INTRODUCTION
La The Darkman has quite an interesting background.
A Wu-Tang affiliate, La The Darkman recorded his debut (and only) solo album, Heist of The Century, at the young age of 17. Several Wu-Tang Clan members were featured on the project, and he was able to get beats from producers such as RZA, Havoc and 4th Disciple.
Later on in his career, La The Darkman teamed up with DJ Drama and helped executive produce both Gangsta Grillz albums. La's growing presence in the industry also allowed his younger brother to get some shine. Who is his younger brother, you ask? Willie The Kid, a dude who has been making waves in the underground scene for quite a few years now and recently put out an EP with Alchemist.
Eventually, differences arose between La The Darkman and Drama, and the two stopped working together. Not that anyone really cares.
Despite the fact that La has dropped countless mixtapes over the years, he is still yet to put out an album since Heist of The Century. Why? Who knows, but that's not what this review is about.
This is about Heist of The Century, so let's get to it.
TRACK-BY-TRACK
1. Lucci
Carlos Broady, of Puff Daddy's Hitmen production group, laces a piano-sample-laden instrumental that La eats up. The beat may move at somewhat of a crawling pace, but it's still very effective, certainly projecting a Wu-Tang feel. Nice way to begin the album.
2. Shine
Okay; now this sounds nothing like a Wu-Tang production, and I don't mean that it's different in a good way. It just doesn't fit in with the rest of the album. Carlos Broady crapped the bed this time around. It doesn't help that this cut is nearly five minutes long, either.
3. City Lights
Havoc drops by to lay down his first of two productions on Heist of The Century here, and while the instrumental is definitely raw and appropriate for the project's content, it gets repetitive pretty quickly and the quality is a bit fuzzy. La's voice overpowers the beat, and that's never a good thing. This is hardly a bad song by any means, but better mixing could have made it a lot better.
4. What Thugs Do
Remember that awful song called "Hi Hater" that Maino put out about five or six years back? Well, "What Thugs Do" sounds a lot like it, and that's bad news, especially for an album that is supposed to be Wu-influenced. I'm not exactly sure what the hell La The Darkman was thinking here.
5. Heist of The Century
Now that's more like it. The Wu-Tang feel is back, as "Heist of The Century" absolutely sounds like something that would have been on a Wu solo album. La completely shreds this DJ Muggs instrumental, flowing effortlessly over the piano sample and making you wonder whether or not he should have recorded an album produced exclusively by Muggs. Killa Sin of Killarmy (another Wu-affiliated group that you may or may not have heard of) joins The Darkman on this, and he comes through with a damn fine performance of his own.
6. Fifth Disciple
Any guesses as to who produced this short track? That's right. 4th Disciple! Great job cracking the code if that's what your answer was. Anyway, "Fifth Disciple" is what it is. A one-verse cut by La The Darkman that makes you question whether or not this was a song that La never actually finished and merely threw onto the album as a formality. This seemed kind of pointless, especially considering that the instrumental fades out as The Darkman continues to rap toward the end.
7. Now Y
This is just freaking awesome. La The Darkman's hook is especially menacing, and he raps with an extraordinary energy that was missing throughout most of the first six tracks. Carlos Broady's beat is sick, and La sounds more comfortable than ever. I'm not sure why The Darkman didn't just use these types of hardcore instrumentals throughout the album instead of including records like "What Thugs Do." If only we had a time machine to go back in time and stop him...
8. Spring Water
Actually, despite the upbeat nature of Broady's instrumental and the fact that I just criticized La's inclusion of such beats one sentence ago, this wasn't that bad. It may not have been an ideal track for Raekwon to hop on, but you know what? The Chef sounds pretty decent on this. I guess that's what happens when you're a dope ass rapper; you fit right in over any type of production.
9. 4 Souls
Back to the rawness. Carlos Broady's production on "4 Souls" will make your head nod uncontrollably, and I imagine that La The Darkman's head was doing so even while he was recording his raps. Guest artist Shotti Screwface (the hell kind of name is that?) jumps on this cut, as well, and he puts down some nice lines. Also, La does his best Method Man impression on his second verse. Come to think of it, why the hell didn't The Darkman get Meth on this?
10. Street Life
Another one of those tracks where La's voice drowns out the beat. Not that Broady's beat on "Street Life" was all that great where you'd want to hear it anyway.
11. Love
4th Disciple's instrumental here is pretty solid, possessing both a soulful and grimy quality at the same time. Maia Campbell's guest vocals add a beautiful touch to the the record, as well. That's about all I have to say. Decent song.
12. Figaro Chain
Havoc's second production on Heist of The Century is far superior to his first, and this time, he even drops a verse. A short verse, but still a verse, nonetheless. La The Darkman flows very well over Hav's dusty beat, coming through with one of his best performances on the album. This cut really is freaking great. It would have been nice if it were a little longer, though.
13. Polluted Wisdom
Considering that RZA only had one beat on this project, you would think he would have taken time to make it dope as hell, but it seems to me that RZA half-assed "Polluted Wisdom." The instrumental is extremely repetitive, and I personally believe he probably could have done more with the sample he used. I can't imagine any of the official Wu-Tang members would have chosen to include this record on one of their albums, but maybe that's why La got it to begin with. Finally, to make matters worse, the beat goes on for about two minutes after The Darkman is done rapping. Stupid.
14. Gun Rule
This was pretty good. Carlos Broady brings another gritty instrumental (I especially love that snare drum) to the table, and, as you may have guessed, La found his niche on it.
15. Element of Surprise
La The Darkman recruited Masta Killa and U-God for this 4th Disciple-laced track. Despite the heavy presence of the Wu, this wasn't very good, as both guests just sounded awkward on the beat.
