i>Once Upon a Time In America</i>, Smoothe appeared on tracks by Blahzay Blahzay, Shyheim, Public Enemy, Nine and, unexpectedly, SWV (how the hell did <i>that</i> collaboration come about?). He was also featured on <i>The Nutty Professor</i> soundtrack. (For someone who has released limited material over the course of his career, Smoothe Da Hustler is oddly well-traveled.) </span><br />
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<span style="font-family: Verdana, sans-serif;">Smoothe then went into hiding for over a decade, which may have something to do with me knowing virtually nothing about the man.</span><br />
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<span style="font-family: Verdana, sans-serif;">Regardless, many feel that <i>Once Upon a Time In America</i> is one of the more overlooked hip-hop albums of the '90s.</span><br />
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<span style="font-family: Verdana, sans-serif;">Are they right?</span><br />
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<b><span style="font-family: Verdana, sans-serif;">TRACK-BY-TRACK</span></b><br />
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<b><span style="font-family: Verdana, sans-serif;">1. Once Upon a Time...</span></b><br />
<span style="font-family: Verdana, sans-serif;">Once upon a time, a rapper decided to start things off without an intro...<i>ha</i>. That almost <i>never</i> happens.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">2. Fuck Whatcha Heard</span></b><br />
<span style="font-family: Verdana, sans-serif;">Despite having one of the most generic song titles possible, "Fuck Whatcha Heard" gets <i>Once Upon a Time In America</i> off to a really good start. DR Period's beat <i>bangs</i>, perfectly suiting Smoothe Da Hustler's aggressive, Canibus-like voice and delivery. Trigger Tha Gambler makes his first of several appearances on the album here and does the hook, a pretty poor hook that was the only downside to this track.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">3. Dollar Bill</span></b><br />
<span style="font-family: Verdana, sans-serif;">Is it just me, or does "Dollar Bill" sound an awful <i>lot</i> like "Fuck Whatcha Heard"? It's a better version, though. This freaking <i>knocks</i> to high heaven, a phrase I don't think I've ever used on this blog before. The instrumental by DR Period is <i>awesome</i>, and D.V. Alias Khrist absolutely <i>kills</i> the chorus and the verses that he chips in throughout. Smoothe does his thing, as well. This is just <i>fantastic</i>.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">4. Glocks On Cock</span></b><br />
<span style="font-family: Verdana, sans-serif;">And then we get hit with <i>this</i> crap. This is the only record on <i>Once Upon a Time In America</i> that DR Period didn't produce, and it really makes you wonder what Smoothe Da Hustler thought was so special about this beat (which was laced by Kenny Gee) to give it that distinction. "Glocks On Cock" is just <i>boring</i>, and it sounds especially bland coming after those first two cuts. Thankfully, it's not nearly as long as either of them.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">5. Broken Language</span></b><br />
<span style="font-family: Verdana, sans-serif;">The single that I mentioned earlier. I've gotta be honest: DR Period's instrumental here isn't much better than the snorefest that Kenny Gee produced on "Glocks On Cock." The beat for "Broken Language" lacks any sort of variety, and while brothers Smoothe and Trigger do a solid job trading raps, their performances aren't enough to overcome the flat production.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">6. Speak My Peace</span></b><br />
<span style="font-family: Verdana, sans-serif;">How about speaking your peace in an actual <i>song</i>?</span><br />
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<b><span style="font-family: Verdana, sans-serif;">7. Neva Die Alone</span></b><br />
<span style="font-family: Verdana, sans-serif;">Back on the right track. DR Period's beat is engaging, ending the small drought we endured since "Dollar Bill," and Smoothe Da Hustler basically tells his life story and the lessons he has learned throughout. "Neva Die Alone" is a pretty good track overall, even if I'm not exactly sure what the title has to do with the subject matter.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">8. Food For Thoughts</span></b><br />
<span style="font-family: Verdana, sans-serif;">You know Jadakiss' song "Why"? Well, this is essentially Smoothe Da Hustler's version eight years earlier. The result? A fairly mediocre one, although I did like when he said "don't take the name Smoothe wrong."</span><br />
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<b><span style="font-family: Verdana, sans-serif;">9. Family Conflicts</span></b><br />
<span style="font-family: Verdana, sans-serif;">Another skit. Thankfully, it's the last one.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">10. Only Human</span></b><br />
<span style="font-family: Verdana, sans-serif;">I've never liked beats composed of '80s samples, and "Only Human" is no exception. Plain and simply, this track <i>sucks</i>.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">11. Hustler's Theme</span></b><br />
<span style="font-family: Verdana, sans-serif;">This was a bit better than the previous record, but it still isn't very good. My interest in this album is withering rather quickly.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">12. Murdafest</span></b><br />
<span style="font-family: Verdana, sans-serif;">Smoothe sounds good enough on this, and Trigger Tha Gambler provides a decent hook with D.V. Alias Khrist crooning in the background, but, once again, DR Period lets us all down with the instrumental. Dull, monotonous production has become an all-too-common theme on <i>Once Upon a Time In America</i>.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">13. Hustlin'</span></b><br />
<span style="font-family: Verdana, sans-serif;">So, two cuts after "Hustler's Theme," we get "Hustlin'"? It seems safe to say that, at this point, Smoothe Da Hustler was running out of ideas. The fact that this song really isn't any good adds further credence to that notion. Oh, and you know how two songs ago, I said my interest in this album was withering? Well, it's now on life support.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">14. My Brother My Ace</span></b><br />
<span style="font-family: Verdana, sans-serif;">Okay; this is <i>easily</i> the best track since "Neva Die Alone." This actually kept my attention all the way through, as the DR Period production is pretty freaking good and Smoothe and Trigger (hence the title) go back and forth with some <i>awesome</i> raps throughout. Where the <i>hell</i> was this type of energy before?</span><br />
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<b><span style="font-family: Verdana, sans-serif;">15. Dedication</span></b><br />
<span style="font-family: Verdana, sans-serif;">Remember how I said how I don't like beats composed of '80s samples and how "Only Human" was no exception? Well, "Dedication" is no exception, either. Smoothe Da Hustler should have just stopped at "My Brother My Ace," because this was a <i>really</i> crappy way to end the album.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">FINAL THOUGHTS</span></b><br />
<br />
<span style="font-family: Verdana, sans-serif;">After a very impressive start, <i>Once Upon a Time In America</i> absolutely falls apart. Some of you readers will probably disagree with this, but I think this album is, for the most part, <i>really freaking boring</i>. There are some good songs on here, but they are few and far between, and most of that onus falls on the shoulders of DR Period.</span><br />
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<span style="font-family: Verdana, sans-serif;">Period's production on this project is exceedingly bland, and as a result, the LP lacks the type of energy needed to birth a classic. I guess part of the blame has to be placed on Smoothe Da Hustler, as well, as he was the one who was <i>picking</i> these beats, after all.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">That's what makes this all the more disappointing. Smoothe is a good rapper, possessing a unique voice and delivery that is capable of entertaining the listener. However, he doesn't seem to understand which instrumentals suit him best. You hear him on something like "Dollar Bill," and then he goes and raps on beats such as the ones for "Only Human" and "Dedication." What were you <i>thinking</i>, Smoothe?</span><br />
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<span style="font-family: Verdana, sans-serif;">I would have certainly liked to have seen what Smoothe Da Hustler would have come up with for his encore, but, unfortunately, that encore came a decade too late. I'm not sure what happened that made Smoothe wait 12 years to drop his second album, but it is what it is.</span><br />
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<span style="font-family: Verdana, sans-serif;">Again, there are some tracks on here that are worth throwing on to your iPod (or whatever device you use to listen to music), particularly the banging "Dollar Bill." As a whole, though, <i>Once Upon a Time In America</i> just does not hold up. It just isn't interesting enough.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">TOP TRACKS</span></b><br />
<br />
<span style="font-family: Verdana, sans-serif;">1. Dollar Bill</span><br />
<span style="font-family: Verdana, sans-serif;">2. Fuck Whatcha Heard</span><br />
<span style="font-family: Verdana, sans-serif;">3. My Brother My Ace</span><br />
<span style="font-family: Verdana, sans-serif;">4. Neva Die Alone</span><br />
<span style="font-family: Verdana, sans-serif;">5. Food For Thoughts </span>Matthttp://www.blogger.com/profile/08809018195805797755noreply@blogger.com0tag:blogger.com,1999:blog-772823764528584233.post-46663711403944563812013-09-11T10:46:00.003-04:002013-09-11T13:46:36.354-04:00Album Review: "Lifestylez ov Da Poor & Dangerous" - Big L (1995)<div class="separator" style="clear: both; text-align: center;">
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<div class="separator" style="clear: both; text-align: center;">
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<b><span style="font-family: Verdana, sans-serif;">INTRODUCTION</span></b><br />
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<span style="font-family: Verdana, sans-serif;">I'm sure many of you were waiting for me to finally get to Big L's debut album, and the time has finally come.</span><br />
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<span style="font-family: Verdana, sans-serif;">Even if you don't know too much about Big L, real name Lamont Coleman, you probably know that he was from Harlem and was shot and killed in 1999. It was a career--and a life--that was cut far too short. Even though he released just one LP during his lifetime (<i>The Big Picture</i> was a posthumous album), Big L, known for his vivid storytelling over dark beats, is considered one of the best rappers of all-time.</span><br />
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<span style="font-family: Verdana, sans-serif;">Big L started out his rap career in 1991, forming the group Children of The Corn with Killa Cam (whom you now know as Cam'ron), Murda Mase (who is obviously Ma$e) and Bloodshed (who sadly died in a car accident in 1997). At this time, L was also fairly tight with Lord Finesse (hence his inclusion in Diggin' In The Crates crew), and his first appearance on an actual song came on Finesse's "Yes You May" remix in '92.</span><br />
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<span style="font-family: Verdana, sans-serif;">Then, in 1993, Big L released his first promotional single, "Devil's Son," claiming it to be the first ever horrorcore song. After dropping another promo single by the name of "Clinic," he came with his biggest hit, "Put It On." Shortly thereafter, <i>Lifestylez ov Da Poor & Dangerous</i> was born.</span><br />
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<span style="font-family: Verdana, sans-serif;">Big L's first full-length effort, also featuring the singles "No Endz, No Skinz" and "M.V.P.," was met with critical acclaim, and to this day, it is considered a staple in the collections of hip-hop fans everywhere.</span><br />
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<span style="font-family: Verdana, sans-serif;">Time to review what most have dubbed an undisputed classic.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">TRACK-BY-TRACK</span></b><br />
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<b><span style="font-family: Verdana, sans-serif;">1. Put It On</span></b><br />
<span style="font-family: Verdana, sans-serif;">There are no album intros here. Just an absolute <i>banger</i> of a song produced by Buckwild. Even the most casual old-school hip-hop fans know "Put It On," and for good reason: this freaking <i>knocks</i>. The beat is actually a bit playful compared to the rest of the album, and Big L flashes his insane punchline ability throughout the duration of the track. Kid Capri also adds a really nice touch on the hook, even if it is as simple as a hook can possibly be.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">2. M.V.P.</span></b><br />
<span style="font-family: Verdana, sans-serif;">The first thing you'll notice about "M.V.P." (which stands for "Most Valuable Poet" in this instance) is that Lord Finesse used the same sample as The Notorious B.I.G.'s "One More Chance" remix to make the instrumental. Let the record show that "M.V.P." came out before the Biggie record. Let the record <i>also</i> show that I never liked <i>either</i> cut. I just don't dig that DeBarge sample at <i>all</i>. Big L saying his crime record is longer than Manute Bol was pretty funny, though.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">3. No Endz, No Skinz</span></b><br />
<span style="font-family: Verdana, sans-serif;">This was actually one of the first records I gravitated toward upon hearing <i>Lifestylez ov Da Poor & Dangerous</i>, and it's probably due to the fact that the Showbiz production is more lively than most of the rest of the project. This song basically says that the more money you have, the more girls you'll get. Not exactly a triumph of analysis by Big L, but who cares? "No Endz, No Skinz" is pretty solid, particularly the chorus. This isn't one of my favorite tracks on the LP anymore, though.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">4. 8 Iz Enuff</span></b><br />
<span style="font-family: Verdana, sans-serif;">One of two posse cuts on the album. The difference between the two is that on "8 Iz Enuff," Killa Cam is the only guy on here outside of Big L that most of us have ever <i>heard</i> of (except for <i>maybe</i> McGruff, but I'd bet on most people not knowing who he is). Buckwild is on the boards here, and he crafts a decent beat for the 589 rappers that are present to spit on. Overall, this was merely alright.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">5. All Black</span></b><br />
<span style="font-family: Verdana, sans-serif;">This is the best song on <i>Lifestylez ov Da Poor & Dangerous</i>. This absolutely <i>bangs</i> in every way possible. Lord Finesse's instrumental is <i>incredibly</i> ominous, and Big L tears it to bits. The hook on here is especially great. To me, "All Black" is the crown jewel on L's short career.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">6. Danger Zone</span></b><br />
<span style="font-family: Verdana, sans-serif;">I've gotta say that I am more than a little perturbed about Big L's obsession with the whole "devil's son" bit, but Buckwild's production here is dope enough (actually, it <i>knocks</i>) to make you overlook that...a little.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">7. Street Struck</span></b><br />
<span style="font-family: Verdana, sans-serif;">The third of five Lord Finesse beats on on the album is a winner. This isn't "All Black," but it's still <i>really</i> good. The horns add a great element, and Big L drops some serious raps for a change. It's kind of spooky, too, because L warns against the very thing that ultimately ended his life. Very nice record overall.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">8. Da Graveyard</span></b><br />
<span style="font-family: Verdana, sans-serif;">The second posse cut. This one is actually very notable, as it features a young Jay-Z. Buckwild's instrumental is appropriately aggressive, and Big L <i>eats it alive</i> and then proceeds to spit it out with authority. Sorry, Jay, but L <i>murked</i> you on here. As a matter of fact, knowing what type of style Jay would ultimately adopt, he sounds awkwardly out of place on "Da Graveyard." Lord Finesse drops a verse, too, as well as Microphone Nut, Party Arty (known for his contributions to Show & A.G.'s albums) and Grand Daddy I.U. All things considered, Big L's performance was so scintillating that you'll find yourself wishing this was an L solo.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">9. Lifestylez ov Da Poor & Dangerous</span></b><br />
<span style="font-family: Verdana, sans-serif;">Lord Finesse is back on the boards for the title track, and he puts together a beat that sounds like a cross between "All Black" and "Danger Zone." In case you weren't sure, that is a <i>very</i> good thing. The most awesome thing about this song is that it is just one long verse by Big L, and he maintains his usual level of excellence throughout. </span><br />
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<b><span style="font-family: Verdana, sans-serif;">10. I Don't Understand It</span></b><br />
<span style="font-family: Verdana, sans-serif;">Showbiz laces his second instrumental to <i>Lifestylez ov Da Poor & Dangerous</i> here, and this contribution is certainly stronger than his first. This is a certified head-nodder, and Big L broaches the same kind of topic that O.C. did on "Time's Up." Big L's version isn't as scathing, but it still reverberates today; that's for damn sure. L raps, "some rappers are mad nice, and don't even go gold." That line certainly applies to <i>Lifestyles ov Da Poor & Dangerous</i>, but it's a shame Big L wasn't around to see <i>The Big Picture</i> move enough copies to do just that. </span><br />
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<b><span style="font-family: Verdana, sans-serif;">11. Fed Up With The Bullshit</span></b><br />
<span style="font-family: Verdana, sans-serif;">This is Finesse's final go on the album, and he went out with a <i>bang</i>. This is freaking <i>awesome</i>. He throws in some of his trademark horns and his typical dusty drums, and Big L fundamentally covers the topic of racism and how he's fed up with it, hence the title. This record is concrete evidence that L wasn't solely about punchlines.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">12. Let 'Em Have It L</span></b><br />
<span style="font-family: Verdana, sans-serif;">This is the only cut on the album that wasn't produced by a D.I.T.C. member, but you wouldn't know it unless you looked at the liner notes. Craig Boogie's beat sounds <i>exactly</i> like something one of those dudes would produce, and that's obviously good news. This sounds <i>really good</i>, and Big L drops punchlines galore on here. How else would you <i>expect</i> him to go out?</span><br />
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<b><span style="font-family: Verdana, sans-serif;">FINAL THOUGHTS</span></b><br />
<br />
<span style="font-family: Verdana, sans-serif;">Yep; <i>Lifestylez ov Da Poor & Dangerous</i> is definitely an indisputable classic. Big L demonstrates that he was one of the most gifted MCs to ever do it here, and the beats provided by Diggin' In The Crates crew suit him perfectly. This album truly is a masterpiece, one that is, in my opinion, superior to The Notorious B.I.G.'s <i>Ready To Die</i>.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">Here is a fair warning, though: those of you who enjoy radio-friendly hip-hop will <i>not</i> like this album. The only song on here that could be classified as somewhat radio-friendly is "Put It On," and even on that track, Big L does not compromise himself for the possibility of airplay.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">The instrumentals on <i>Lifestylez ov Da Poor & Dangerous</i> are, in a word, <i>raw</i>, and they paint a perfect picture of what New York hip-hop sounded like back in 1995 and what it <i>should</i> sound like right now. The music is very dark and dreary, and I mean that in the best way possible. It does well to complement L's frequently bleak rhymes, and that's what make this project such an enjoyable listen, along with Big L's brilliant punchlines and masterful flow.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">It's gravely unfortunate that we did not get to see what Big L would have been capable of had his life not been taken away at the age of 24. He is someone who likely <i>never</i> would have sold out and would have continued to drop classic material for the remainder of his existence in the rap game.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">As an ode to Big L and to classic hip-hop in general, you need to make sure you have <i>Lifestylez ov Da Poor & Dangerous</i> in your collection. It's a very refreshing listen, particularly in the current space this genre finds itself in today.</span><br />
<br />
<b><span style="font-family: Verdana, sans-serif;">TOP TRACKS</span></b><br />
<br />
<span style="font-family: Verdana, sans-serif;">1. All Black</span><br />
<span style="font-family: Verdana, sans-serif;">2. I Don't Understand It </span><br />
<span style="font-family: Verdana, sans-serif;">3. Put It On </span><br />
<span style="font-family: Verdana, sans-serif;">4. Street Struck</span><br />
<span style="font-family: Verdana, sans-serif;">5. Fed Up With The Bullshit </span>Matthttp://www.blogger.com/profile/08809018195805797755noreply@blogger.com3tag:blogger.com,1999:blog-772823764528584233.post-26812570751301859362013-09-09T09:40:00.003-04:002013-09-10T11:17:46.892-04:00Album Review: "The Tree of Knowledge of Good & Evil" - Tragic Allies (2011)<div class="separator" style="clear: both; text-align: center;">
<a href="http://images.plixid.com/imager/w_500/h_/567ac8eaa10dd845977dd3055b6c1fc3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://images.plixid.com/imager/w_500/h_/567ac8eaa10dd845977dd3055b6c1fc3.jpg" width="320" /></a></div>
<b><span style="font-family: Verdana, sans-serif;">INTRODUCTION</span></b><br />
<br />
<span style="font-family: Verdana, sans-serif;">Confession time: I just came across Tragic Allies the other day, so, obviously I know virtually nothing about them other than the fact that they were discovered by Killah Priest, dropped a couple (maybe?) of mixtapes and released their debut album, <i>The Tree of Knowledge of Good & Evil</i>, in 2011. </span><br />
<br />
<span style="font-family: Verdana, sans-serif;">They are a three-man group consisting of Purpose, Estee Nack and Codenine. Purpose not only raps, but he also produces, and he steps behind the boards for a bunch of tracks on <i>The Tree of Knowledge of Good & Evil</i>, an album that features guest appearances from Killah Priest, Bronze Nazareth and Planet Asia.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">Tragic Allies are an old-school type group, bringing a 90s feel to hip-hop similar to what some of the Wu-Tang offshoots offer/offered (which makes sense, because Killah Priest <i>did</i> discover them). </span><br />
<br />
<span style="font-family: Verdana, sans-serif;">For that reason, I can already see the more devout hip-hop heads gravitating toward this trio, if not only for that, but also because of the fact that they sound <i>nothing</i> like the bullcrap that saturates the radio today.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">Again, I literally just found these dudes this week, so let's just jump right into the review.</span><br />
<br />
<b><span style="font-family: Verdana, sans-serif;">TRACK-BY-TRACK</span></b><br />
<br />
<b><span style="font-family: Verdana, sans-serif;">1. Intro</span></b><br />
<span style="font-family: Verdana, sans-serif;">Typical.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;"><b>2. A.L.L.I.E.S. </b></span><br />
<span style="font-family: Verdana, sans-serif;">Things don't exactly get off to a good start here. The beat, laced by Crucial The Guillotine (doesn't that name just sound so Wu-Tangish?), grates on the eardrums, as the vocal sample (something I am usually rather fond of) is just overkill. This also crawls a bit too much for my liking.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">3. God Gifted</span></b><br />
<span style="font-family: Verdana, sans-serif;">This is better. Purpose pulls a page out of Bronze Nazareth's book here and crafts a slow-paced instrumental consisting of some deliberate horns and a vocal sample. The production does does get a bit repetitive after a while, but the music is solid. Also, Planet Asia makes a guest appearance, and he does "God Gifted" justice.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">4. War Melody</span></b><br />
<span style="font-family: Verdana, sans-serif;">DJ Woool (doesn't that name just sound so <i>not</i> Wu-Tangish?) is on the boards for "War Melody," and the result is a really freaking <i>boring</i> beat. This really could have used heavier drums (only Roc Marciano and The Alchemist can pull off the sparse drum-type instrumentals). The raps are good, but the production is just not nearly engaging enough to keep my interest.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">5. Fallin' Starz</span></b><br />
<span style="font-family: Verdana, sans-serif;">A dude named Kevalowski puts together this beat, and like Purpose two songs ago, he does his best Bronze Nazareth impression. This was pretty good, possessing a grimy feel thanks to the instrumental and the subject matter of the rhymes by all three MCs. "Fallin' Starz" is the best track here so far, but I'm still hoping the energy picks up a little bit more as the album progresses.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>6. Words From The Most High </b> </span><br />
<span style="font-family: Verdana, sans-serif;">This time, Street Science steps behind the boards for the production, and the finished product is pretty solid. The beat consists of an ominous piano riff and some semi-hard drums (they could have been harder, though), and Tragic Allies are able to match its dreary atmosphere. Six tracks in on <i>The Tree of Knowledge</i>, I know one thing for sure: these dudes are <i>raw</i>.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">7. Street Narrative</span></b><br />
<span style="font-family: Verdana, sans-serif;">Alright; now I'm positively <i>sure</i> that this album is headed in the right direction. This DJ Kryptonite-produced record freaking <i>knocks</i>. The instrumental is the best one on the project thus far, containing what sounds like a really dope Spanish sample and some <i>banging</i> drums to boot. Not only that, but the lyrics are really great, too. "Street Narrative" is just very dope overall.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">8. Revival of The Fittest</span></b><br />
<span style="font-family: Verdana, sans-serif;">This cut has a pretty cool name, as it is obviously a play on Mobb Deep's classic "Survival of The Fittest" (it also works in a vocal sample from it at the end). This song isn't nearly as good as Mobb Deep's, but it's still good, nonetheless. While Purpose's production isn't anything mind-blowing, it is <i>extremely</i> hard, and it suits the group perfectly. I really liked the hook on here, too.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">9. In The Air</span></b><br />
<span style="font-family: Verdana, sans-serif;">Crucial The Guillotine gets another chance here after that debacle of a first beat, and although his work on "In The Air" is not what I would call spectacular, it's much better than what he did on "A.L.L.I.E.S." Plus, Tragic Allies rip this instrumental so thoroughly that you'll eventually find yourself focusing on their raps rather than the production. That's <i>always</i> a good thing. The only complaint I would have is that the beat plays on for <i>far</i> too long at the end.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">10. The Thought of Dying</span></b><br />
<span style="font-family: Verdana, sans-serif;">I'm gonna be blunt with you: this song was so morbid that I couldn't even get through the whole thing.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">11. Interlude</span></b><br />
<span style="font-family: Verdana, sans-serif;">60 Second Assassin makes a guest appearance here, and you know what? It was a <i>waste</i>, but what did you expect from an interlude?</span><br />
<br />
<b><span style="font-family: Verdana, sans-serif;">12. Drown</span></b><br />
<span style="font-family: Verdana, sans-serif;">I give Tragic Allies credit for touching on very delicate subjects and doing so very elegantly, but man...this album is just getting <i>depressing</i>. Also, an R&B hook on a project like <i>this</i>? <i>Really</i>?</span><br />
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<b><span style="font-family: Verdana, sans-serif;">13. Picture Perfect</span></b><br />
<span style="font-family: Verdana, sans-serif;">The second the vocal sample kicks in at the beginning, you're bound to go crazy. This is freaking <i>awesome</i>. A producer named Bug (I know, but who cares what his name is with an instrumental like this?) creates the beat for "Picture Perfect," and good <i>Lord</i> did he make a head-nodder. Killah Priest drops by to lay down a verse, and his appearance was definitely refreshing.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">14. Riots In The Streets</span></b><br />
<span style="font-family: Verdana, sans-serif;">Mr. Morals (who probably has no morals) laces the production for "Riots In The Streets," and he <i>kills</i> it with that Thelma Houston sample. I would have liked to hear some drums on this, as Mr. Morals decides to just let the sample ride, but this was still good regardless, even if the song's title kind of insinuates that this is supposed to contain a much more aggressive beat. It also helps that Tragic Allies freaking <i>rip</i> this.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">15. Rap Quotables</span></b><br />
<span style="font-family: Verdana, sans-serif;">This is the best song on the album. <i>No freaking question</i>. Crucial The Guillotine puts down the instrumental here, and upon hearing his production on "Rap Quotables," you'll wonder just what was going through his mind when he made the beat for "A.L.L.I.E.S.," because this beat is absolutely <i>outstanding</i>. I could seriously listen to this on a loop all day. It's <i>that</i> great.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">16. Time We Never Had</span></b><br />
<span style="font-family: Verdana, sans-serif;">Decent, but coming after "Rap Quotables," I wasn't overly impressed.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">17. Story of Sadness</span></b><br />
<span style="font-family: Verdana, sans-serif;">Bronze Nazareth stops in to drop a verse on this cut, and he does a very fine job. This is solid, and while it wasn't the best way to close out the album, it certainly wasn't the worst.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">18. Outro</span></b><br />
<span style="font-family: Verdana, sans-serif;">And we're done.</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<b><span style="font-family: Verdana, sans-serif;">FINAL THOUGHTS</span></b><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;">Overall, I was impressed by Tragic Allies. The three of them are incredibly gifted rappers cut right from the Wu-Tang cloth, and their collective persona is grimy to a T (that's a good thing just in case you didn't know).</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;">I won't lie and say that <i>The Tree of Knowledge</i> is a thoroughly consistent listen, because it isn't. Some of the production on here is just okay, and including two songs about grim death ("The Thought of Dying" and "Drown," with "Drown" being about suicide) is a bit unpleasant to say the least, even if the records were straight from the heart (and they were).</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">Still, even taking those little critiques into account, this is a good album. A few of the songs on here have incredible replay value, and sometimes, Purpose, Estee Nack and Codenine are so exceptional on the mic that they significantly elevate tracks with otherwise average production.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">I would definitely recommend giving <i>The Tree of Knowledge</i> a spin, as I'm sure most of you will find something to like (especially the Wu-Tang fans). I've also been convinced to check out some of their other work myself. They don't have a very extensive discography, either, so it won't take too long.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">Hopefully, these guys stick around, as there is obvious talent and potential here.</span><br />
<br />
<b><span style="font-family: Verdana, sans-serif;">TOP TRACKS</span></b><br />
<br />
<span style="font-family: Verdana, sans-serif;">1. Rap Quotables</span><br />
<span style="font-family: Verdana, sans-serif;">2. Street Narrative</span><br />
<span style="font-family: Verdana, sans-serif;">3. Riots In The Streets</span><br />
<span style="font-family: Verdana, sans-serif;">4. Picture Perfect</span><br />
<span style="font-family: Verdana, sans-serif;">5. Revival of The Fittest </span>Matthttp://www.blogger.com/profile/08809018195805797755noreply@blogger.com0tag:blogger.com,1999:blog-772823764528584233.post-47918696713407509312013-09-08T10:30:00.002-04:002013-09-08T10:30:25.288-04:00Album Review: "The Element of Surprise" - Rashad & Confidence (2011)<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.moovmnt.com/wp-content/uploads/2012/04/rashad-confidence-the-element-of-surprise-evil-needle-remix-hiphop.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://www.moovmnt.com/wp-content/uploads/2012/04/rashad-confidence-the-element-of-surprise-evil-needle-remix-hiphop.jpg" width="320" /></a></div>
<b><span style="font-family: Verdana, sans-serif;">INTRODUCTION</span></b><br />
<br />
<span style="font-family: Verdana, sans-serif;">I'll be honest: I don't know too much about Rashad & Confidence other than the fact that they are a rapper/producer duo, Rashad being the rapper from New York and Confidence being the producer from Boston.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">I also know that they released an album entitled <i>The Element of Surprise</i> to critical acclaim in 2011. It was one of those projects that garnered absolutely no mainstream attention but managed to make its way on to a few blogs where it was heralded as one of the best LPs of the year.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;"><i>The Element of Surprise</i> is a new-age album with an old-school formula, as Confidence's production is of the boom-bap variety that relies heavily on samples and Rashad comes with no gimmicks as an MC.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">The duo formed when Rashad hit Confidence up on MySpace and asked if he could buy a beat. When Confidence gave some of Rashad's stuff on his own MySpace page a listen, he decided to do an entire full-length project with him.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">Thus, <i>The Element of Surprise</i> was born, and as I'm sure you can tell, the album cover pays homage to Lord Finesse and Mike Smooth's <i>The Funky Technician</i>. Cool.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">Because I have already provided you with all of the relevant information that I really know about these two, let's jump right into the review.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">TRACK-BY-TRACK</span></b><br />
<br />
<b><span style="font-family: Verdana, sans-serif;">1. Introduction</span></b><br />
<span style="font-family: Verdana, sans-serif;">Exactly what it sounds like, which sucks because I would have liked to have heard what Confidence could have done with that sample playing in the background.</span><br />
<br />
<b><span style="font-family: Verdana, sans-serif;">2. Brand New</span></b><br />
<span style="font-family: Verdana, sans-serif;">I believe this was the lead single for <i>The Element of Surprise</i>, but in all honesty, do albums like this really even <i>have</i> "singles?" Anyway, this sounds pretty freaking good, containing a soulful, introspective beat by Confidence that Rashad immediately flashes his MC ability on. You can already see the potential in these two from the first song, and that obviously bodes well for the rest of the project.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">3. The City</span></b><br />
<span style="font-family: Verdana, sans-serif;">It definitely sounds like Confidence put some kind of filter over the sample (and maybe even the snare drum), and it gives the song a nice, old-school feel. Also, <i>man</i>; Rashad is an <i>awesome</i> lyricist.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">4. Understand</span></b><br />
<span style="font-family: Verdana, sans-serif;">What you'll notice about <i>The Element of Surprise</i> is how seamlessly the tracks transition into one another, always an important quality on an album. "Understand" is very similar to the first two records on the project, as Confidence uses the same DJ Premier-like chopping formula and Rashad continues to rip his beats up, giving credence to his "I'm thinking of the perfect lines until my dome is empty" statement on this cut. These two work <i>really</i> well together.</span><br />
<br />
<b><span style="font-family: Verdana, sans-serif;">5. Rumors of War</span></b><br />
<span style="font-family: Verdana, sans-serif;">This is decent, but it doesn't hit as effectively as the first three songs. Confidence tries to do too much with the instrumental at times, throwing in some unnecessary horns and vocals that really don't fit with the sample. Rashad still holds his own, though, so that's good.</span><br />
<br />
<b><span style="font-family: Verdana, sans-serif;">6. Days of My Youth</span></b><br />
<span style="font-family: Verdana, sans-serif;">Once again, this track is adequate and has a nice atmosphere, but I'm still waiting for these dudes to hit that <i>next</i> level.</span><br />
<br />
<b><span style="font-family: Verdana, sans-serif;">7. Interlude</span></b><br />
<span style="font-family: Verdana, sans-serif;">The quite before the storm, perhaps?</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<b><span style="font-family: Verdana, sans-serif;">8. Pen On Display</span></b><br />
<span style="font-family: Verdana, sans-serif;">Yep; that's <i>exactly</i> what that interlude was. This freaking <i>knocks</i>. Confidence puts together his most confrontational production thus far and Rashad absolutely tears it to <i>shreds</i>. This is precisely what hip-hop should sound like today. Hey Kendrick Lamar, Drake and the rest of you pop artists who think you are actually making good hip-hop: <i>listen to this and take notes</i>.</span><br />
<br />
<b><span style="font-family: Verdana, sans-serif;">9. Shining</span></b><br />
<span style="font-family: Verdana, sans-serif;">This is <i>awesome</i> as well. Confidence uses the all-too-common "Nautilus" sample for "Shining" but integrates it so gracefully that you'll find yourself hypnotized rather than irked, and Rashad appropriately tones down his tenacity to match the subdued mood of the beat. It's songs like this that confirm hip-hop is still alive and well.</span><br />
<br />
<b><span style="font-family: Verdana, sans-serif;">10. Pass Me By</span></b><br />
<span style="font-family: Verdana, sans-serif;">Confidence utilizes a sample from The Moments for this track, and while it is very simple, consisting of a loop and some filtering, it's really freaking good. Here, Rashad raps about all of the girls he has let pass him by over the years and why he never made a move when he had the chance. Cliché, yes, but still effective, nonetheless.</span><br />
<br />
<b><span style="font-family: Verdana, sans-serif;">11. Interlude</span></b><br />
<span style="font-family: Verdana, sans-serif;">...</span><br />
<br />
<b><span style="font-family: Verdana, sans-serif;">12. They Keep Asking Me</span></b><br />
<span style="font-family: Verdana, sans-serif;">I feel like Confidence listened to DJ Premier beats non-stop for one week straight before crafting this instrumental. Obviously, that means his production is <i>fantastic</i> on this, and as per usual, Rashad buries the beat. I really, <i>really</i> like the vocal samples on the hook, too. Thankfully, that last interlude didn't kill <i>any</i> of this album's momentum.</span><br />
<br />
<b><span style="font-family: Verdana, sans-serif;">13. Let Me Explain</span></b><br />
<span style="font-family: Verdana, sans-serif;">These past five songs have been absolute <i>fire</i>. "Let Me Explain" continues the album's second-half surge, as Rashad spits about how fame can destroy a person's life over yet another winner of a Confidence instrumental.</span><br />
<br />
<b><span style="font-family: Verdana, sans-serif;">14. All Year Round</span></b><br />
<span style="font-family: Verdana, sans-serif;">Confidence takes the same Persuaders sample that was used on Styles P's "How We Live" and does <i>incredible</i> things with it. This song is just <i>terrific</i>. Confidence's chops are on point, and Rashad's raps maintain the level of excellence that they have displayed throughout <i>The Element of Surprise</i>. Every time you think this album has reached its peak, a better track surfaces. Unreal.</span><br />
<br />
<b><span style="font-family: Verdana, sans-serif;">15. The Break Up Song</span></b><br />
<span style="font-family: Verdana, sans-serif;">Rashad & Confidence saved the best for last. After all of that heat, Confidence laces his best beat on the project here, and Rashad raps prodigiously about a girl that is driving him out of his mind. Too many times in hip-hop, love songs end up sounding really cheesy, but this one is far from the sort. Each of Rashad's three verses are nothing short of sublime, from his vocabulary to his irrepressible flow, and Confidence's instrumental just <i>bangs</i>. What a way to end a truly <i>spectacular</i> album.</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<b><span style="font-family: Verdana, sans-serif;">FINAL THOUGHTS</span></b><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;">In case you didn't notice, I think <i>The Element of Surprise</i> is an <i>outstanding</i> effort by two virtual unknowns. Rashad is an extraordinarily talented MC, and Confidence has the makings of becoming one of the best producers in the game. The two complement each other <i>extremely</i> well, making this album a thoroughly enjoyable listen all the way through.</span><br />
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<span style="font-family: Verdana, sans-serif;">Not only was <i>The Element of Surprise</i> incredibly consistent, but there was not one bad song on the whole project. Every record is entertaining in its own right, even if the best tracks on the LP are far superior to the rest. Rashad & Confidence manage to keep the listener engaged throughout with absolutely no missteps at all, something even the greatest artists of all-time have difficulty doing.</span><br />
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<span style="font-family: Verdana, sans-serif;">Perhaps what's most impressive about <i>The Element of Surprise</i> is how the duo covers so many different topics, and yet, the records all fit together like a puzzle. There isn't a single cut on this album that I would say doesn't belong, and credit has to be evenly distributed to both parties involved for that. Confidence's beats are simply <i>awesome</i>, and Rashad does exactly what a good MC is supposed to do.</span><br />
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<span style="font-family: Verdana, sans-serif;">If you haven't listened to this project yet (and I'm going to guess that most of you haven't), you need to drop everything you are doing and listen to it <i>now</i>. I can almost guarantee that you be satisfied with the product. It really is great. </span><br />
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<span style="font-family: Verdana, sans-serif;">I feel like if <i>The Element of Surprise</i> were released in the mid 90s instead of 2011, it would be looked at as one of those slept-on gems that was never given its just due when it was released but would be considered a cult classic now.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">TOP TRACKS</span></b><br />
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<span style="font-family: Verdana, sans-serif;">1. The Break Up Song</span><br />
<span style="font-family: Verdana, sans-serif;">2. All Year Round</span><br />
<span style="font-family: Verdana, sans-serif;">3. Pen On Display</span><br />
<span style="font-family: Verdana, sans-serif;">4. Shining</span><br />
<span style="font-family: Verdana, sans-serif;">5. They Keep Asking Me </span><b><span style="font-family: Verdana, sans-serif;"> </span></b>Matthttp://www.blogger.com/profile/08809018195805797755noreply@blogger.com1tag:blogger.com,1999:blog-772823764528584233.post-42149404061870832882013-09-06T11:48:00.002-04:002013-09-06T11:50:09.712-04:00Album Review: "From Where???" - Mad Skillz (1996)<div class="separator" style="clear: both; text-align: center;">
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<b><span style="font-family: Verdana, sans-serif;">INTRODUCTION</span></b><br />
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<span style="font-family: Verdana, sans-serif;">Mad Skillz (now known simply as the recently retired "Skillz," the dude who does all of those pretty cool yearly "Rap-Ups") is a rapper from Richmond, Virginia who is most known for his debut album, <i>From Where???</i>. </span><br />
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<span style="font-family: Verdana, sans-serif;">He got started when he finished in second place in a freestyle competition (he lost to MC Supernatural, arguably the most well-known freestyler on the planet) and, off the strength of his performance, landed a deal with Atlantic Records.</span><br />
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<span style="font-family: Verdana, sans-serif;">Promptly, in 1996, Mad Skillz released his first single, "The Nod Factor," which was produced by The Beatnuts, and then dropped <i>From Where???</i>, the album's title entailing a play on the fact that the Virginia hip-hop scene was not exactly popping back then. That being said, it's exactly like Virginia is a breeding ground for hip-hop <i>today</i> either, but it <i>did</i> spawn famous artists like Pharrell and The Clipse.</span><br />
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<span style="font-family: Verdana, sans-serif;">Unfortunately for Mad Skillz, <i>From Where???</i> hit the shelves on the same day as 2Pac's <i>All Eyez On Me</i> and The Fugees' <i>The Score</i>. So, not only did it not achieve much commercial success, but it garnered virtually no notoriety at the time, either. Nowadays, it is looked at as a cult classic, and because it is out of print, many fans consider it to be a collector's item (although you can get a used copy for a pretty cheap price on Amazon).</span><br />
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<span style="font-family: Verdana, sans-serif;"><i>From Where???</i> does feature production from the likes of J Dilla, Buckwild, Large Professor and The Beatnuts, Mad Skillz was able to collect some beats from some pretty well-respected producers. He made sure he went to work on this album, but didn't <i>all</i> rappers make sure they did that back in the mid 90s? </span><br />
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<span style="font-family: Verdana, sans-serif;">Anyway, it's pretty clear from the first time you hear Mad Skillz that he sounds a hell of a lot like Big L (so much so that it's actually kind of creepy), and that alone makes a lot of hip-hop fans gravitate toward his sound.</span><br />
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<span style="font-family: Verdana, sans-serif;">So, is <i>From Where???</i> an overlooked gem? Let's decide for ourselves.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">TRACK-BY-TRACK</span></b><br />
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<b><span style="font-family: Verdana, sans-serif;">1. From Where??? (Intro)</span></b><br />
<span style="font-family: Verdana, sans-serif;">Your standard album intro.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">2. It's Goin' Down</span></b><br />
<span style="font-family: Verdana, sans-serif;">Mad Skillz leads off with a J Dilla-laced song, and it <i>knocks</i>. Jay Dee utilizes a Sergio Mendes sample and throws some <i>banging</i> drums over it, and Skillz sounds built for the beat. You'll also notice that not only does Mad Skillz <i>sound</i> like Big L, but he also has a similar style in that he is a dope punchline rapper.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">3. The Nod Factor</span></b><br />
<span style="font-family: Verdana, sans-serif;">The aforementioned first single. While the Beatnuts-produced track is solid, I was never in love with it. "The Nod Factor" just isn't on the same level of some of the other records on this album. Also, I'm not sure how much of a head-nodder this cut actually <i>is</i>, despite the fact that Skillz says "if you're not noddin' by now, you're either dead or a manikin." </span><br />
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<b><span style="font-family: Verdana, sans-serif;">4. VA In The House</span></b><br />
<span style="font-family: Verdana, sans-serif;">One of three Buckwild instrumentals on <i>From Where???</i>. While this isn't one of Buck's best productions, it's decent. The filter over the sample is pretty nice, and Mad Skillz sounds fairly comfortable. Not great nor all that impressive for a producer the caliber of Buckwild, but hardly bad, either.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">5. Tongues of The Next Shit</span></b><br />
<span style="font-family: Verdana, sans-serif;">Mad Skillz himself crafts the beat here, and he does a damn fine job. It consists of a simple--but <i>very</i> effective--loop, and Skillz and guest artist Kalonji The Immortal glide over it. Now <i>this</i> is what I would call a head-nodder. I really, <i>really</i> like this a <i>hell</i> of a lot.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">6. Doin' Time In The Cypha</span></b><br />
<span style="font-family: Verdana, sans-serif;">Buckwild production No. 2. Unfortunately, this isn't any better than his first effort on the project. The bassline is nice, but other than that, the instrumental is fairly boring. Mad Skillz puts forth a decent performance, but it sounded as though he was half-asleep. Maybe the beat bored <i>him</i>, too.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">7. Tip of The Tongue</span></b><br />
<span style="font-family: Verdana, sans-serif;">This is the best song on <i>From Where???</i>. Laced by Nick Wiz (one of the most criminally underrated producers in hip-hop history), this freaking <i>bangs</i>, as the drums are hard as hell and Mad Skillz sounds thoroughly stimulated. You also have to love Skillz saying "the only crossing over I'm doing is a motherfuckin' street," especially because he stayed true to that statement. This track is just <i>awesome</i>.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">8. Extra Abstract Skillz</span></b><br />
<span style="font-family: Verdana, sans-serif;">Large Professor gets on the boards for "Extra Abstract Skillz," and he puts together an effective, hard-hitting beat that he even drops a verse on. Q-Tip is here, too, and he <i>rips</i> it. All I really have to say is that this is pretty dope.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">9. WMAD (Interlude)</span></b><br />
<span style="font-family: Verdana, sans-serif;">You know the deal.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">10. Get Your Groove On</span></b><br />
<span style="font-family: Verdana, sans-serif;">It pains me to say this because I'm such a big Buckwild fan, but he must have been asleep on the boards for his contributions on this album. After rather underwhelming efforts on his first two instrumentals, Buck loops Kool & The Gang's "Summer Madness" for "Get Your Groove On." That just screams <i>lazy</i>. This record wasn't terrible, but it comes across as rather amateurish for such an experienced and well-traveled beatmaker.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">11. The Jam</span></b><br />
<span style="font-family: Verdana, sans-serif;">This is the second and final Jay Dee production on <i>From Where???</i>, and it's even better than the first. Dilla uses a haunting Dorothy Ashby sample for "The Jam" and crafts a rather unorthodox drum pattern to lay over it. Mad Skillz blesses Dilla's beat with a purposeful performance of his own.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">12. Move Ya Body</span></b><br />
<span style="font-family: Verdana, sans-serif;">I've never been a fan of these types of instrumentals which, in this case, is laid down by DJ Clark Kent. Skillz doesn't sound bad, but he sounds best over productions that are considerably harder than this.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">13. Street Rules</span></b><br />
<span style="font-family: Verdana, sans-serif;">Shawn J. Period produces back-to-back cuts beginning with "Street Rules," and he doesn't get off to a very auspicious start. This beat has absolutely no melody at all, making it sound very bland and lifeless. Once again, Mad Skillz comes correct to at least make the song respectable, but, also once again, the musical backdrop lets him down.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">14. All In It</span></b><br />
<span style="font-family: Verdana, sans-serif;">Now this is much, <i>much</i> better. This time, Shawn J. Period drops a dark, somber instrumental powered by a piano riff that Skillz tears up. This entire album should have consisted of productions like this. It would have been a sure-fire classic if it did. It's also pretty appropriate that Shawn J. Period takes the "give me a fly beat and I'm all in it" line out of Gang Starr's "Mass Appeal" for the hook. If only Mad Skillz would followed that mantra throughout the whole project.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">15. Unseen World</span></b><br />
<span style="font-family: Verdana, sans-serif;">This is a pretty solid posse cut, even if it consists of a bunch of dudes no one has ever heard of. The EZ Elpee beat is engaging, and everyone drops punchlines galore over it. It's worth noting that Mindbenda, the guy that raps third, sounds like a combination of a young Jay-Z and Papoose.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">16. Inherit The World</span></b><br />
<span style="font-family: Verdana, sans-serif;">Shawn J. Period is here again for his third go-around. Honestly, I'm not even sure <i>what</i> to make of the instrumental. It's all over the place, with a strange drum pattern and a very sloppy use of a sample. This isn't exactly the best way for Mad Skillz to close out <i>From Where???</i>.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">FINAL THOUGHTS</span></b><br />
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<span style="font-family: Verdana, sans-serif;"><i>From Where???</i> is a very good album that falls just short of classic status. Like many of the other projects I have reviewed, there is just too much filler on here for me to laud it that extensively. Still, it's an entertaining listen, and it's not like Mad Skillz is the reason why the LP isn't an all-time great; it's the beats.</span><br />
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<span style="font-family: Verdana, sans-serif;">Surprisingly, the main culprit for some of the lackluster instrumentals on <i>From Where???</i> is Buckwild. Especially taking into consideration that this album was constructed during his prime, it's odd to hear so many murky Buckwild productions at once. Not one of his beats were really all that hard-hitting, and it kind of seems like he half-assed all three of his contributions.</span><br />
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<span style="font-family: Verdana, sans-serif;">Thankfully, J Dilla saved Buck's behind, coming with two awesome instrumentals that Mad Skillz ate up. Plus, we had Nick Wiz on the boards for one production, and he laced the best song on the entire album ("Tip of The Tongue"). It would have been cool if he would have provided a couple of more beats for Skillz, but it is what it is.</span><br />
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<span style="font-family: Verdana, sans-serif;">Looking past the production, Mad Skillz is a very good MC. He has a great voice, an on-point delivery and he is a damn fine punchline rapper. Big L enthusiasts will undoubtedly like him, and if you're a Big L fan who hasn't yet given <i>From Where???</i> a listen, I'd suggest you do so. Just be prepared to weed through some rather bland instrumentals.</span><br />
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<span style="font-family: Verdana, sans-serif;">Since '96, Mad Skillz has dropped five albums, his latest work being the 2012 effort <i>Thoughts Become Things</i>, and as I mentioned earlier in the write-up, Skillz is now retired. Admittedly, I haven't listened to any of his other projects, but I might get to that soon. <i>Maybe</i>.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">TOP TRACKS</span></b><br />
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<span style="font-family: Verdana, sans-serif;">1. Tip of The Tongue</span><br />
<span style="font-family: Verdana, sans-serif;">2. Tongues of The Next Shit</span><br />
<span style="font-family: Verdana, sans-serif;">3. The Jam</span><br />
<span style="font-family: Verdana, sans-serif;">4. It's Goin' Down</span><br />
<span style="font-family: Verdana, sans-serif;">5. All In It</span>Matthttp://www.blogger.com/profile/08809018195805797755noreply@blogger.com0tag:blogger.com,1999:blog-772823764528584233.post-86289347067088425172013-09-04T11:11:00.003-04:002013-09-04T11:11:53.590-04:00Album Review: "Here Come The Lords" - Lords of The Underground (1993) <div class="separator" style="clear: both; text-align: center;">
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<b><span style="font-family: Verdana, sans-serif;">INTRODUCTION</span></b><br />
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<span style="font-family: Verdana, sans-serif;">I remember the first time I heard Lords of The Underground, a trio hailing from Newark, New Jersey. I was 13 years old and I was playing <i>NBA Street Vol. 2</i>. I remember going through the soundtrack and hearing songs like Pete Rock and C.L. Smooth's "They Reminisce Over You" and Erick Sermon and Redman's "React." </span><br />
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<span style="font-family: Verdana, sans-serif;">At that point of my life, I was absolutely clueless about hip-hop and didn't actively seek out any type of music. To be perfectly honest, most of the music I heard came from soundtracks of video games like NBA Street, Madden, NBA Live/NBA 2K, etc.</span><br />
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<span style="font-family: Verdana, sans-serif;">So, getting back on track, "Chief Rocka," the most famous record by Lords of The Underground, was on <i>NBA Street Vol. 2</i>. I remember loving it the second I heard it and having it play in the background constantly. As I sit here writing this review 10 years later, I still love it, and it always takes me back to my childhood.</span><br />
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<span style="font-family: Verdana, sans-serif;">Anyway, 20 years ago, Lords of The Underground dropped their debut album, <i>Here Come The Lords</i>. While it was not that commercially successful, it still moved some units, and "Chief Rocka" was a fairly big hit.</span><br />
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<span style="font-family: Verdana, sans-serif;">The group is composed of two rappers (Mr. Funke and DoItAll) and DJ Lord Jazz. Mr. Funke and DoItAll are known for their hard, gruff delivery that was perfectly suited for the beats of Marley Marl and K-Def, both of whom laid down the instrumentals for Lords of The Underground on <i>Here Come The Lords</i>.</span><br />
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<span style="font-family: Verdana, sans-serif;">When there are discussions about classic hip-hop albums, <i>Here Come The Lords</i> is rarely mentioned. Is that a grave injustice, or is the debut of Lords of The Underground merely a good album that was released during a time of <i>great</i> albums? </span><br />
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<span style="font-family: Verdana, sans-serif;">Let's find out.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">TRACK-BY-TRACK</span></b><br />
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<b><span style="font-family: Verdana, sans-serif;">1. Here Come The Lords</span></b><br />
<span style="font-family: Verdana, sans-serif;">K-Def laces the opening song on the album, and it's a certified <i>banger</i>. You'll notice right off the bat that Mr. Funke's voice is extremely unique, and it's the voice you'll immediately picture when you think of Lords of The Underground (at least I do, anyway). That's not a knock to DoItAll; it's just that Mr. Funke is <i>that</i> raw. Anyway, this was a great way to start things off.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">2. From Da Bricks</span></b><br />
<span style="font-family: Verdana, sans-serif;">This is a dedication to the city of Newark, as the track's title is a play on Newark's nickname "Brick City." K-Def is on the boards again, and he lays down a more laid-back, jazzier beat than his previous effort. It's still nice, though. Mr. Funke's cousin Jam-C drops a guest verse here, and he fits right in.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">3. Funky Child</span></b><br />
<span style="font-family: Verdana, sans-serif;">I wasn't really feeling this one at all. K-Def's instrumental is fairly dull, and it overpowers the voices of Mr. Funke and DoItAll at times.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">4. Keep It Underground</span></b><br />
<span style="font-family: Verdana, sans-serif;">The first Marley Marl production is pretty solid, and the Lords sound much more engaged than they did on the previous record. Mr. Funke in particular absolutely <i>rips</i> this. Also, obviously, this cut was released during a time (a much <i>better</i> time) when keeping it underground was actually respected.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">5. Check It (Remix)</span></b><br />
<span style="font-family: Verdana, sans-serif;">This is where the "Chief Rocka" sample came from. How often do you see artists sample songs from the same album anymore? Pretty much <i>never</i>. One thing in particular that stands out about this song is Marley Marl's bassline. While the beat itself isn't all that spectacular, the bassline makes it passable. The original version of "Check It" can easily be found on the Internet, but it doesn't sound all that different from this remix.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">6. Grave Digga</span></b><br />
<span style="font-family: Verdana, sans-serif;">This isn't great, but it's definitely better than average. Marley's instrumental is decent, and the Lords sound comfortable on it. All things considered, I'm still waiting to be wowed on <i>Here Come The Lords</i>, and it hasn't happened yet.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">7. Lords Prayer</span></b><br />
<span style="font-family: Verdana, sans-serif;">Marley Marl gets primary production credits here, with K-Def being listed as a co-producer. Again, though, this is merely solid and not great. Maybe this is why this album isn't lauded as a classic.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">8. Flow On (New Symphony)</span></b><br />
<span style="font-family: Verdana, sans-serif;">If Marley Marl would have just stuck to The Floaters sample throughout, this would have been great, but he doesn't and keeps on changing the beat back and forth throughout, making "Flow On (New Symphony)" sound very messy. Plus, the chanting of "flow, flow" on the hook is just too loud. What the <i>hell</i>, man?</span><br />
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<b><span style="font-family: Verdana, sans-serif;">9. Madd Skillz</span></b><br />
<span style="font-family: Verdana, sans-serif;">That reminds me; I have to review the <i>rapper</i> Mad Skillz's album <i>From Where???</i> soon. Oh; <i>this</i> track? Once again, it's nothing more than adequate, which is becoming a rather bothersome theme on <i>Here Come The Lords</i>.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">10. Psycho</span></b><br />
<span style="font-family: Verdana, sans-serif;"><i>Finally</i>. This record absolutely <i>knocks</i>, consisting of a very appealing instrumental from Marley Marl that Mr. Funke and DoItAll appropriately tear to pieces. The aggressive nature of this cut suits the Lords incredibly well, making me wonder why they didn't try to go that route more often on this project.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">11. Chief Rocka</span></b><br />
<span style="font-family: Verdana, sans-serif;">This is<i> </i>the best song on the freaking album. <i>Bar none</i>. Not only that, but this is one of the hardest, grittiest songs to ever be released <i>period</i>. The K-Def production undeniably <i>bangs</i>, and the hook (that everyone and their mother knows) will get definitely your blood flowing. Plus, this is probably Mr. Funke's best performance. If you don't like "Chief Rocka," then I hate you. </span><br />
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<b><span style="font-family: Verdana, sans-serif;">12. Sleep For Dinner (Remix)</span></b><br />
<span style="font-family: Verdana, sans-serif;">This album has really taken a turn for the better, as "Sleep For Dinner" is also pretty freaking awesome. Marley Marl's beat is great, and the Lords come with some <i>hilarious</i> rhymes, especially when DoItAll talks about fighting a pizza man. This is the longest record on <i>Here Come The Lords</i>, and I have absolutely no qualms about that at all because, well, it's really freaking good.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">13. L.O.T.U.G.</span></b><br />
<span style="font-family: Verdana, sans-serif;">Where the hell was this kind of energy in the first half of the album? This K-Def-laced cut absolutely <i>bangs</i>, containing a fantastic, hard-hitting instrumental and some spirited raps from Mr. Funke and DoItAll. "L.O.T.U.G." is the only song on <i>Here Come The Lords</i> that can rival "Chief Rocka." It's not as good, but you know what? It's pretty damn impressive.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">14. Lord Jazz Hit Me One Time (Make It Funky)</span></b><br />
<span style="font-family: Verdana, sans-serif;">This is really great, too. It's pretty clear to me that the Lords were coasting for the first nine songs, because the momentum on this project has <i>completely</i> turned. The Gil Scott-Heron-sampling production by K-Def <i>knocks</i>. It's a shame that this was the shortest track on the album, and by quite a lot, too.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">15. What's Goin' On</span></b><br />
<span style="font-family: Verdana, sans-serif;">Great, <i>great</i> way to close out the project. Marley Marl's bassline on here is absolutely <i>unreal</i>, and Mr. Funke and DoItAll ride it as if they wanted to do everything they could to go out with a bang, questioning why basically everyone has a hip-hop song. These dudes must have seizures when they listen to the radio nowadays, then.</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<b><span style="font-family: Verdana, sans-serif;">FINAL THOUGHTS</span></b><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;"><i>Here Come The Lords</i> is a tale of two halves. The first part of the album is predominantly bland, consisting of rather dull beats from K-Def and Marley Marl and lacking the type of energy that makes great hip-hop albums, well, great. Then, things pick up in a big way once "Psycho" hits, and the last six songs are all winners.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">All things considered, I can see why most people don't put <i>Here Come The Lords</i> on their list of classics: it's just not a complete listen. While it has several great tracks, there are too many clunkers that drag the overall product down. Some of the records in the first half of the project are pretty damn boring, and it isn't until the ninth cut that the LP becomes invigorated.</span><br />
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<span style="font-family: Verdana, sans-serif;">Still, there is no denying that Mr. Funke and DoItAll are enjoyable MCs. Neither are top-line lyricists, but they both have great, booming voices and can certainly flow. Plus, they know how to vary their subject matter while simultaneously remaining light-hearted and humorous, a quality that too few rappers actually possess, <i>especially</i> these days.</span><br />
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<span style="font-family: Verdana, sans-serif;">As far as who won the battle of the producers on <i>Here Come The Lords</i>, the answer is definitely K-Def. After all, he was the man behind "Chief Rocka," and he also crafted the more lively instrumentals on the former half of the project. That's not to say Marley Marl didn't do his part, though, as a couple of the beats he laced later on (particularly "What's Goin' On") were awesome.</span><br />
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<span style="font-family: Verdana, sans-serif;">Unfortunately, the verdict on <i>Here Come The Lords</i> is that it <i>was</i> merely a <i>good</i> album released during a time of <i>great</i> albums. It didn't have to be that way, as the Lords clearly had it in them to drop a classic, but there are too many missteps on this for me to give it that label.</span><br />
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<span style="font-family: Verdana, sans-serif;">That doesn't mean you shouldn't still give this a spin, though. Oh, and you need "Chief Rocka" in your life <i>now</i> if it isn't already.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">TOP TRACKS</span></b><br />
<br />
<span style="font-family: Verdana, sans-serif;">1. Chief Rocka</span><br />
<span style="font-family: Verdana, sans-serif;">2. L.O.T.U.G.</span><br />
<span style="font-family: Verdana, sans-serif;">3. What's Goin' On</span><br />
<span style="font-family: Verdana, sans-serif;">4. Lord Jazz Hit Me One Time (Make It Funky)</span><br />
<span style="font-family: Verdana, sans-serif;">5. Here Come The Lords</span><b><span style="font-family: Verdana, sans-serif;"> </span></b>Matthttp://www.blogger.com/profile/08809018195805797755noreply@blogger.com1tag:blogger.com,1999:blog-772823764528584233.post-10017725301266717192013-09-02T11:37:00.002-04:002013-09-02T11:37:36.064-04:00Album Review: "Word...Life" - O.C. (1994)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRrXhLGkNPuy2nCxiEquT1Zgo-wTfnKOLwA3DC9fmOsleoceCoonTkrU6V5QKSCMmEynmyVclyHiqGDXAW2gwyz3xNUF8GrMEuDS1oKI5QFZvyCspGNR-w53sgXZ2SIKb6JUwP7U4Z_kvP/s320/O.C.+-+Word...Life.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRrXhLGkNPuy2nCxiEquT1Zgo-wTfnKOLwA3DC9fmOsleoceCoonTkrU6V5QKSCMmEynmyVclyHiqGDXAW2gwyz3xNUF8GrMEuDS1oKI5QFZvyCspGNR-w53sgXZ2SIKb6JUwP7U4Z_kvP/s320/O.C.+-+Word...Life.jpg" /></a></div>
<span style="font-family: Verdana, sans-serif;"><b>INTRODUCTION</b></span><br />
<br />
<span style="font-family: Verdana, sans-serif;">Few rappers in history have flown under the radar as much as O.C., real name Omar Credle (see? No gimmicks. Just abbreviations).</span><br />
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<span style="font-family: Verdana, sans-serif;">A part of the Diggin' In The Crates crew movement in the 1990s, O.C. released two albums to critical acclaim (not to mention a couple of others that are also worthy of praise), one being his debut, <i>Word...Life</i>, and the other being his sophomore effort, <i>Jewelz</i>. The project we will be discussing today is <i>Word...Life</i>.</span><br />
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<span style="font-family: Verdana, sans-serif;">The casual fan of '90s hip-hop may not have even heard of O.C., let alone his first album. However, those who are truly in tune with the genre and know a thing or two about its history tend to rank <i>Word...Life</i> among the best albums to ever grace rap.</span><br />
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<span style="font-family: Verdana, sans-serif;">O.C. learned from some of the best. He made his first appearance in 1991 on Organized Konfusion's song "Fudge Pudge," and soon after, he met Buckwild and Lord Finesse. That was when he became enlisted in D.I.T.C., and from that point on, his career took off. </span><br />
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<span style="font-family: Verdana, sans-serif;">O.C. released <i>Word...Life</i> in 1994. Featuring production from D.I.T.C. producers Buckwild and Lord Finesse (I guess Showbiz was busy) and a few joints laced by Organized Konfusion, <i>Word...Life</i> spawned two hit singles: "Born 2 Live" and "Time's Up." Still, the LP didn't sell incredibly well as a whole, reaching only as high as No. 34 on the Top R&B and Hip-Hop Albums chart.</span><br />
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<span style="font-family: Verdana, sans-serif;">Not that record sales actually matter.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">Outside of appearances from Organized Konfusion members Pharoahe Monch and Prince Po (who appear briefly on separate tracks), there are no guests on <i>Word...Life</i>. Fun fact, though: Nas was supposed to be featured, but he didn't show up to the studio for the recording session. Too bad, because that would have been an incredibly dope collaboration.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">So, let's get to that review.</span><br />
<br />
<b><span style="font-family: Verdana, sans-serif;">TRACK-BY-TRACK</span></b><br />
<br />
<b><span style="font-family: Verdana, sans-serif;">1. Creative Control</span></b><br />
<span style="font-family: Verdana, sans-serif;">Although "Creative Control" is under two minutes long, it <i>is</i> an actual song. The Organized Konfusion duo lays down the beat for O.C., who raps briefly about a very important topic: making the music <i>he</i> actually wants to make rather than selling out to appease the record label. If only artists today followed that mantra.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">2. Word...Life</span></b><br />
<span style="font-family: Verdana, sans-serif;">Very few producers can match a prime Buckwild's prowess on the boards, and this entire album is a perfect example of that. The title track consists of a soothing piano sample with some appropriately dusty drums, and O.C.'s delivery is just flawless. You'd better get used to it; the dude is like that <i>all</i> the time.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">3. O-Zone</span></b><br />
<span style="font-family: Verdana, sans-serif;">Buckwild's drums are extra hard on this, and O.C. raps extra hard to match them. While the sample Buck used wasn't all that special, "O-Zone" was solid as a whole. It also samples Mobb Deep's "Shook Ones Pt. I." Keep in mind that the much more well-known "Shook Ones Pt. II" wasn't even <i>recorded</i> yet, so it's not like Buckwild was just sampling the vocals of a popular group. That little nugget of information alone makes this a dope cut.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">4. Born 2 Live</span></b><br />
<span style="font-family: Verdana, sans-serif;">One of the aforementioned two singles that <i>Word...Life</i> churned out, and it is the best record on the album. "Born 2 Live" contains one of the best beats Buckwild has ever done, and that is saying a <i>lot</i>. Also, O.C.'s raps are genuine and from the heart and possess a great message about how life tends to start out so simple but then often turns into something tragic. In my personal opinion, this is one of the greatest songs in hip-hop history.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">5. Time's Up</span></b><br />
<span style="font-family: Verdana, sans-serif;">That brings us to what is probably O.C.'s most well-known record. This track absolute personifies what the game is like now, as O.C. is basically dissing whack MCs everywhere and saying how their "time is up." The funny thing is, this cut was released in a year (1994) that many consider to be the best in hip-hop history. Knowing that, imagine how O.C. feels about the state of rap <i>now</i>? The instrumental by Buckwild is justly aggressive, and even though the raw sample actually overpowers the drums, it's still <i>hard</i>. Oh, and there is a "Time's Up" remix that was also blessed by Buckwild. The lyrics are the same, but it's worth hearing because of the beat.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">6. Point o' Viewz</span></b><br />
<span style="font-family: Verdana, sans-serif;">Buckwild (along with Prestige, who receives co-production credits) crafts a light-hearted, feel-good production for O.C. on "Point o' Viewz." This was merely alright, though, and it doesn't help that it follows the two-headed monster that was "Born 2 Live" and "Time's Up."</span><br />
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<b><span style="font-family: Verdana, sans-serif;">7. Constables</span></b><br />
<span style="font-family: Verdana, sans-serif;">Buckwild takes a short vacation at this point of <i>Word...Life</i>, as he had no hand in the following three cuts. For "Constables," Organized Konfusion contribute another beat, and they make it so that Buck is not sorely missed. This freaking <i>bangs</i> and exemplifies what pump-up music should sound like. O.C. tears the combative instrumental to shreds (his second verse is particularly <i>crazy</i>), and the KRS-One sample on the hook makes this track that much greater.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">8. Ga Head</span></b><br />
<span style="font-family: Verdana, sans-serif;">Lord Finesse gets on the boards for the first and only time on <i>Word...Life</i>, and he helps give life to one of the best songs on the album here. "Ga Head" is about a girl who does O.C. dirty by cheating on him with, get this, <i>another woman</i>. You know a man is secure in his masculinity when he publicizes his girl messing around with one of her own kind. Props, O.C. <i>Major</i> props, especially considering you made a <i>dope effing record</i> out of it.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">9. No Main Topic</span></b><br />
<span style="font-family: Verdana, sans-serif;">This time, DJ Ogee (who contributes two beats to the project and worked with O.C. in the years after <i>Word...Life</i> was released) drops the instrumental, and he does his best Buckwild impression. Too bad he's not nearly as good. This is just one long verse by O.C., and while that can <i>never</i> be a bad thing, it sounds like he recorded this through a telephone (maybe that was the angle he was going for considering there is a phone conversation at the beginning; I don't know). Also, Prince Po makes an appearance at the very end to drop a short verse of his own. All things considered, "No Main Topic" is not one of the best cuts on the album.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">10. Let It Slide</span></b><br />
<span style="font-family: Verdana, sans-serif;">Buckwild returns for "Let It Slide," a track that features Pharoahe Monch on the hook. It's not like he was really needed, though, because he only says like two words. I would have liked to hear him lay down a verse, but whatever; "Let It Slide" is still really freaking good as is. Buck's beat is pretty awesome, and O.C. is as energized as he is ever going to be.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">11. Ma Dukes</span></b><br />
<span style="font-family: Verdana, sans-serif;">Yes; that is O.C.'s mom singing background vocals throughout this record. I'm not sure a rapper has ever done that before or since "Ma Dukes." As far as the rest of the song goes, Buckwild's production is not nearly as engaging as most of his other instrumentals on <i>Word...Life</i>, but it's effective enough. Overall, this was decent.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">12. Story</span></b><br />
<span style="font-family: Verdana, sans-serif;">Did I mention that O.C. was a great storyteller? The funny thing is, O.C. is basically <i>telling you</i> that in this track's title. Well-played, Omar. Anyway, let me warn everyone right now: if you are squeamish, I'd recommend passing on this cut. O.C. raps in graphic detail about the family of a drug dealer that is tortured and killed. I'm a bit squeamish myself, so even I have a hard time getting through this record, especially the third verse. The DJ Ogee beat is fittingly dark, and O.C. tells the tale with a truly remarkable attention to detail.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">13. Outtro (Sabotage)</span></b><br />
<span style="font-family: Verdana, sans-serif;">This is a pretty standard outro.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">14. Born 2 Live (Remix)</span></b><br />
<span style="font-family: Verdana, sans-serif;">Organized Konfusion laid down the remix instrumental, but it can't even touch the original. The production really does not fit the content at <i>all</i>. This should have been left alone.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">FINAL THOUGHTS</span></b><br />
<br />
<span style="font-family: Verdana, sans-serif;">There is absolutely no doubt that <i>Word...Life</i> is a timeless classic that should be a part of any true hip-hop head's collection. O.C. is a wordsmith, proving on this album that he is one of the most underrated rappers to ever do it.</span><br />
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<span style="font-family: Verdana, sans-serif;">The impressive thing about O.C. is his versatility. He is not just a lyricist. He also possesses the ability to flow seamlessly over any type of beat, and on top of that, he is a pretty amazing storyteller. Plus, he has a great ear for production. Essentially, O.C. has all of the bases covered. He is just a phenomenal all-around artist.</span><br />
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<span style="font-family: Verdana, sans-serif;">And I mean, let's face it: "Time's Up" is basically the anthem for everyone who feels that today's hip-hop market is oversaturated. How much good rap music do you actually hear on the radio in 2013? Virtually none. Say what you want about how "great" Kendrick Lamar is (king of New York my freaking <i>ass</i>), but he would have been a mere afterthought during the '90s golden era, and he almost <i>certainly</i> would have been one of the artists that O.C. was targeting on "Time's Up."</span><br />
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<span style="font-family: Verdana, sans-serif;">Let's give some credit to Buckwild, too. The dude is simply an <i>awesome</i> producer, arguably a top five beatmaker of all-time. He always comes correct with his drums, and he always manages to pick out great samples. The entire Diggin' In The Crates crew is disgustingly underrated. <i>Seriously</i>.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">If you haven't given <i>Word...Life</i> a listen, I don't know what the hell you are waiting for. You really need to put everything down and hear this <i>right now</i> if you haven't done so yet. If not, then you are missing out on one of the finest pieces of work hip-hop has to offer.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">TOP TRACKS</span></b><br />
<br />
<span style="font-family: Verdana, sans-serif;">1. Born 2 Live</span><br />
<span style="font-family: Verdana, sans-serif;">2. Ga Head</span><br />
<span style="font-family: Verdana, sans-serif;">3. Time's Up</span><br />
<span style="font-family: Verdana, sans-serif;">4. Constables</span><br />
<span style="font-family: Verdana, sans-serif;">5. Word...Life </span>Matthttp://www.blogger.com/profile/08809018195805797755noreply@blogger.com0tag:blogger.com,1999:blog-772823764528584233.post-88981147843626018152013-09-01T11:33:00.001-04:002013-09-01T11:33:44.167-04:00Album Review: "The Coming" - Busta Rhymes (1996)<div class="separator" style="clear: both; text-align: center;">
<a href="http://imageshack.us/a/img502/797/mediumnk.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://imageshack.us/a/img502/797/mediumnk.jpg" width="320" /></a></div>
<b><span style="font-family: Verdana, sans-serif;">INTRODUCTION</span></b><br />
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<span style="font-family: Verdana, sans-serif;">Busta Rhymes wasn't always making songs like "Twerk It." There was a time when he was one of the more well-respected rappers in the business and wasn't just making music for the sole purpose of making a buck. His debut album, <i>The Coming</i>, is representative of that time.</span><br />
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<span style="font-family: Verdana, sans-serif;">Of course, <i>The Coming</i> is not where Busta's career began. He first gained notoriety when he, along with his Leaders of The New School crew, appeared on A Tribe Called Quest's 1992 song, "Scenario." Busta Rhymes was lauded for his verse, and served as the impetus to what would end up being a very successful career for the Brooklyn native.</span><br />
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<span style="font-family: Verdana, sans-serif;">Busta would go on to be featured on numerous other tracks leading up to the release of his first LP in 1996, including the remix to Craig Mack's famous record, "Flava In Ya Ear," which also housed The Notorious B.I.G.</span><br />
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<span style="font-family: Verdana, sans-serif;">Soon enough, Busta Rhymes dropped his hit single, "Woo Hah!! Got You All In Check," building an extraordinary amount of hype for <i>The Coming</i>. A month later, the album was released to critical acclaim, and it would eventually proceed to achieve platinum status.</span><br />
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<span style="font-family: Verdana, sans-serif;">Featuring production from the likes of J Dilla, Q-Tip and Easy Mo Bee, <i>The Coming</i> is considered Busta's strongest LP by many and to be a hip-hop classic by some.</span><br />
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<span style="font-family: Verdana, sans-serif;">Let's see if it merits such praise.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">TRACK-BY-TRACK</span></b><br />
<br />
<b><span style="font-family: Verdana, sans-serif;">1. The Coming (Intro)</span></b><br />
<span style="font-family: Verdana, sans-serif;">This is a four-and-a-half minute intro, but at least Busta Rhymes warns you in the title. About a minute-and-a-half in, a pretty effective beat by DJ Scratch and Rick St. Hilaire kicks in, but Busta and his Flipmode Squad partners Lord Have Mercy and Rampage (of "Wild For The Night" fame) merely talk over it. What a waste.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">2. Do My Thing</span></b><br />
<span style="font-family: Verdana, sans-serif;">DJ Scratch gets full production credits on "Do My Thing."<i> </i>While the instrumental isn't great, it's decent enough, although it gets a bit repetitive as the song progresses. Busta Rhymes hardly sounds like the guy we have come to know in recent years. That's a good thing just in case you somehow weren't sure.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">3. Everything Remains Raw</span></b><br />
<span style="font-family: Verdana, sans-serif;">This is freaking <i>awesome</i>. Easy Mo Bee crafts some absolute <i>fire</i> here, better than anything he ever produced for Biggie. It's <i>that</i> good, and appropriately, Busta sounds incredibly engaged and hungry. It's too bad we never hear him like this anymore, although it's not necessarily his fault. Success tends to do that to you.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">4. Abandon Ship</span></b><br />
<span style="font-family: Verdana, sans-serif;">Busta Rhymes himself lays down the production for this cut, and you know what? He does a surprisingly solid job. There really isn't much to the beat, but it sounds pretty damn good, and he and Rampage tear it to pieces. I'm not sure I understand why the "Woo Hah!! Got You All In Check" instrumental plays out for the final minute or so of the record, though, but whatever.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">5. Woo Hah!! Got You All In Check</span></b><br />
<span style="font-family: Verdana, sans-serif;">The aforementioned hit single. I was never all that crazy about this track. I understand that it is meant to be playful in nature, but it's kind of hard for me to take this song seriously.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">6. It's a Party</span></b><br />
<span style="font-family: Verdana, sans-serif;">"It's a Party" was the second-most popular song off of <i>The Coming</i>. While it didn't garner as much attention as "Woo Hah!! Got You All In Check," it did reach No. 52 on the <i>Billboard</i> Hot 100. Plus, this Easy Mo Bee-laced cut is superior anyway. It's not fantastic, but it's solid, and the female R&B duo Zhané add a really nice touch.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">7. Hot Fudge</span></b><br />
<span style="font-family: Verdana, sans-serif;">Nothing about this track really caught my attention. The production by The Vibe Chemist Backspin (you really couldn't come up with a shorter name than <i>that</i>?) is hardly captivating, and Busta's mood matches that of the beat. "Hot Fudge" is, in a word, <i>boring</i>.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">8. Ill Vibe</span></b><br />
<span style="font-family: Verdana, sans-serif;">Q-Tip gets on the boards for this one, and he lays down an instrumental that is sufficient enough to keep the listener's interest. He chips in a verse, as well. "Ill Vibe" is adequate, but there is nothing all that special about it. This album has hit a bit of an extended lull by this point. The past few records haven't been bad; just not all that memorable.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">9. Flipmode Squad Meets Def Squad</span></b><br />
<span style="font-family: Verdana, sans-serif;">This time, The Vibe Chemist Backspin's production <i>knocks</i>, and a bounty of artists (six to be exact) rock over it. Busta Rhymes enlists Rampage and Lord Have Mercy, plus Redman, Keith Murray and Jamal (just like the song's title says), and each of them drop verses. Yup; <i>all six of them</i>. There are no hooks here; this is just flat-out <i>rap</i>. Def Squad goes first, followed by Busta and his Flipmode camp. Take a guess who walks away the victor. If you guessed Flipmode Squad for some peculiar reason, you're <i>wrong</i>. This lasts for eight minutes and 10 seconds, but it goes by pretty quickly because it's so damn awesome. Trust me; it's worth the time.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">10. Still Shining</span></b><br />
<span style="font-family: Verdana, sans-serif;">The first of two J Dilla beats on <i>The Coming</i>, and they are actually back-to-back. This is really freaking good, as Busta Rhymes sounds eminently content spitting over the light-hearted instrumental. "Still Shining" runs under three minutes in length, too, so it's a nice change of pace after "Flipmode Squad Meets Def Squad."</span><br />
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<b><span style="font-family: Verdana, sans-serif;">11. Keep It Movin'</span></b><br />
<span style="font-family: Verdana, sans-serif;">No praise that I can place upon this Jay Dee-produced track can possibly do it full justice. This is just <i>outstanding</i>. It contains one of the more aggressive Dilla instrumentals that you will ever hear, and Busta Rhymes and his Leaders of The New School brothers shred it. Awesome, awesome, <i>awesome</i>.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">12. The Finish Line</span></b><br />
<span style="font-family: Verdana, sans-serif;">The third DJ Scratch production on <i>The Coming</i> is really insipid, and it <i>especially</i> sounds that way after hearing the previous three cuts. I actually found it really hard to get through this entire song, and the fact that it ran over five minutes in length made it that much more difficult to do so.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">13. The End of The World (Outro)</span></b><br />
<span style="font-family: Verdana, sans-serif;">This is an outro that contains the same beat as the intro. Nothing to see here.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">FINAL THOUGHTS</span></b><br />
<br />
<span style="font-family: Verdana, sans-serif;"><i>The Coming</i> is a good album, but there are just too many dull moments on here for me to label this a classic. It also doesn't help matters much that it was released in 1996, arguably the greatest year in hip-hop history. Had this dropped a year or two later, perhaps it would be looked upon more favorably. Probably not, though.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">Busta Rhymes certainly put together an effective debut record. The best songs on here are <i>really</i> good, and he doesn't venture too far out of his comfort zone. It's clear that even from the very beginning, Busta liked to wild out and make playful, party-type tracks, as evidenced by "Woo Hah!! Got You All In Check" and the not-so-fortuitously named "It's a Party." </span><br />
<br />
<span style="font-family: Verdana, sans-serif;">Neither of those records were laughable like most of the stuff he puts out today, either (even though I said it was hard for me to take "Woo Hah!! Got You All In Check" seriously). So, again, Busta Rhymes was able to remain inbounds throughout this album.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">The problem is that a solid chunk of <i>The Coming</i> is just flat-out <i>boring</i>. There is a stretch of four tracks in a row early on in the album that almost puts you to sleep, and that is not something a classic LP has. </span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;">I feel like Busta should have focused more on obtaining J Dilla beats for this project, as the two songs Dilla produced are two of the best on this album. Perhaps instead of enlisting DJ Scratch for a few instrumentals, Busta Rhymes should have turned to Jay Dee for a couple of more joints.</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;">I don't really have much more to add about <i>The Coming</i>. Again, it is <i>not</i> a classic, but there are definitely a couple of songs on here that are worthy of receiving heavy rotation on your iPod, so I guess I'd recommend giving this a listen.</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<b><span style="font-family: Verdana, sans-serif;">TOP TRACKS</span></b><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;">1. Keep It Movin'</span><br />
<span style="font-family: Verdana, sans-serif;">2. Everything Remains Raw</span><br />
<span style="font-family: Verdana, sans-serif;">3. Flipmode Squad Meets Def Squad</span><br />
<span style="font-family: Verdana, sans-serif;">4. Abandon Ship</span><br />
<span style="font-family: Verdana, sans-serif;">5. Still Shining </span><b><span style="font-family: Verdana, sans-serif;"> </span></b>Matthttp://www.blogger.com/profile/08809018195805797755noreply@blogger.com0tag:blogger.com,1999:blog-772823764528584233.post-35425065112612570692013-08-31T10:11:00.000-04:002013-08-31T10:11:06.618-04:00Album Review: "Heavy Mental" - Killah Priest (1998)<div class="separator" style="clear: both; text-align: center;">
<a href="http://cdn.tss.uproxx.com/TSS/wp-content/uploads/2012/10/killah-priest-heavy-mental.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://cdn.tss.uproxx.com/TSS/wp-content/uploads/2012/10/killah-priest-heavy-mental.jpg" width="320" /></a></div>
<b><span style="font-family: Verdana, sans-serif;">INTRODUCTION</span></b><br />
<br />
<span style="font-family: Verdana, sans-serif;">I'm sure most Wu-Tang fans know the story of Killah Priest. Back when the Wu-Tang Clan was recording <i>Enter The Wu-Tang: 36 Chambers</i>, he and Masta Killa were in competition for a verse on "Da Mystery of Chessboxin'." While Killah Priest fell asleep, Masta Killa stayed up all night writing, and Priest woke up to Masta's verse the following morning.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">As a result, Killah Priest was left off one of the most influential albums in hip-hop history, and he also likely cost himself an official spot in the Clan.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">You would think something like that would have been incredibly detrimental to Priest's career, but things kind of worked out for him. He ended dropping a famous verse (well, famous to hardcore hip-hop fans, anyway) on the Gravediggaz song "Diary of a Madman," made guest appearances on a couple of Wu-Tang solo projects and closed out <i>Liquid Swords</i> with his trademark record, "B.I.B.L.E." </span><br />
<br />
<span style="font-family: Verdana, sans-serif;">Plus, Priest became a member of the Wu-affiliated group, Sunz of Man, which was always my favorite of the Wu-Tang offshoots. </span><br />
<br />
<span style="font-family: Verdana, sans-serif;">Thanks to all of his hard work, a solo career was born, and in 1998, Killah Priest released his debut album, <i>Heavy Mental</i>.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">Based on the fact that he was very closely tied to the Wu, you would expect a whole lot of production from The RZA, right? Wrong.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">There are 20 tracks on <i>Heavy Mental</i>, and not <i>one</i> of them is laced by Prince Rakeem. Instead, Priest enlisted 4th Disciple as his go-to beatmaker, much like many of the other Clan affiliates.</span><br />
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<span style="font-family: Verdana, sans-serif;">Although many bemoaned RZA's absence, <i>Heavy Mental</i> still managed to achieve gold status, making Killah Priest's first solo venture a profitable one.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">Nowadays, this album is considered a classic by many, some labeling it one of the best lyrical performances in hip-hop history.</span><br />
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<span style="font-family: Verdana, sans-serif;">Does Heavy Mental hold up to its lofty praise?</span><br />
<span style="font-family: Verdana, sans-serif;"><br />Let's find out.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">TRACK-BY-TRACK</span></b><br />
<br />
<b><span style="font-family: Verdana, sans-serif;">1. Intro</span></b><br />
<span style="font-family: Verdana, sans-serif;">You just <i>had</i> to do it, Priest...</span><br />
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<b><span style="font-family: Verdana, sans-serif;">2. One Step</span></b><br />
<span style="font-family: Verdana, sans-serif;">This is one of four singles off of <i>Heavy Mental</i> (the others being "Tai Chi," "Cross My Heart" and "If You Don't Know"), and it is probably the most well-known song of the batch. True Master is actually on the boards here, and he utilizes a William Bell sample that would eventually become rather commonplace in hip-hop. "One Step" was always my favorite track that used the sample, though. Killah Priest sounds built for this beat, and he throws in his Sunz of Man brother Hell Razah (who sounds an awful lot like Priest on the hook) and one of the Wu's go-to female R&B artists, Tekitha, in for good measure. This track is <i>great</i>.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">3. Blessed are Those</span></b><br />
<span style="font-family: Verdana, sans-serif;">Y-Kim The Illfigure, he of the Wu-affiliated group Royal Fam, laces this cut for Killah Priest, but it's basically just a drumbeat with a faint vocal sample that's not exactly going to break your neck. Perhaps appropriately, Priest sounds a bit disinterested. The record isn't that long though, so at least there's <i>that</i>.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">4. From Then Till Now</span></b><br />
<span style="font-family: Verdana, sans-serif;">Y-Kim is here again (4th Disciple is coming; I promise), and he lays down an instrumental that is somewhat similar in style to "Blessed are Those" in that it is a drumbeat placed over an eerie vocal sample. However, this time, it works. The hook is kind of corny, but overall, this song is pretty good.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">5. Cross My Heart</span></b><br />
<span style="font-family: Verdana, sans-serif;">This is a Wu posse cut, and it <i>knocks</i>. Inspectah Deck and GZA stop by to drop guest verses over the <i>banging</i> True Master production, and all three rappers wreck it. "Cross My Heart" is the best track here so far.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">6. Fake MCs</span></b><br />
<span style="font-family: Verdana, sans-serif;">4th Disciple provides his first of 11 beats for Killah Priest on "Fake MCs," this one being of the minimalistic, piano-laden variety that sounds really freaking good. This is one of those records that has that quiet dignity quality about it, almost like it could be Tim Duncan's theme music. Oh, you wanted to know how the instrumental fit <i>Priest</i>? Very well.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">7. It's Over</span></b><br />
<span style="font-family: Verdana, sans-serif;">Killah Priest spits with such continuity and stamina on "It's Over" that I actually had to take a few deep breaths <i>for</i> him throughout. You'll find yourself so mesmerized by his performance on the mic that you won't even really notice the 4th Disciple backdrop, which, by the way, is nothing more than decent. Priest shows he can carry a song here, and that's an awesome quality for an MC to possess.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">8. Tai Chi</span></b><br />
<span style="font-family: Verdana, sans-serif;">Killah Priest's Sunz of Man brethren Hell Razah and 60 Second Assassin join him on this 4th Disciple-laced cut, which sounds pretty damn terrific. All three dudes rip it, and Priest proves here that he thought of using the term "pineal gland" in a rap <i>long</i> before Ab-Soul.</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<b><span style="font-family: Verdana, sans-serif;">9. Heavy Mental</span></b><br />
<span style="font-family: Verdana, sans-serif;">This was basically spoken word, and the musical backdrop Killah Priest himself laid out is kind of creepy. <i>Pass</i>.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">10. If You Don't Know</span></b><br />
<span style="font-family: Verdana, sans-serif;">That brings us to the best song on the album. This absolutely <i>bangs</i>, from True Master's <i>tremendous</i> beat to Killah Priest's incredibly intimidating raps to Ol' Dirty Bastard's <i>almost</i> coherent hook. Plus, hearing ODB saying he is "the insect to your pie" is freaking hilarious. "If You Don't Know" is not only the best track on <i>Heavy Mental</i>, but I firmly believe that it is one of the most impressive pieces of work in the entire Wu-Tang catalog. It's <i>that</i> good.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">11. Atoms To Adam</span></b><br />
<span style="font-family: Verdana, sans-serif;">This cut is <i>incredibly</i> boring, so naturally, it carries the distinction of being the longest record on <i>Heavy Mental</i>.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">12. High Explosives</span></b><br />
<span style="font-family: Verdana, sans-serif;">The beat here (by Arabian Knight) sounds like something any bedroom producer could whip up on Garage Band. Obviously, that is <i>not</i> a good thing. The silver lining is that "High Explosives" lasts for just over three minutes, but these last two songs have absolutely <i>killed</i> the momentum.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">13. Wisdom</span></b><br />
<span style="font-family: Verdana, sans-serif;">Fortunately, the drought only lasts for the two preceding tracks, as "Wisdom" is really freaking good. 4th Disciple's instrumental is awesome, and Killah Priest seems extraordinarily comfortable with it. I actually wish this was considerably longer, as it runs for only two minutes and five seconds.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">14. B.I.B.L.E.</span></b><br />
<span style="font-family: Verdana, sans-serif;"><i>Ah</i>; good old "B.I.B.L.E." Even the most casual Wu-Tang fans know this song, as, like I mentioned earlier, it was the cut that closed out <i>Liquid Swords</i>. <i>That's</i> how good this is. GZA felt it was great enough to end one of the best albums of all-time. Plenty of other producers have tried to use the "Our Love Has Died" sample from the Ohio Players since "B.I.B.L.E." dropped, but they have all failed miserably in trying to top what 4th Disciple did here.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">15. Mystic City</span></b><br />
<span style="font-family: Verdana, sans-serif;">Shanghai The Messenger is present on two tracks on <i>Heavy Mental</i>: "Atoms To Adam" and this one. Both of them turned out to be two of the weakest records on the project. Coincidence? Maybe, because 4th Disciple's beats on both songs <i>suck</i>, too.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">16. Information</span></b><br />
<span style="font-family: Verdana, sans-serif;">Things get back on the right path here, as 4th Disciple's production blows what he did on "Mystic City" out of the freaking water. Actually, that is an <i>insult</i> to the job 4th Disciple did on "Information." This certifiably <i>bangs</i>, and Killah Priest's energy matches the instrumental for most of the cut. I could have done without the one minute, 15 second skit at the end, though.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">17. Science Project</span></b><br />
<span style="font-family: Verdana, sans-serif;">4th Disciple gets his RZA on here. That <i>is</i> a good thing. I could picture each and every one of the official Wu-Tang members on "Science Project," and that is <i>definitely</i> a good thing. That being said, the way Priest and Hell Razah continuously repeat their lines throughout is really annoying. They both wasted a damn good beat.</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<b><span style="font-family: Verdana, sans-serif;">18. Almost There</span></b><br />
<span style="font-family: Verdana, sans-serif;">This is another RZA-like instrumental by 4th Disciple, but this time, Killah Priest wastes absolutely nothing; he goes in like his life depended on it. I particularly <i>love</i> the snare drum here.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">19. The Professional</span></b><br />
<span style="font-family: Verdana, sans-serif;">John The Baptist steps behind the boards for the final song on <i>Heavy Mental</i>, and he crafts a pretty damn awesome beat for Priest to rip. Closing out an album is frequently a major problem for hip-hop artists, but it certainly wasn't an issue for Killah Priest. This was a perfectly fine way to end the project, the minute-long skit at the back-end of the track notwithstanding.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">FINAL THOUGHTS</span></b><br />
<br />
<span style="font-family: Verdana, sans-serif;"><i>Heavy Mental</i> is truly an outstanding debut album from a damn good rapper. Killah Priest certainly took plenty of risks here, as he did not track down a single RZA production and placed 18 full tracks on the project, but he still managed to hit this one out of the park, and that is extremely impressive.</span><br />
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<span style="font-family: Verdana, sans-serif;">Killah Priest is clearly an exceedingly intelligent dude, and he is able to take that intelligence and utilize it to devise <i>awesome</i> songs. Yes, a lot of the subject matter here is deep, as Priest definitely likes to discuss religion and topics that the average human being would be absolutely clueless about, but he makes it work.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">The production on <i>Heavy Mental</i> remains entertaining for the good majority of the album, too. Save for a couple of stinkers here and there, 4th Disciple and company do an incredible job of providing Killah Priest with appropriate backdrops to drop his knowledge. Surprisingly, most of the beats hold up well today, and that is saying an awful lot for a guy not many people outside of hardcore Wu fans know about.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;"><i>Heavy Mental</i> is the crown jewel of Killah Priest's extensive discography, one that I actually began exploring way back when when I wrote about <a href="http://hiphopitsalive.blogspot.com/2010/12/album-review-black-august-killah-priest.html"><i>Black August</i></a> (that was back when I wasn't doing things in chronological order). Believe it or not, that was the first Priest album I heard, so I have kind of worked my way backward. The rest of his material is consistently solid, as well, so I will likely get to a good portion of it eventually.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">If you're a fan of hip-hop that is a bit rough around the edges (or, in other words, <i>raw</i>), then you will probably like <i>Heavy Mental</i>. I think you should give this a listen regardless, though. Killah Priest certainly has plenty to say, and it's not like he's just spitting intellectual babble over crappy production.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">In my mind, <i>Heavy Mental</i> is an underrated classic. </span><br />
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<b><span style="font-family: Verdana, sans-serif;">TOP TRACKS</span></b><br />
<br />
<span style="font-family: Verdana, sans-serif;">1. If You Don't Know</span><br />
<span style="font-family: Verdana, sans-serif;">2. B.I.B.L.E.</span><br />
<span style="font-family: Verdana, sans-serif;">3. Cross My Heart </span><br />
<span style="font-family: Verdana, sans-serif;">4. Information</span><br />
<span style="font-family: Verdana, sans-serif;">5. One Step </span>Matthttp://www.blogger.com/profile/08809018195805797755noreply@blogger.com3tag:blogger.com,1999:blog-772823764528584233.post-77947265954495235252013-08-30T09:58:00.000-04:002013-08-30T09:59:42.057-04:00Album Review: "People's Instinctive Travels and The Paths of Rhythm" - A Tribe Called Quest (1990)<div class="separator" style="clear: both; text-align: center;">
<a href="http://31.media.tumblr.com/tumblr_lmz5lyXpH51qhw32yo1_400.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://31.media.tumblr.com/tumblr_lmz5lyXpH51qhw32yo1_400.jpg" width="320" /></a></div>
<b><span style="font-family: Verdana, sans-serif;">INTRODUCTION</span></b><br />
<br />
<span style="font-family: Verdana, sans-serif;">If you don't know of A Tribe Called Quest, you probably don't know much about hip-hop. That's okay, though, because that's what this blog is for: to inform you. Still, I don't think this group <i>needs</i> much of an introduction.</span><br />
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<span style="font-family: Verdana, sans-serif;">In case you don't know, A Tribe Called Quest is a three-man group composed of rappers Q-Tip and Phife Dawg and producer Ali Shaheed Muhammad. Of course, Q-Tip went on to become a pretty dope producer himself ("One Love," anyone?), but the main man behind Tribe's earlier work was Ali.</span><br />
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<span style="font-family: Verdana, sans-serif;">The trio formed in 1985, and five years later, they put out their debut album, <i>People's Instinctive Travels and The Paths of Rhythm</i>, which, from this point on, I will be referring to as <i>People's Instinctive Travels</i> for obvious reasons.</span><br />
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<span style="font-family: Verdana, sans-serif;">Tribe would go on to release five albums as a group, the last behind <i>The Love Movement</i> in 1998. They then disbanded and never released any group material again. Q-Tip and Phife Dawg went on to pursue solo careers, however, and both of them have been successful.</span><br />
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<span style="font-family: Verdana, sans-serif;">Q-Tip, Phife and Ali were not like the typical hip-hop groups of that day (or any day, for that matter). Their content was very playful and peaceful in nature, very much unlike the more violent, misogynistic raps that have permeated the genre for decades now.</span><br />
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<span style="font-family: Verdana, sans-serif;">Not surprisingly, <i>People's Instinctive Travels</i> did not garner much radio airplay, but it was given five mics in <i>The Source</i> (you know, back when <i>The Source</i> actually mattered) and was certified gold in 1996.</span><br />
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<span style="font-family: Verdana, sans-serif;">The album spawned three minor "hits": "I Left My Wallet In El Segundo," "Bonita Applebum" and "Can I Kick It?".</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">Now that's enough background information about a group that you are probably already very familiar with anyway.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">Let's review their first album.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">TRACK-BY-TRACK</span></b><br />
<br />
<b><span style="font-family: Verdana, sans-serif;">1. Push It Along</span></b><br />
<span style="font-family: Verdana, sans-serif;">After a rather creepy 40-second intro featuring what I can only hope is some sort of baby's birth, a smooth beat with some pretty awesome drums kicks in. The song features four verses, three of them from Q-Tip. Then, for the last two-and-a-half minutes or so, Jarobi White decides to introduce A Tribe Called Quest. Um, far be it from me to recommend an album intro, but isn't that something that should have been done <i>before</i> the first actual track?</span><br />
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<b><span style="font-family: Verdana, sans-serif;">2. Luck of Lucien</span></b><br />
<span style="font-family: Verdana, sans-serif;">The instrumental here has a buoyant, upbeat feel, and Q-Tip handles it all by himself (that actually happens quite a bit on this album). You can probably already see why Tribe did not have much mainstream appeal: they just weren't flashy enough, but that is not a condemnation from my end at <i>all</i>.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">3. After Hours</span></b><br />
<span style="font-family: Verdana, sans-serif;">This is the second of three straight Q-Tip solos. While "After Hours" is hardly a poor record, the production on "After Hours" lacks the punch that the first two cuts had. It just comes across as <i>slightly</i> mundane.</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<b><span style="font-family: Verdana, sans-serif;">4. Footprints</span></b><br />
<span style="font-family: Verdana, sans-serif;">Now <i>this</i> is not mundane. As a matter of fact, this is freaking <i>awesome</i>. The jazzy beat contains some banging drums (just <i>wait</i> until they kick in), and Q-Tip sounds thrilled to rhyme over it. "Footprints" instills an energy that had been missing from <i>People's Instinctive Travels</i> up until now.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">5. I Left My Wallet In El Segundo</span></b><br />
<span style="font-family: Verdana, sans-serif;">The aforementioned first single, and it is just <i>great</i>. The drums <i>knock</i>, and the Spanish guitar licks add a beautiful element to the instrumental. It sounds <i>nothing</i> like you would expect out of a lead single, though. Oh, and remember before when I said tracks 2 through 4 were Q-Tip solos? Well, Phife Dawg drops ad-libs throughout this song, so this is <i>technically</i> not a Q-Tip solo. That being said, Phife does not drop a verse, so maybe I'm just being nitpicky.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">6. Pubic Enemy</span></b><br />
<span style="font-family: Verdana, sans-serif;">No; that title is <i>not</i> a misprint. That really is the name of the track, which really isn't all that good, even though the content is pretty funny. The production is just <i>way</i> too busy. Fortunately, this was the shortest record on the album.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">7. Bonita Applebum</span></b><br />
<span style="font-family: Verdana, sans-serif;">The second single, and it was a pretty damn good choice by Tribe. The relaxing beat is <i>outstanding</i>, and even though Q-Tip basically "talks" through is verses rather than actually spit them, "Bonita Applebum" is pretty great. That's all I have to say.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">8. Can I Kick It?</span></b><br />
<span style="font-family: Verdana, sans-serif;">The last (and possibly the most well-known) single off of <i>People's Instinctive Travels</i>. The instrumental here is alright, although the way it changes on the hook is fairly obnoxious. Also, there is kind of an awkward balance of music and rapping here. The beat just goes on for too long without Tribe spitting for much of the song. Phife Dawg is <i>finally</i> back to drop a verse though, so that's good.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">9. Youthful Expression</span></b><br />
<span style="font-family: Verdana, sans-serif;">"Youthful Expression" is another fast-paced production, and Q-Tip is back to going in on it all by his lonesome. Honestly, this was kind of dull and unnecessarily long (the beat runs for about an extra minute-and-a-half after Tip is done rapping).</span><br />
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<b><span style="font-family: Verdana, sans-serif;">10. Rhythm (Devoted To The Art of Moving Butts)</span></b><br />
<span style="font-family: Verdana, sans-serif;">Things kind of get back on the right track here. This is a solid cut, even if the chopped vocal that appears throughout is just <i>weird</i>. My ultimate conclusion? I don't really see how this will start moving butts. Whatever, though.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">11. Mr. Muhammad</span></b><br />
<span style="font-family: Verdana, sans-serif;">I can't believe I'm saying this about a Tribe record, but this song <i>sucks</i>. The instrumental is actually <i>irritating</i>. This album is really starting to lose momentum.</span><br />
<br />
<b><span style="font-family: Verdana, sans-serif;">12. Ham 'n' Eggs</span></b><br />
<span style="font-family: Verdana, sans-serif;">This was better than "Mr. Muhammad," but I'm wondering where all of the energy that "Bonita Applebum" built has gone. While the production on "Ham 'n' Eggs" is okay, it's hardly memorable, and the track as a whole is just <i>far</i> too long (five-and-a-half minutes). Plus, the way the hook keeps repeating as the record comes to a close is just <i>annoying</i>.</span><br />
<br />
<b><span style="font-family: Verdana, sans-serif;">13. Go Ahead In The Rain</span></b><br />
<span style="font-family: Verdana, sans-serif;"><i>Ah</i>; and the album's vigor has returned. This cut is pretty damn good, from the cheerful, addictive beat to Q-Tip's verses. "Go Ahead In The Rain" probably should have been the song named "Rhythm (Devoted To The Art of Moving Butts)," but whatever. I really liked this track.</span><br />
<br />
<b><span style="font-family: Verdana, sans-serif;">14. Description of a Fool</span></b><br />
<span style="font-family: Verdana, sans-serif;">Funny story about "Description of a Fool." This was actually the first record A Tribe Called Quest ever released (they dropped it in 1989), but it received virtually no attention and was therefore not marketed as a single for <i>People's Instinctive Travels</i>. It's actually pretty solid, but I have to say that the instrumental carries on for an exasperatingly long while after Q-Tip finishes spitting. There is absolutely <i>no</i> reason why this had to be nearly six minutes in length.</span><br />
<br />
<b><span style="font-family: Verdana, sans-serif;">FINAL THOUGHTS</span></b><br />
<br />
<span style="font-family: Verdana, sans-serif;">You can tell that A Tribe Called Quest had not yet concocted their magic formula on their debut album, as <i>People's Instinctive Travels</i> is all over the place. Some of the songs on here are really, <i>really</i> good, but others are just extremely boring and, sometimes, annoying.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">I don't want to be too harsh, though, because you could absolutely see the group's potential in this project. Tribe touches on plenty of interesting (and occasionally humorous) subjects, and young Q-Tip sounds pretty capable on the mic, even if his demeanor could be characterized as rather bland. </span><br />
<br />
<span style="font-family: Verdana, sans-serif;">As for young Phife Dawg, there isn't enough of a sample size here to judge him. He only raps on four songs, and that is just <i>stupid</i>.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">The main problem on <i>People's Instinctive Travels</i> is the beats. Ali Shaheed Muhammad was still on the come-up then, so he definitely deserves a pass, especially considering what the man was able to do on Tribe's subsequent albums. That being said, Ali's production on the group's first LP was very inconsistent and, sometimes, a bit infantile.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;"><i>People's Instinctive Travels</i> isn't bad by any stretch of the imagination, and it was actually a bit ahead of its time. There wasn't a lot of hip-hop that sounded like this back in 1990. Still, this project simply pales in comparison to the trio's later work. It may be a bit unfair to hold it to that type of standard, but hey; that's the way things go.</span><br />
<br />
<b><span style="font-family: Verdana, sans-serif;">TOP TRACKS</span></b><br />
<br />
<span style="font-family: Verdana, sans-serif;">1. Bonita Applebum</span><br />
<span style="font-family: Verdana, sans-serif;">2. Footprints</span><br />
<span style="font-family: Verdana, sans-serif;">3. Go Ahead In The Rain</span><br />
<span style="font-family: Verdana, sans-serif;">4. I Left My Wallet In El Segundo</span><br />
<span style="font-family: Verdana, sans-serif;">5. Push It Along</span>Matthttp://www.blogger.com/profile/08809018195805797755noreply@blogger.com0tag:blogger.com,1999:blog-772823764528584233.post-36060764606337813522013-08-29T08:48:00.000-04:002013-08-29T08:48:52.134-04:00Album Review: "Da' Miilkrate" - Miilkbone (1995)<div class="separator" style="clear: both; text-align: center;">
<a href="http://images.plixid.com/imager/w_500/h_/50f7ac3acb853e41e478aa0a8669924d.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="316" src="http://images.plixid.com/imager/w_500/h_/50f7ac3acb853e41e478aa0a8669924d.jpg" width="320" /></a></div>
<b><span style="font-family: Verdana, sans-serif;">INTRODUCTION</span></b><br />
<br />
<span style="font-family: Verdana, sans-serif;">Miilkbone is a rapper from Perth Amboy, New Jersey who was one of the first popular white artists on the scene. Yes, he was around before Eminem, and you know what? He briefly beefed with him, too. I won't be discussing that, though.</span><br />
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<span style="font-family: Verdana, sans-serif;">Miilkbone released his debut album, <i>Da' Miilkrate</i>, in 1995 to critical acclaim. Full of beats from mostly unknown producers, Miilkbone's first LP gained popularity off of the strength of its two singles, "Keep It Real" (the instrumental on which Big L and Jay-Z famously freestyled over) and "Where'z Da' Party At."</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">Miilkbone was also fairly tight with Naughty By Nature, and for that reason, Kay Gee contributed a couple of productions to <i>Da' Miilkrate</i>. Nick Wiz also chipped in four beats, but other than that, the rest of the instrumentals on the album were from guys that no one ever heard from again. That's strange, too, considering many have lauded the production on this project.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">Anyway, Miilkbone released one more album called <i>U Got Miilk?</i> in 2001, but then he fell off the face of the earth due to problems with his record label. He has since resurfaced and is attempting to make a comeback, but it's probably too little too late for the Jersey native.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">Still, he was relevant in the game during the 90s, and many still bump "Keep It Real" to this day.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">So, without further ado, let's review his debut record, <i>Da' Miilkrate.</i></span><br />
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<b><span style="font-family: Verdana, sans-serif;">TRACK-BY-TRACK</span></b><br />
<br />
<b><span style="font-family: Verdana, sans-serif;">1. No Gimmicks</span></b><br />
<span style="font-family: Verdana, sans-serif;">I find it pretty ironic how the title of this track is "No Gimmicks," and yet it's an album intro. I thought you said no gimmicks, Miilk?</span><br />
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<b><span style="font-family: Verdana, sans-serif;">2. Ghettobiz</span></b><br />
<span style="font-family: Verdana, sans-serif;">The album gets off to a dark start, as Nick Wiz lays down a somber beat for Miilkbone to spit over. You can immediately tell that Miilkbone intends to be taken seriously even though he was a white rapper in an African American-dominated genre, and you know what? He comes across as very legitimate. "Ghettobiz" is pretty cliché, as its premise is how rich men will never be able to understand the, um, ghetto business, but it worked, even if it isn't necessarily true (aren't <i>all</i> popular rappers rich?). This was not a bad way for Miilk to introduce himself.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">3. Keep It Real</span></b><br />
<span style="font-family: Verdana, sans-serif;">This is one of the best songs of all-time. No; <i>seriously</i>. It is. Mufi's piano-sample-laden instrumental is a thing of beauty, and Miilkbone raps with a hunger that you rarely hear anymore. After all of these years, the sample of the piano loop that Mufi used to lace this banger is still unknown, and that little mystery makes "Keep It Real" even greater. Say what you want about Eminem, but he <i>never</i> came with anything as hard as this, and you are <i>not</i> going to change my mind.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">4. Mindgamez</span></b><br />
<span style="font-family: Verdana, sans-serif;">The second of four Nick Wiz productions on <i>Da' Miilkrate</i>. The energy level dips a little bit here, but let's be honest; it's nearly impossible to follow a track as good as "Keep It Real." The beat is pretty solid, and Miilkbone saying how he loves no one so "fuck what Barney told ya" was pretty funny. Definitely a nice cut overall.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">5. Traffic Jam</span></b><br />
<span style="font-family: Verdana, sans-serif;">Skit.</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<b><span style="font-family: Verdana, sans-serif;">6. Move Wit' Da' Groove</span></b><br />
<span style="font-family: Verdana, sans-serif;">Mufi is back here, and he gets co-production credits with some dude named Twig. Maybe Twig was the problem, because "Move Wit' Da' Groove" sounds like <i>garbage</i> compared to "Keep It Real." Actually, this record kind of has a West Coast feel, and I could have sworn that I heard that trademark G-funk synthesizer on the hook (or at least a cheap knockoff of it). Perhaps that's why Miilkbone didn't sound entirely comfortable spitting on this.</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<b><span style="font-family: Verdana, sans-serif;">7. Freestyle</span></b><br />
<span style="font-family: Verdana, sans-serif;">A 49-second freestyle by two guests that I couldn't care less about? <i>Next</i>.</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<b><span style="font-family: Verdana, sans-serif;">8. How Ya Like It?</span></b><br />
<span style="font-family: Verdana, sans-serif;">This Nick Wiz-laced instrumental sounds like something one of the groups from the Boot Camp Clik collective would have rapped over back in the day (albeit, this was a bit more upbeat than Da Beatminerz productions, but <i>still</i>), and yes; that is a good thing. Miilkbone is no Sean Price, but he sounds just fine on this. All things considered, "How Ya Like It?" is a solid cut, even if the Method Man-sampled hook is kind of cheesy.</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<b><span style="font-family: Verdana, sans-serif;">9. Set It Off</span></b><br />
<span style="font-family: Verdana, sans-serif;">There are three guests on this song, only two of which I have been able to identify. One goes by the name of Triplebeam, and the female MC is Kandy Kane. The third one? Who the hell knows, and I wasn't able to find it online. Anyway, this song is alright. Kay Gee is on the boards for the beat, but he doesn't put together anything extraordinary. "Set It Off" isn't bad, but I could have done without it.</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<b><span style="font-family: Verdana, sans-serif;">10. Where'z Da Party At</span></b><br />
<span style="font-family: Verdana, sans-serif;">There was a time when hip-hop party records were still tasteful even though they were aimed at a mainstream audience. "Where'z Da Party At" is a perfect example of one of those records. This track is freaking <i>terrific</i>. Kay Gee's instrumental is <i>great</i>, as he creates an upbeat number and seamlessly works in a Notorious B.I.G. sample, and Miilkbone demonstrates that he has a surprisingly good voice when he sings the hook. I loved <i>everything</i> about this cut. There were a couple of remixes of this song, but neither of them compare to the original.</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<b><span style="font-family: Verdana, sans-serif;">11. Murder Verbs</span></b><br />
<span style="font-family: Verdana, sans-serif;">There are 85 guests on here (okay; only four), and I was only able to identify one of them: some guy named K. Banger. Not that it matters, anyway. Mufi's production is <i>way</i> too repetitive (it's hard to believe this is the same guy who produced "Keep It Real," and it's becoming apparent that that Twig guy was <i>not</i> the problem on "Move Wit' Da' Groove"), and it's not like the beat is solid enough where its monotony isn't as detrimental. Plain and simply, "Murder Verbs" <i>sucks</i>.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">12. Fast Cash</span></b><br />
<span style="font-family: Verdana, sans-serif;">Another skit. </span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<b><span style="font-family: Verdana, sans-serif;">13. Kids On The Ave</span></b><br />
<span style="font-family: Verdana, sans-serif;">Another stinker by Mufi. The instrumental on "Kids On The Ave" is just as off-putting as the one on "Murder Verbs," if not moreso. I found it difficult to focus on Miilkbone's verses for that reason. <i>Da' Miilkrate</i> is really starting to lose some momentum here.</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<b><span style="font-family: Verdana, sans-serif;">14. Check Me Out</span></b><br />
<span style="font-family: Verdana, sans-serif;">Mufi is on the boards again for this one, but this time, he splits production credits with Butch Whip. The result is considerably better than "Murder Verbs" and "Kids On The Ave," but it's not like that's some kind of incredible feat. The production here isn't any less repetitious, but at least the beat in and of itself is superior. I actually really liked the hook on "Check Me Out," too, regardless of how simplistic it was. This was definitely a step back in the right direction.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">15. Bamma Fam</span></b><br />
<span style="font-family: Verdana, sans-serif;">Skit... </span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<b><span style="font-family: Verdana, sans-serif;">16. Ketchrek</span></b><br />
<span style="font-family: Verdana, sans-serif;">The team of Mufi and Butch Whip strikes again on "Ketchrek," and they lay down another winner for Miilkbone. Again, the instrumental lacks any sort of variety, but it's still pretty solid regardless (I just wish they would have used stronger drums). Sorry though, Miilk; when I see the title of this cut, I think of "Ketchup" before I think of it as a different, more gangsta (I guess?) way of spelling "catch wreck."</span><br />
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<b><span style="font-family: Verdana, sans-serif;">17. It Ain't The Same</span></b><br />
<span style="font-family: Verdana, sans-serif;">A producer who goes by the moniker of Steve White (maybe that's his actual government name? Who knows) laces this track, and while he doesn't exactly craft a banger, his beat comes off well enough. Miilkbone sounds comfortable, too, and that's important. This was okay overall (I found the chorus particularly enjoyable), and the fact that it is the longest song on <i>Da' Miilkrate</i> doesn't irk me all that much.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">18. 2 All Y'all</span></b><br />
<span style="font-family: Verdana, sans-serif;">This is one of those half song/half outro deals. Mufi utilizes a Confunkshun sample that he doesn't really do much with, and Miilkbone raps for about a minute, goes into shoutout mode and then starts spitting again before an unidentified guest basically tells him to shut up. I appreciate the effort, but "2 All Y'all" wasn't anything better than average.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">19. Keep It Real (Remix)</span></b><br />
<span style="font-family: Verdana, sans-serif;">Under normal circumstances, I would say that it would be a crime to remix a song as good as "Keep It Real," but this Nick Wiz remix was <i>really freaking good</i>. This wasn't just a different instrumental, either. Miilkbone spits <i>completely</i> different lyrics, and in terms of his performance on the mic, he actually outdoes himself. That's why this record is another one of my all-time favorites, and this gives the original a serious run for its money.</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<b><span style="font-family: Verdana, sans-serif;">FINAL THOUGHTS</span></b><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;"><i>Da' Miilkrate</i> was an effective--if not fairly inconsistent--debut from a rapper who had promise. Miilkbone is definitely a good MC, and he displays that thoroughly throughout his first album. The best songs on here are freaking <i>awesome</i>, and Miilk manages to make some of the more lackluster beats come to life with his prowess on the mic.</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;">It really is a damn shame that Miilkbone had so many issues with record labels. I fully believe that he could have secured instrumentals some high-profile producers had he released his second album earlier, and the result probably would have been satisfactory.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">Miilkbone is just another one of the many examples of rappers whose careers never took off like they should have. He certainly had talent and charisma, and he knew how to flow over almost any type of production. Also, based on the fact that Nas and Sticky Fingaz made cameos in the "Where'z Da Party At?" music video, he must have had the respect of some of the better rappers out there, too (which makes me question his choice of guest artists on <i>Da' Miilkrate</i>; I guess he just wanted to bring some of his friends along for the ride).</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">The main gripe I have about <i>Da' Miilkrate</i> is the drums. They were on point some of the time (particularly on "Keep It Real" and its remix), but otherwise, they felt too computerized, mainly in the case of Mufi's beats. Drums weren't supposed to sound that way in the 90s.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">Anyway, taking everything into account, this was a solid debut from Miilkbone. Again, a few of the songs on here are just <i>phenomenal</i>, and those make up for the missteps.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">If you're a fan of the 90s golden era, you should probably give <i>Da' Miilkrate</i> a spin. It'll likely be worth your while.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">TOP TRACKS</span></b><br />
<br />
<span style="font-family: Verdana, sans-serif;">1. Keep It Real</span><br />
<span style="font-family: Verdana, sans-serif;">2. Keep It Real (Remix)</span><br />
<span style="font-family: Verdana, sans-serif;">3. Where'z Da Party At?</span><br />
<span style="font-family: Verdana, sans-serif;">4. Check Me Out </span><br />
<span style="font-family: Verdana, sans-serif;">5. Ketchrek </span><b><span style="font-family: Verdana, sans-serif;"> </span></b>Matthttp://www.blogger.com/profile/08809018195805797755noreply@blogger.com1tag:blogger.com,1999:blog-772823764528584233.post-89574912862605285012013-08-27T10:27:00.000-04:002013-08-27T10:27:10.219-04:00Album Review: "Somethin' 4 Da Youngsta's" - Da Youngsta's (1992)<div class="separator" style="clear: both; text-align: center;">
<a href="http://pcradiolive.com/files/2011/05/Da-Youngstas-Somethin-4-Da-Youngstas.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://pcradiolive.com/files/2011/05/Da-Youngstas-Somethin-4-Da-Youngstas.jpg" /></a></div>
<b><span style="font-family: Verdana, sans-serif;">INTRODUCTION</span></b><br />
<br />
<span style="font-family: Verdana, sans-serif;">Da Youngsta's were a trio consisting of brothers Taji and Qu'ran Goodman and their cousin Tarik Dawson. Hailing from Philadelphia, these three dudes were a prominent force in hip-hop in the early 90s, putting out four albums between the years 1992 and 1995.</span><br />
<span style="font-family: Verdana, sans-serif;"><br />After releasing their fourth LP, <i>I'll Make U Famous</i>, Da Youngsta's mysteriously vanished and never dropped anything ever again. Qu'ran is an occasional producer nowadays, but as far as Da Youngsta's as a group is concerned, they are defunct.</span><br />
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<span style="font-family: Verdana, sans-serif;">The trio released its first album, <i>Somethin' 4 Da Youngsta's</i>, in 1992. While it is not known exactly how old they were (you'd figure information like that would be readily available, but it isn't), it is estimated that the three of them were between the ages of 11 and 13.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">The thing about Da Youngsta's is that they were not a gimmicky group of kids like Kris Kross, the duo of "Jump" fame. These three had legitimate talent on the mic, and they ended up having a very impressive body of work when it was all said and done.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;"><i>Somethin' 4 Da Youngsta's</i> was produced entirely by Taji and Qu'ran's father, who went by the name "L.G. The Teacher." Spanning 11 tracks long, this project was an extremely (and expectedly) light-hearted effort by a trio of youngsters (no pun intended) who just wanted to have fun.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">The album spawned two singles, one being the title track and the other being the more successful "Pass Da Mic," a record that would later be remixed by the great Pete Rock. </span><br />
<br />
<span style="font-family: Verdana, sans-serif;">So, for the sake of getting their discography started, let's review Da Youngsta's' first LP.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">TRACK-BY-TRACK</span></b><br />
<br />
<b><span style="font-family: Verdana, sans-serif;">1. Somethin' 4 Da Youngsta's</span></b><br />
<span style="font-family: Verdana, sans-serif;">This was a really nice way for Da Youngsta's to introduce themselves to the rap world. L.G.'s beat <i>knocks</i>, and Da Youngsta's spit about how mom knows best. No; <i>seriously</i>. That's what they do. You might think that's corny, but it's pretty refreshing to know that there were kids in the hip-hop industry that actually had good heads on their shoulders. They could surely teach some of the youngsters in the game today a thing or two. Oh, and for what it's worth, it seems that Tarik went through puberty much earlier than his two groupmates. His voice is easily the deepest of the trio. Or maybe he was just the oldest one in the group. I don't know.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">2. Street Smart</span></b><br />
<span style="font-family: Verdana, sans-serif;">I'm not exactly sure what a bunch of 11-year olds would know about being "street smart," and I'm actually disconcerted by the mere thought of it. The title is somewhat misleading, though. Contrary to what you're probably thinking (and what <i>I</i> was thinking before listening), this is not about jacking dudes for their chains in alleyways. This record is basically about how you have to watch your back at all times, and you know what? That's true. L.G.'s instrumental was merely okay on this, though.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">3. Rated PG</span></b><br />
<span style="font-family: Verdana, sans-serif;">This was a pretty appropriate title given the content of the album. L.G.'s production sounds like something Chuck D would have spit over for Public Enemy, and the Flavor Flav sample on the hook kind of verifies that. Overall, though, I wasn't really feeling this all that much.</span><br />
<br />
<b><span style="font-family: Verdana, sans-serif;">4. Cartoons</span></b><br />
<span style="font-family: Verdana, sans-serif;">The title isn't a metaphor for anything. This song really <i>is</i> about Da Youngsta's' favorite cartoons. The beat is nothing more than average, but the way it changes up into an interpolation of "The Muffin Man" on the hook is pretty funny, as is Tarik's line about "watching cartoons before Oprah."</span><br />
<br />
<b><span style="font-family: Verdana, sans-serif;">5. Tuff Cookie</span></b><br />
<span style="font-family: Verdana, sans-serif;">L.G. laces his best instrumental since the opening track here, but "Tuff Cookie" is really more disturbing than anything else, particularly when Taji asks if they should let their "triggers go" and states that their "jimmies are getting bigger." <i>Uhhhhh</i>...</span><br />
<br />
<b><span style="font-family: Verdana, sans-serif;">6. Y-Ya-Tryin' To Play Me</span></b><br />
<span style="font-family: Verdana, sans-serif;">If Da Youngsta's were pissed off about girls playing them at the age of 11, I can only imagine what happened during their teenage years. The production by L.G. is alright, if not a bit bland, making this cut fairly forgettable.</span><br />
<br />
<b><span style="font-family: Verdana, sans-serif;">7. I Didn't Mean 2 Break Your Heart</span></b><br />
<span style="font-family: Verdana, sans-serif;">Wait...weren't you guys just venting about girls playing you? Now you're breaking girls' hearts? And being unfaithful at that age? <i>Really</i>? I didn't like much of anything about this record, from L.G.'s dull beat to the fact that Da Youngsta's are basically whispering throughout the entire thing. There is absolutely no reason this had to be over five minutes long, either.</span><br />
<br />
<b><span style="font-family: Verdana, sans-serif;">8. Reminiss</span></b><br />
<span style="font-family: Verdana, sans-serif;">The kids get back on the right path here, rocking over a playful L.G. instrumental about how fast time flies. Hopefully, Da Youngsta's soon realized that they were called "Da Youngsta's" for a reason. There was plenty of time for them to chill and have fun. Actually, I find it hard to believe that these dudes weren't still doing the stuff they were "reminiscing" about when they recorded this song.</span><br />
<br />
<b><span style="font-family: Verdana, sans-serif;">9. Neighborhood Bully</span></b><br />
<span style="font-family: Verdana, sans-serif;">You've gotta give Da Youngsta's credit for covering virtually every topic that 11-year-olds could possibly deal with. "Neighborhood Bully" is about exactly what you'd expect; a bully that picks on kids who aren't as big as him. Not great, but not bad, either.</span><br />
<br />
<b><span style="font-family: Verdana, sans-serif;">10. Pass Da Mic</span></b><br />
<span style="font-family: Verdana, sans-serif;">The aforementioned second single. Da Youngsta's rock over a much more mature beat here, and when you listen to Qu'ran's verse, you'll hear the "money's growin' like grass with the mass appeal" line that Gang Starr soon made famous. So, if it weren't for "Pass Da Mic," "Mass Appeal" may have never even <i>existed</i>. That alone makes this a profoundly important song in hip-hop. There is a guest by the name of Mentally Gifted on here, too, and he comes across as decent. </span><br />
<br />
<b><span style="font-family: Verdana, sans-serif;">11. Somethin' 4 Da Youngsta's (Remix)</span></b><br />
<span style="font-family: Verdana, sans-serif;">The remix of the best record on the album happens to be the <i>second</i>-best record on the album. The lyrics are exactly the same, but the new beat that L.G. lays down is pretty nice.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">FINAL THOUGHTS</span></b><br />
<br />
<span style="font-family: Verdana, sans-serif;">Not surprisingly, I wasn't all that into <i>Somethin' 4 Da Youngsta's</i>, as it's exceedingly difficult to get into music that pre-teen kids created. Plus, outside of a couple of highlights, particularly on the title track and its remix, the production by L.G. The Teacher was predominantly bland.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">That being said, it was very clear that, even at the approximate ages of 11-13, Da Youngsta's had talent, and that talent would manifest itself on the three albums that followed. </span><br />
<br />
<span style="font-family: Verdana, sans-serif;"><i>Somethin' 4 Da Youngsta's</i> was merely three kids testing the waters of hip-hop and having fun doing so, so it would be silly to seriously criticize this album. Taji, Qu'ran and Tarik merely rapped about things that were going on in the lives of most 11-year-olds (Taji's awkward lyrics on "Tuff Cookie" aside) and for that, you have to give them (and probably moreso L.G. The Teacher, because I'm sure he supervised the project) credit.</span><br />
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<span style="font-family: Verdana, sans-serif;">This was only the beginning of a very impressive career for Da Youngsta's, one that was ultimately cut far too short for reasons that still aren't really known to this day. Despite the fact that they <i>did</i> put out four LPs, not much is known about these dudes other than their names, so the fact that the information concerning the basis for their disbandment isn't available isn't the least bit surprising.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">If you have children or younger siblings (or younger cousins, whatever) and you want to introduce them to clean hip-hop that sticks to its roots, <i>Somethin' 4 Da Youngsta's</i> is a great place to start. It's not really a great album, but it's a project that embodies the name of its song, "Rated PG."</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<b><span style="font-family: Verdana, sans-serif;">TOP TRACKS</span></b><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;">1. Somethin' 4 Da Youngsta's</span><br />
<span style="font-family: Verdana, sans-serif;">2. Somethin' 4 Da Youngsta's (Remix)</span><br />
<span style="font-family: Verdana, sans-serif;">3. Reminiss</span><br />
<span style="font-family: Verdana, sans-serif;">4. Pass Da Mic</span><br />
<span style="font-family: Verdana, sans-serif;">5. Street Smart </span>Matthttp://www.blogger.com/profile/08809018195805797755noreply@blogger.com0tag:blogger.com,1999:blog-772823764528584233.post-25712566491275849792013-08-26T11:37:00.001-04:002013-08-26T11:37:07.630-04:00Album Review: "Ironman" - Ghostface Killah (1996)<div class="separator" style="clear: both; text-align: center;">
<a href="http://rereadsandreviews.files.wordpress.com/2012/05/34433.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://rereadsandreviews.files.wordpress.com/2012/05/34433.jpg" width="320" /></a></div>
<b><span style="font-family: Verdana, sans-serif;">INTRODUCTION</span></b><br />
<br />
<span style="font-family: Verdana, sans-serif;">Although Ghostface Killah is arguably the most successful Wu member, he was the last to put out a solo album before the group's second collective effort, <i>Wu-Tang Forever</i>.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">After Method Man, Ol' Dirty Bastard, Raekwon and GZA all released their first LPs, Ghostface Killah came with his debut record, <i>Ironman</i>.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">Possibly the least heralded of all of the "Big Five" Wu-Tang solo albums (probably because of its lack of a hit song like the other four records), Ghostface enlisted both Raekwon and Cappadonna to be "featured" on the cover, much like The Chef put Ghost on the cover of <i>Only Built 4 Cuban Linx...</i>. I'm not sure I understand Cappadonna's inclusion, as he was never even an official Wu member, but whatever.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">Anyway, <i>Ironman</i> is 17 tracks long, 16 of those tracks being produced by RZA. True Master laced the only one that RZA's fingerprints were not on.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;"><i>Ironman</i> is a peculiar "solo" effort to say the least, as there are two songs that Ghostface Killah isn't even <i>on</i>. Crazy, huh?</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">Perhaps that's why <i>Ironman</i> isn't looked at in the same vein as <i>Liquid Swords</i> or <i>Only Built 4 Cuban Linx...</i>. Some feel it was more of a Wu-Tang album than a Ghostface album, and I guess that conclusion has some validity to it.</span><br />
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<span style="font-family: Verdana, sans-serif;">Regardless, this was still a project that was released during the prime of RZA's career, and therefore, <i>Ironman</i> is considered a classic by many.</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;">Time to tell you which side of the fence <i>I</i> am on.</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<b><span style="font-family: Verdana, sans-serif;">TRACK-BY-TRACK</span></b><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<b><span style="font-family: Verdana, sans-serif;">1. Iron Maiden</span></b><br />
<span style="font-family: Verdana, sans-serif;">After an intro that lasts nearly a minute, RZA's fast-paced beat kicks in. Who does the first verse go to? Raekwon. It probably isn't a good idea to have someone else rap the first verse on <i>your</i> album, Ghostface, but in the end, "Iron Maiden" ends up sounding pretty solid. Cappadonna makes his first of numerous appearances on <i>Ironman</i> here, and he seems incredibly energized.</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<b><span style="font-family: Verdana, sans-serif;">2. Wildflower</span></b><br />
<span style="font-family: Verdana, sans-serif;">Dr. Dre's "Bitches Ain't Shit" set the bar for misogyny in hip-hop, and Ghostface's "Wildflower" raised it. <i>Seriously</i>. This is one of the few Ghostface solos on this album, and the lyrics are so morally reprehensible that I found myself not even being able to concentrate on RZA's <i>extremely</i> dope instrumental. As much as I love Prince Rakeem's production, saying I like this song and feeling like a jackass are mutually inclusive. Therefore, I digress.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">3. The Faster Blade</span></b><br />
<span style="font-family: Verdana, sans-serif;">One of the aforementioned two cuts that Tony Starks isn't on. This is a Raekwon solo, and it's <i>really freaking good</i>. RZA's production is <i>awesome</i>, and The Chef spits like it was <i>Only Built 4 Cuban Linx...</i>.Ghost sure picked a pretty bad time to take a bathroom break.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">4. 260</span></b><br />
<span style="font-family: Verdana, sans-serif;">This is pretty nice. RZA's beat consists of an Al Green sample and subtle drums, and Ghostface Killah and Raekwon ride it effortlessly. I've gotta give this round to The Chef.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">5. Assassination Day</span></b><br />
<span style="font-family: Verdana, sans-serif;">There are four rappers on here, and not <i>one</i> of them goes by the name of Ghostface Killah. So, on his <i>own damn album</i>, Tony Starks misses two out of the last three tracks, and both are two of the better songs on <i>Ironman</i>. Knowing all of this, it's hard to believe that Ghost was able to carve out such a successful career for himself, but hey; stranger things have happened. Anyway, "Assassination Day" is <i>awesome</i>, containing an appropriately brooding RZA instrumental that Inspectah Deck, RZA himself, Raekwon and Masta Killa all <i>rip</i>. After a while, you'll find yourself not caring that Tony Starks decided to run out to Walmart while this was cut being recorded.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">6. Poisonous Darts</span></b><br />
<span style="font-family: Verdana, sans-serif;">The second of three Ghostface Killah solos on <i>Ironman</i>. "Poisonous Darts" is very short, spanning two minutes and 15 seconds, but it's pretty damn good. Even if RZA's beat is repetitive, it's still nice, and the song doesn't last long enough for it to have a chance to get on your nerves.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">7. Winter Warz</span></b><br />
<span style="font-family: Verdana, sans-serif;">"Winter Warz" is to Cappadonna what "Triumph" is to Inspectah Deck. Cappadonna absolutely tears this track to shreds, putting together what is now considered one of the most legendary verses in the Wu-Tang catalog (or possibly in all of hip-hop period). I do find it funny, though, that despite the fact that 'Donna is on the album cover, he doesn't appear until the seventh song. Maybe that was a good thing, because, judging from his verse, it appears to have pissed him off.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">8. Box In The Hand</span></b><br />
<span style="font-family: Verdana, sans-serif;">"Box In The Hand" marks the only Method Man appearance on <i>Ironman</i>, but even though he lays down a really awesome verse, he doesn't stop this song from being incredibly <i>average</i>. RZA should have stuck with the instrumental that played at the beginning of the track, because the one that takes over when Raekwon's verse starts just isn't very good.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">9. Fish</span></b><br />
<span style="font-family: Verdana, sans-serif;">The True Master production. He was clearly doing his best to outshine Prince Rakeem, because this <i>bangs</i>. Utilizing a recognizable Otis Redding sample, True Master laces a beat that is both soulful and assertive at the same time. Ghostface, Raekwon and Cappadonna all do the honors.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">10. Camay</span></b><br />
<span style="font-family: Verdana, sans-serif;">Like the previous track, Ghost, The Chef, and 'Donna all rhyme together. Unlike the previous track, this is just <i>boring</i>.</span><br />
<b><span style="font-family: Verdana, sans-serif;"><br /></span></b>
<b><span style="font-family: Verdana, sans-serif;">11. Daytona 500</span></b><br />
<span style="font-family: Verdana, sans-serif;">Sampling Bob James' "Nautilus" is like a rite of passage for hip-hop producers, and RZA completes that step on "Daytona 500." Even though many of you are probably tired of hearing that sample, the instrumental here is pretty engaging, and for the third consecutive song, Tony Starks, Raekwon and Cappadonna drop verses. All of them were impressive, but I enjoyed The Chef's performance the most.</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<b><span style="font-family: Verdana, sans-serif;">12. Motherless Child</span></b><br />
<span style="font-family: Verdana, sans-serif;">You've probably noticed by now that the "dustiness" that RZA's productions became so well-known for on the first several Wu albums is not nearly as prevalent on <i>Ironman</i>, and "Motherless Child" is a pretty good example of that. Prince Rakeem's drums are very clean here. That doesn't mean this beat was all that good, though. It just seemed kind of slipshod.</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<b><span style="font-family: Verdana, sans-serif;">13. Black Jesus</span></b><br />
<span style="font-family: Verdana, sans-serif;">The vocal sample on this is just irritating. That's all I've got.</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<b><span style="font-family: Verdana, sans-serif;">14. After The Smoke Is Clear</span></b><br />
<span style="font-family: Verdana, sans-serif;">The Delfonics provide some haunting background vocals over a rather bland RZA beat, and Ghostface Killah, Raekwon and RZA himself all lay down verses. The mixing of this cut definitely could have been better, and I found it kind of annoying that the rapping stops abruptly with around 40 seconds left.</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<b><span style="font-family: Verdana, sans-serif;">15. All That I Got Is You</span></b><br />
<span style="font-family: Verdana, sans-serif;">The Jackson 5 sample that RZA used for this record is pretty good, but the beat would have been nicer if it actually had drums. This was a truly heartfelt song from Ghostface, something he has surprisingly mastered over the course of his career. Other than the fact that Prince Rakeem kind of half-assed the instrumental, I don't have any complaints about this one. Mary J. Blige is on here too, by the way, and she croons the hook and even puts in a "verse" of her own.</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<b><span style="font-family: Verdana, sans-serif;">16. The Soul Controller</span></b><br />
<span style="font-family: Verdana, sans-serif;">RZA's production on this <i>bangs</i>, and Ghost goes in over it on his own for the third and final time on <i>Ironman</i>. The Force M.D.s provide some background vocals in the way of interpolating Sam Cooke's "A Change Gonna Come," and they add a fairly nice touch. After a bit of a lull on the album, "The Soul Controller" was much-needed. The only thing that bothers me is that there was no need for this track to be nearly seven minutes long, as Tony Starks stops rapping <i>well</i> before the conclusion.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">17. Marvel</span></b><br />
<span style="font-family: Verdana, sans-serif;">This was kind of boring. The RZA instrumental is pretty dull, and the energy level takes a fairly big dip after the preceding song. I also don't understand why the beat continues to run for three minutes after Ghostface and RZA are done spitting. Definitely a strange (and poor) way to close out <i>Ironman</i>. </span><br />
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<b><span style="font-family: Verdana, sans-serif;">FINAL THOUGHTS</span></b><br />
<br />
<span style="font-family: Verdana, sans-serif;"><i>Ironman</i> is a tale of two halves. The first half of the album is very, <i>very</i> good, consisting of dope beats from RZA that Ghostface Killah and company sound enthralled to rap over. Once you get past True Master's "Fish," however, the project starts treading water.</span><br />
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<span style="font-family: Verdana, sans-serif;">Of the final eight songs, most of them lack the type of energy that was present earlier on <i>Ironman</i>, and you may find that many of the tracks toward the end sound very similar (and not in a good way). For that reason, I actually grew tired of the album as the second half continued to progress, and if it weren't for "Daytona 500" and "The Soul Controller," I don't even know if I would have been able to make it through.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">That being said, just about all of the first nine songs on <i>Ironman</i> are so good that I can understand why some label this LP a classic. As I noted earlier, Prince Rakeem's production style is much cleaner on this album, and that helped make the early half a success.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">One other question needs to be posed, though. Where the <i>hell</i> is GZA? <i>Ironman</i> is absolutely loaded with guest appearances, mostly by Raekwon and Cappadonna, but not one GZA feature? I'm sure Ghostface could have found a way to squeeze him in <i>somewhere</i>, and who knows? He may have been able to rescue one of the blander cuts. The fact that there was only one Method Man appearance did not help matters much, either.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">I also find it bothersome that Ghost wasn't even on two of the album's stronger records ("The Faster Blade" and "Assassination Day"). I seriously wonder what was going through Tony Starks' mind when he decided to let his Wu-Tang brethren handle those songs on their own. </span><br />
<br />
<span style="font-family: Verdana, sans-serif;">I understand that all of my quibbles make it sound like I don't like <i>Ironman</i>, but that is not true. This is a <i>good</i> album. It's just not even close to what the Wu was capable of during their peak. Look no further than the brilliance of <i>Liquid Swords</i> or <i>Only Built 4 Cuban Linx...</i> to see that.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">TOP TRACKS</span></b><br />
<br />
<span style="font-family: Verdana, sans-serif;">1. Assassination Day</span><br />
<span style="font-family: Verdana, sans-serif;">2. Fish</span><br />
<span style="font-family: Verdana, sans-serif;">3. Winter Warz</span><br />
<span style="font-family: Verdana, sans-serif;">4. The Faster Blade</span><br />
<span style="font-family: Verdana, sans-serif;">5. Daytona 500 </span><b><span style="font-family: Verdana, sans-serif;"> </span></b>Matthttp://www.blogger.com/profile/08809018195805797755noreply@blogger.com2tag:blogger.com,1999:blog-772823764528584233.post-63131643820810120592013-08-25T10:38:00.001-04:002013-08-25T10:38:08.309-04:00Album Review: "Return To The 36 Chambers: The Dirty Version" - Ol' Dirty Bastard (1995)<div class="separator" style="clear: both; text-align: center;">
<a href="http://s3.amazonaws.com/rapgenius/filepicker/bWik98cWRz6TxVIJ1aJr_Return_to_the_36_chambers.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="317" src="http://s3.amazonaws.com/rapgenius/filepicker/bWik98cWRz6TxVIJ1aJr_Return_to_the_36_chambers.jpg" width="320" /></a></div>
<b><span style="font-family: Verdana, sans-serif;">INTRODUCTION</span></b><br />
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<span style="font-family: Verdana, sans-serif;">The late Ol' Dirty Bastard (he passed away in 2004) was certainly an interesting character; that's for sure.</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">Whether it was his slurred, often indecipherable raps, <a href="http://www.youtube.com/watch?v=b2-5GSjZvW8">interrupting the 1998 Grammys</a> to proclaim that "Wu-Tang is for the children" or saving a four-year old girl who was trapped underneath a car, you can never say that ODB was not a fascinating individual.</span><br />
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<span style="font-family: Verdana, sans-serif;">The man whose government name was Russell Jones parlayed his effervescent personality into numerous hit songs, most notably the catchy "Shimmy Shimmy Ya," the second single off of his debut solo album, <i>Return To The 36 Chambers: The Dirty Version</i>.</span><br />
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<span style="font-family: Verdana, sans-serif;">Despite the fact that Ol' Dirty Bastard was clearly the least lyrically inclined in the Wu-Tang Clan, he was actually the second member to put out a solo LP, as <i>Return To The 36 Chambers</i> dropped on the heels of Method Man's <i>Tical</i>.</span><br />
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<span style="font-family: Verdana, sans-serif;">Considered a classic by some and an acquired taste by others, ODB's first release was undoubtedly an intriguing piece of work that has no equal (in terms of style) in the annals of hip-hop history. I'll let you decide whether that is a good thing or a bad thing.</span><br />
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<span style="font-family: Verdana, sans-serif;"><i>Return To The 36 Chambers</i> features 17 tracks, 14 of them produced by RZA (yep; RZA surprisingly did not produce the entire album).</span><br />
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<span style="font-family: Verdana, sans-serif;">Let's sink our teeth into this one now.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">TRACK-BY-TRACK</span></b><br />
<br />
<b><span style="font-family: Verdana, sans-serif;">1. Intro</span></b><br />
<span style="font-family: Verdana, sans-serif;">A nearly five-minute long intro kicks things off. Not a good way to start, Mr. Jones.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">2. Shimmy Shimmy Ya</span></b><br />
<span style="font-family: Verdana, sans-serif;">Ol' Dirty Bastard wastes no time in letting his audience hear his most popular song, and why would he? To be perfectly honest, I've always found this track to be more silly than anything else, but isn't that essentially ODB in a nutshell? The thing about "Shimmy Shimmy Ya" is that <i>no one</i> else was doing anything like this in 1995, and that remains the case in 2013. It's rare you can say that about music. RZA's piano-sampled beat is pretty compelling, and Ol' Dirty Bastard spits mostly entertaining gibberish. The funny thing is, ODB's gibberish actually accommodates the instrumental pretty well.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">3. Baby C'mon</span></b><br />
<span style="font-family: Verdana, sans-serif;">The production by RZA is pretty nice here, particularly the drums which are extra dusty, but did Ol' Dirty Bastard seriously say that he has the "gift of gab?" Because, I mean, If there's one thing ODB <i>isn't</i>, it's fluent and understandable. Then again, I <i>was</i> able to discern the "gift of gab" line. <i>Weird</i>. Oh, and the way the vocals intentionally skip after Ol' Dirty says "baby" shortly after the two-minute mark is just annoying, and, actually, kind of creepy.</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<b><span style="font-family: Verdana, sans-serif;">4. Brooklyn Zoo</span></b><br />
<span style="font-family: Verdana, sans-serif;">I've always found it rather interesting that "Brooklyn Zoo" was the album's first single, as this is one of three songs on <i>Return To The 36 Chambers</i> that <i>wasn't</i> laced by RZA. Instead, True Master is the main man behind the boards, and ODB gets co-production credits. That being said, if liner notes didn't exist, I never would have guessed that RZA didn't do this beat. True Master certainly did a good imitation. <i>Anyway</i>, this sounds pretty freaking good.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">5. Hippa To Da Hoppa</span></b><br />
<span style="font-family: Verdana, sans-serif;">I get a kick out of Ol' Dirty Bastard saying "my beats are slammin'" at the beginning of this record. Did ODB not realize that this <i>wasn't</i> one of the three instrumentals that he had a hand in crafting? This beat <i>does</i> slam, though, as RZA definitely did his thing on this one. Also, Ol' Dirty is unusually perceivable on "Hippa To Da Hoppa." One thing I do wish, though: that the smooth piano was present throughout the entire song.</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<b><span style="font-family: Verdana, sans-serif;">6. Raw Hide</span></b><br />
<span style="font-family: Verdana, sans-serif;">For the first time on <i>Return To The 36 Chambers</i>, we get guest verses, as Method Man and Raekwon stop by to aid their Wu-Tang brother on "Raw Hide." RZA's beat sounds like something that could have been on <i>Tical</i> (and the way Meth knocks his verse out of the park lends credence to that thought), but it's a bit too repetitive for my taste. Method Man's contribution aside, this was just <i>alright</i>.</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<b><span style="font-family: Verdana, sans-serif;">7. Damage</span></b><br />
<span style="font-family: Verdana, sans-serif;">Both RZA and 4th Disciple were on the boards for this one, and the result is pretty damn nice, sounding fairly <i>Liquid Swords</i>-like. Appropriately, GZA drops guest rhymes on "Damage," and he adjusts his delivery to suit Ol' Dirty Bastard's style. Not only that, but ODB actually puts forth a pretty strong lyrical showing of his own on this cut. Perhaps it was GZA's presence elevating Ol' Dirty's own performance. Whatever it was, it made "Damage" a pretty awesome track.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">8. Don't U Know</span></b><br />
<span style="font-family: Verdana, sans-serif;">After a really awkward intro that lasts about 50 seconds, Mr. Jones starts rocking over a decent RZA instrumental. Those comprehensible rhymes that Ol' Dirty Bastard spit just a minute ago on "Damage" fundamentally go out the window here, though, as I honestly had <i>no idea</i> what the hell I was listening to for the majority of ODB's bars. The craziest thing about "Don't U Know" is that Killah Priest, one of the most lyrical dudes around, lays down a guest verse. Perhaps RZA should have just given this beat to Priest, because he <i>rips</i> it.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">9. The Stomp</span></b><br />
<span style="font-family: Verdana, sans-serif;">Ol' Dirty Bastard gets co-production credits with RZA here, but one would assume that he didn't exactly have much input. Maybe he just picked the hi-hat. <i>Anyway</i>, the instrumental is solid, but God only knows what ODB was talking about when he asked if you had ever "had a bald-headed bitch for your bald-headed wife."</span><br />
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<b><span style="font-family: Verdana, sans-serif;">10. Goin' Down</span></b><br />
<span style="font-family: Verdana, sans-serif;">After 55 seconds of rather disturbing mouth noises from Ol' Dirty Bastard, a freaking <i>sick</i> RZA beat kicks in, but you know what? <i>ODB effing wastes it by using it as a skit/interlude</i>. Come <i>on</i>, man. You're really going to squander one of the best instrumentals RZA has ever done? Dirt McGirt does spit for a bit during the second half of the track, but it wasn't enough. RZA absolutely should have given this beat to someone else.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">11. Drunk Game (Sugar Sweet Pie)</span></b><br />
<span style="font-family: Verdana, sans-serif;">This is the second of three beats on the project that wasn't produced by Prince Rakeem (Ethan Ryman and Ol' Dirty Bastard himself were on the boards here), and my <i>God</i> can you tell right from the get-go. Every time I hear this song, I come away thinking the same thing: what the <i>hell</i> did I just listen to? I honestly couldn't even get through the whole cut for this review.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">12. Snakes</span></b><br />
<span style="font-family: Verdana, sans-serif;">"Snakes" is the best record on <i>Return To The 36 Chambers</i>. <i>Period</i>. Killah Priest hops on and drops some pretty awesome storytelling rhymes on his verse, and Masta Killa, RZA and Buddha Monk are also present on this posse track. RZA's instrumental <i>bangs</i>, and even if I was never crazy about his flow on the mic, he laces a nice verse of his own. Masta Killa's rhymes were great, too. The only beef I have is that you can hardly hear half of Buddha Monk's brief verse because of the skit playing in the background. Not that any of you actually <i>care</i> about Buddah Monk, anyway.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">13. Brooklyn Zoo II (Tiger Crane)</span></b><br />
<span style="font-family: Verdana, sans-serif;">Ghostface Killah finally makes an appearance on the album here, but he picked a pretty bad song to hop on. RZA's beat is sloppy, and for some reason, ODB decides to rehash lyrics from "Damage." Are you <i>sure</i> "Brooklyn Zoo II" was the right name, McGirt? Oh, and the medley of different Ol' Dirty Bastard verses that surfaces in the middle of this record is just <i>stupid</i>, as was the incredibly long and unnecessary skit at the end. I really see no reason for the inclusion of "Brooklyn Zoo II (Tiger Crane)" on <i>Return To The 36 Chambers</i>, but whatever.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">14. Protect Ya Neck II</span></b><br />
<span style="font-family: Verdana, sans-serif;">Another posse cut, this time consisting of ODB and the Wu-affiliated groups Sunz of Man and Brooklyn Zu, the latter of which probably would have been better-served appearing on one of the "Brooklyn Zoo" tracks (right?). RZA's beat sounds pretty good out of the gate, but it gets repetitive rather quickly. Perhaps this album is running a bit too long...</span><br />
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<b><span style="font-family: Verdana, sans-serif;">15. Cuttin' Headz</span></b><br />
<span style="font-family: Verdana, sans-serif;">...Or maybe not. This song is <i>really</i> good, and if you listen carefully, you'll be able to hear that RZA's instrumental is actually "Clan In Da Front" played <i>backward</i>. <i>Awesome</i>. Ol' Dirty Bastard's rhymes are actually very coherent on this, and RZA joins in to drop some fine lines of his own. "Cuttin' Headz" is short, too, and that's always nice after five straight tracks that run at least four minutes long apiece.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">16. Dirty Dancin'</span></b><br />
<span style="font-family: Verdana, sans-serif;">Really? <i>This</i> was produced by RZA? It's definitely not one of his better instrumentals; that's for <i>damn</i> sure. Thankfully, Method Man swoops in and saves this record from eternal obscurity with a terrific performance.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">17. Harlem World</span></b><br />
<span style="font-family: Verdana, sans-serif;">Closing out the album with a track that wasn't blessed by Prince Rakeem just has disaster written all over it, especially when said track is over <i>six minutes long</i>. After about one minute and 15 seconds of bullcrap, Dirt McGirt finally starts to "rap," but once he does, he makes you wish he didn't. Actually, he makes you wish that "Harlem World" never existed to begin with.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">FINAL THOUGHTS</span></b><br />
<br />
<span style="font-family: Verdana, sans-serif;">Because of Ol' Dirty Bastard's lack of skill on the mic, I cannot endorse <i>Return To The 36 Chambers: The Dirty Version</i> as a classic. I can say with confidence, however, that this is certainly something that Wu-Tang fans will forever enjoy, and it's also 10 times better than most of the garbage out there today, regardless of ODB's relative ineptitude as a rapper.</span><br />
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<span style="font-family: Verdana, sans-serif;">While this album isn't RZA's finest hour, it absolutely contains some interesting production by him, and a couple of the joints on here really knock. Obviously, RZA had to craft beats that suited Ol' Dirty Bastard's style, and that was no easy task. As a matter of fact, you'd be hard-pressed to find more than a couple of instrumentals on <i>Return To The 36 Chambers</i> that other members of the Wu would have used on their own solo albums.</span><br />
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<span style="font-family: Verdana, sans-serif;">Accept ODB's debut for what it is: a project where the host was, for lack of a better phrase, just trying to wild out. I'm sure Mr. Jones knows that he is not exactly the most gifted rapper out there, although some of the boasts that he spits on <i>Return To The 36 Chambers</i> leave you wondering.</span><br />
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<span style="font-family: Verdana, sans-serif;">If you're a Wu-Tang enthusiast, you probably bump this religiously. If not but you just can't get enough of that golden era, then you may listen occasionally like I do. There is also a faction that more than likely find this unlistenable. That's cool, though. Not all hip-hop has to be serious, and not every good album has to be like <i>Illmatic</i>.</span><br />
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<span style="font-family: Verdana, sans-serif;">Rest in peace, ODB. </span><br />
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<b><span style="font-family: Verdana, sans-serif;">TOP TRACKS</span></b><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;">1. Snakes</span><br />
<span style="font-family: Verdana, sans-serif;">2. Damage</span><br />
<span style="font-family: Verdana, sans-serif;">3. Cuttin' Headz</span><br />
<span style="font-family: Verdana, sans-serif;">4. Hippa To Da Hoppa</span><br />
<span style="font-family: Verdana, sans-serif;">5. Brooklyn Zoo </span><b><span style="font-family: Verdana, sans-serif;"> </span></b>Matthttp://www.blogger.com/profile/08809018195805797755noreply@blogger.com0tag:blogger.com,1999:blog-772823764528584233.post-78936548394052778182013-08-24T11:23:00.002-04:002013-08-24T11:23:50.758-04:00Album Review: "Monkey Barz" - Sean Price (2005)<div class="separator" style="clear: both; text-align: center;">
<a href="http://shocksoundpromotions.com/shocksoundpromo/wp-content/uploads/2011/10/sean-price-monkey-barz-album-cover-1024x1024.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://shocksoundpromotions.com/shocksoundpromo/wp-content/uploads/2011/10/sean-price-monkey-barz-album-cover-1024x1024.jpg" width="320" /></a></div>
<b><span style="font-family: Verdana, sans-serif;">INTRODUCTION</span></b><br />
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<span style="font-family: Verdana, sans-serif;">The first album I ever reviewed on this blog was Sean Price's second album, <a href="http://hiphopitsalive.blogspot.com/2010/11/album-review-jesus-price-supastar-sean.html"><i>Jesus Price Supastar</i></a>, so I figured it was about time I started completing the rest of his solo discography.</span><br />
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<span style="font-family: Verdana, sans-serif;">I already supplied you with some background information in the <i>Jesus Price Supastar</i> writeup, so I'll try to keep this introduction short and sweet.</span><br />
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<span style="font-family: Verdana, sans-serif;">After releasing two albums with Heltah Skeltah (a duo comprised of himself [where he is known as "Ruck"] and his partner-in-crime Rock), Sean P went seven years without putting out any solo material. He worked with his Boot Camp Clik crew on the 2002 album <i>The Chosen Few</i> and dropped a few guest verses on other projects, but for the most part, P was silent.</span><br />
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<span style="font-family: Verdana, sans-serif;">Then, in 2005, Sean Price released his debut album, <i>Monkey Barz</i>, to critical acclaim. It was named Independent Album of the Year by AllHipHop.com, and many other hip-hop aficionados and fans dubbed it one of the best projects of the 2000s.</span><br />
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<span style="font-family: Verdana, sans-serif;">Is <i>Monkey Barz</i> as good as everyone hypes it up to be?</span><br />
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<span style="font-family: Verdana, sans-serif;">There's only one way to find out, and that's by reviewing it.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">TRACK-BY-TRACK</span></b><br />
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<b><span style="font-family: Verdana, sans-serif;">1. Peep My Words</span></b><br />
<span style="font-family: Verdana, sans-serif;">Well, Sean Price is already off to a good start, as he forgoes and album intro for an actual song. The late Kleph Dollaz of the group Ill Biskits laces a soulful beat for P to spit his boasts over, and he comes with some hilarious rhymes that have become so typical of himself right off the bat. Solid way to kick off <i>Monkey Barz</i>.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">2. One Two Yall</span></b><br />
<span style="font-family: Verdana, sans-serif;">This is pretty freaking good. Moss is on the boards here, putting together a grimy instrumental consisting of a piano riff and some dusty drums. In his second verse, Sean P says "plain lame, acting ignorant." That's a fairly accurate way to describe Sean Price's rhymes, which generally never make any sort of sense but still somehow sound <i>great</i>.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">3. Onion Head</span></b><br />
<span style="font-family: Verdana, sans-serif;">This is where things really start to get good. Khrysis crafts a <i>banger</i> for P, who threatens to "smack off half your smile" and then smack off the other half "after trial." <i>Awesome</i>. Tek from Smif-N-Wessun is here, as well, and he drops the hook. "Onion Head" is one of the best pump-up songs I've ever heard. It's pretty much guaranteed to get your blood boiling.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">4. Fake Neptune</span></b><br />
<span style="font-family: Verdana, sans-serif;">Sean Price isn't exactly enthralled with mainstream rap, and he lets you know that in the title of this track alone. Clearly, P is poking fun at The Neptunes and radio records of that ilk. And come on; you know you laughed when Sean P said "how you gon' shit on me after I let you shit on me, freaky deaky." Everything from the instrumental by Phat Babyz to P's raps to the guest verses by Steele (the other half of Smif-N-Wessun) and Louieville Sluggah (from Originoo Gunn Clappaz) is on point. Louieville's verse is especially dope. Oh, and Buckshot does the hook. Yeah; "Fake Neptune" is pretty much <i>sick</i>.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">5. Heartburn</span></b><br />
<span style="font-family: Verdana, sans-serif;">9th Wonder lays down the smooth production for Sean P on "Heartburn," where our host talks about everything he "loves," ranging from his wife to "fist fights with brass knuckles" and, um, wallabies. Yes; wallabies. Another winner for Sean Price on <i>Monkey Barz</i>.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">6. Shake Down</span></b><br />
<span style="font-family: Verdana, sans-serif;">Over a pretty hard beat by Star.com and Justice (who?), P, Starang Wondah (of Originoo Gunn Clappaz) and Steele rap generically about how they can't be messed with. I know that last sentence may have seemed like a subtle criticism, but it really wasn't. This is pretty good. It's not on the same level as the preceding three cuts, but it was still good, nonetheless.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">7. Mad Mann</span></b><br />
<span style="font-family: Verdana, sans-serif;">The first true misfire on <i>Monkey Barz</i>. P.F. Cuttin's drums are <i>way</i> too busy, and the sample just sounds messy. P definitely could have done without this one.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">8. Brokest Rapper You Know</span></b><br />
<span style="font-family: Verdana, sans-serif;">Even Sean Price himself would tell you this isn't true anymore, but back in 2005, I guess this was kind of appropriate (although still not really). Regardless, this song is obviously not to be taken literally. It's Sean Price, after all, and hey; this short record is still pretty solid, anyway.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">9. Boom Bye Yeah</span></b><br />
<span style="font-family: Verdana, sans-serif;">You know how I've said how sometimes rappers "rap like nothing and it sounds like something" on this blog before? Well, <i>this</i> is where it came from, as Sean P says that line in "Boom Bye Yeah," which is undoubtedly one of the best tracks on <i>Monkey Barz</i>. Tone Mason's fast-paced beat is <i>crazy</i>, and P obliges with a brilliant three-verse performance. This is another one of those good pump-up songs that seem to permeate this album.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">10. I Love You (Bitch)</span></b><br />
<span style="font-family: Verdana, sans-serif;">The title of this song is obviously in conflict with itself, but that's Sean Price for you. The Luther Vandross-sampling production by Dub Z is decent, and P drops some pretty damn misogynistic rhymes about how even though he can't stand certain things about his girl, he wants to stay with her. In his defense, though, he says "I ain't shit and you ain't shit, we belong together." So, at the very least, he was also self-deprecating.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">11. Bye Bye</span></b><br />
<span style="font-family: Verdana, sans-serif;">That leads us to the crown jewel of <i>Monkey Barz</i>. Khrysis laces the best beat he has <i>ever</i> done here, utilizing an Aretha Franklin sample and throwing on some <i>banging</i> drums. Buckshot is here to actually drop verses this time, and although Sean P clearly walks away the winner, Buck does very well. "Bye Bye" is actually a misogynistic record itself (maybe even moreso than the song prior), but Khrysis' instrumental is <i>so damn good</i>, and the performances by both Sean Price and Buckshot were more than impressive, objectionable lyrics aside. The record is basically about how P and Buck no longer want to deal with their girls' bullcrap anymore, and I'm sure a lot of guys out there will relate to that subject matter regardless of the way it is being presented.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">12. Spliff N Wessun</span></b><br />
<span style="font-family: Verdana, sans-serif;">You would think Smif-N-Wessun would be the guest artists on this track, but you would be wrong, as Ruste Juxx hops on (and rips it, I might add). The Ayatollah beat is really freaking good, and Sean P comfortably spits some fire. Good cut.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">13. Jail Shit</span></b><br />
<span style="font-family: Verdana, sans-serif;">This was solid. Agallah lays down the instrumental, and Rock is on the hook. I'm not sure why P wouldn't ask his Heltah Skeltah brother to drop a verse here, and I'm really curious as to how Rock would have sounded on this if he did so. Oh well. Sean Price does well enough on his own.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">14. Monkey Barz</span></b><br />
<span style="font-family: Verdana, sans-serif;">Ty Deals' production seriously consists of a bunch of jungle noises--especially monkeys, surprise, surprise--and Sean P somehow manages to make it work. This is actually one of P's best lyrical outputs on the album, as the Brownsville rapper proves that he can spit over <i>any</i> beat. I enjoyed this quite a bit.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">15. Slap Boxing</span></b><br />
<span style="font-family: Verdana, sans-serif;">Rock is here again, and this time, he actually drops a verse. Ruste Juxx comes through for another verse of his own, too. Unfortunately, the instrumental by Edward Maximillion III isn't engaging enough to make "Slap Boxing" that worthwhile, a pretty freaking dope performance from Rock notwithstanding. It doesn't help that Sean Price sounds like he phoned in his verse, either.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">16. Rising To The Top</span></b><br />
<span style="font-family: Verdana, sans-serif;">You may remember this song from the <i>Grand Theft Auto III</i> soundtrack. Agallah is on the boards again, and he offers up two verses and the chorus, as well. The production is just alright, if not a bit bland. This was a fairly boring way to close out <i>Monkey Barz</i>, and to make matters worse, this is the longest song on the album.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">FINAL THOUGHTS</span></b><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;">The verdict on <i>Monkey Barz</i> is in, and it's that it deserves every ounce of praise that has been heaped upon it since its release in 2005. This is a great album, containing numerous bangers and consistently dope performances by Sean Price (and his guests) on the mic.</span><br />
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<span style="font-family: Verdana, sans-serif;"><i>Monkey Barz</i> does not stick to any one particular theme, but that's the type of artist Sean P is. He is not a concept rapper. He just spits, and sometimes, that's for the best. P's debut record is a prime example of that. The large variety of producers on this project also adds to the unpredictability, and a little bit of volatility often makes a hip-hop album that much more interesting.</span><br />
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<span style="font-family: Verdana, sans-serif;">The only criticism I would have is that <i>Monkey Barz</i> is an album that probably should have come out five years earlier. I'm not sure what took so long for Sean Price to release his debut record, as Heltah Skeltah put out <i>Magnum Force</i> in 1998 and then didn't put out another project for 10 years. Perhaps Sean P was very busy during that time period; I don't know, but an earlier release would have certainly lengthened his solo career.</span><br />
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<span style="font-family: Verdana, sans-serif;">It was also a bit disappointing that there was no production from Da Beatminerz on here, but the beats were good enough as a whole where P's former go-to beatmaking team wasn't sorely missed.</span><br />
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<span style="font-family: Verdana, sans-serif;">Another aspect about <i>Monkey Barz</i> that you have to admire is how Sean Price kept the features in-house. Outside of Agallah, every guest on the album is a member of the Boot Camp Clik or, at the very least, is affiliated with the collective (Ruste Juxx).</span><br />
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<span style="font-family: Verdana, sans-serif;"><i>Monkey Barz</i> was a very impressive debut effort from a rapper that wasn't expected to be this dope as a solo artist. If you don't have this in your collection yet, then I suggest that you get moving.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">TOP TRACKS</span></b><br />
<br />
<span style="font-family: Verdana, sans-serif;">1. Bye Bye</span><br />
<span style="font-family: Verdana, sans-serif;">2. Onion Head</span><br />
<span style="font-family: Verdana, sans-serif;">3. Boom Bye Yeah</span><br />
<span style="font-family: Verdana, sans-serif;">4. Fake Neptune</span><br />
<span style="font-family: Verdana, sans-serif;">5. Heartburn </span>Matthttp://www.blogger.com/profile/08809018195805797755noreply@blogger.com0