16. As The World Turnz
Raekwon makes his second appearance on Heist of The Century here, and this time, he picked a suitable record. 4th Disciple does his best RZA impression, as "As The World Turnz" certainly sounds like something RZA would have laced for The Chef on Only Built 4 Cuban Linx....Good effort by all involved.
17. Wu-Blood Kin
Carlos Broady's instrumental here is freaking ILL. If you don't like it, then I have no idea what you're doing with your life. Ghostface Killah is on this, too, but unfortunately, he only does the hook. 12 O'Clock, Ol' Dirty Bastard's brother, drops the other verse. I mean, if you're gonna invite Ghostface, shouldn't you have him drop a verse instead of some virtual unknown? Oh well. This was still great.
18. I Want It All
La The Darkman saved the best for last. If I remember correctly, this was the main single on Heist of The Century. Broady's beat is simultaneously introspective and dark, and La raps about what he dreams to have. DJ Premier actually remixed this, but you know what? This original version is better. That's right; the original version is actually superior to the remix by one of the best producers in history. "I Want It All" always seems to make its way into rotation on my iPod, and for good reason. Just an awesome song all-around.
FINAL THOUGHTS
There is too much filler on Heist of The Century for me to label it a classic, but it remains a very good album that was certainly overlooked. La The Darkman may not be saying anything that we haven't heard before, but he certainly has talent on the mic, and the fact that he recorded this project when he was 17 is impressive.
The main problem with Heist of The Century is that it is a bit too lengthy. There are 18 songs here, and the album would have been better off without quite a few of them.
Another occasional issue is the beat selection. La clearly sounds better over harder, rawer instrumentals, so you really have to question why he decided to incorporate some of the more "bouncy" productions on this album. "Shine" and "What Thugs Do," for example, had absolutely no place on Heist of The Century.
All of that being said, the tracks that were good were really good, and nothing was so awful that it brought the overall product down all that drastically.
For whatever reason, La The Darkman faded into musical obscurity after putting out this record 15 years ago. Yes, he was still involved with promoting other artists, but other than the mixtapes he dropped, he never even came close to dropping another full-length LP, and that is definitely odd.
If you're one of those Wu-Tang loyalists, then you should absolutely give this a listen. If you're one of those underground hip-hop fanatics that likes to find forgotten treasures, then you should give this a listen. Actually, if you're a fan of hip-hop period, you should give this a listen. Chances are, you will find something to like on here.
TOP TRACKS
1. I Want It All
2. Figaro Chain
3. Now Y
4. Wu-Blood Kin
5. 4 Souls
INTRODUCTION
If you are a fan of underground hip-hop at all, chances are, you know who Apollo Brown is, the Detroit producer who has become the go-to beatmaker for hardcore rappers everywhere.
Apollo Brown is the producer in two groups: The Left (whose Gas Mask album I reviewed some time ago) and Ugly Heroes (who put out an awesome self-titled album a few months ago). He has also done collaboration albums with the likes of Guilty Simpson, O.C., Hassaan Mackey, Boog Brown, has remixed Ghostface Killah's 2013 album Twelve Reasons To Die and has made beats for the legendary Chino XL.
Quite an extensive and impressive résumé, huh?
But for now, we'll start all the way at the beginning. Well, kind of.
Before putting out The Reset in 2010, Apollo Brown released two instrumental albums: Skilled Trade and Make Do. However, it's kind of tough to review instrumental projects, so we'll just kick things off with this one.
Apollo recruited a ton of dope, underground MCs (who I make note of in the song's titles to make things easier) to work with him on The Reset, but what would be the result?
TRACK-BY-TRACK
1. Hungry (feat. Rapper Big Pooh and Black Milk)
There are no album intros here. Just an absolute banger of a beat that Rapper Big Pooh and Black Milk drop verses on. The sample is crazy, and are there any guesses as to what the vocal in the sample is actually saying? Sounds to me like it's saying "patience," but for all I know, it could also be saying "Haitian." Okay; probably not the latter, but it certainly sounds like that's what it could be. Anyway, this record simply knocks. Incredible way to start The Reset.
2. Lower The Boom (feat. Oddisee, Kenn Starr and Sareem Poems)
Based on the title, you would probably think this would be another extremely hard beat, but it's not. Sometimes, deception is what makes a project awesome, and that's evident here. Apollo Brown's instrumental is as smooth as butter, and all three guests (especially Oddisee, a producer/MC who you will recognize from the group Diamond District) rip it.
3. Beauty of a Day (feat. The Regiment)
It doesn't get much more soulful than this, something you'll find yourself saying on an awful lot of Apollo Brown's productions. The Regiment, a two-man group that has also worked with Apollo after The Reset, do an outstanding job. The main thing I took away from this track, though, is the way the beat changes a bit on the hook. Beautiful.
4. Real Detroit (feat. Journalist 103 and Marv Won)
Journalist 103 is the rapper from The Left, and The Left actually remixed "Real Detroit" on their Gas Mask album. It contained the same lyrics with a different beat, but I actually prefer this original record. The instrumental is filthy, sounding as if Apollo Brown literally took his equipment out into the streets of Detroit one night and produced it. Journalist's grimy ass voice fits the production perfectly, and well-known battle rapper Marv Won comes correct, as well. I can't say enough about how sick this song is.
5. Seasons (feat. Stik Figa)
Part of what makes The Reset such a fine album is the transitions. Apollo Brown did a great job with track placement, and that fact couldn't be any more obvious on the subdued and introspective "Seasons," which follows the raw-as-hell "Real Detroit." The beat is awesome, and Stik Figa obliges with a satisfactory performance of his own.
6. Brag Language (feat. Buff1 and Magestik Legend)
This is the weakest track here so far. Apollo's instrumental sounds relatively incomplete, and while I fully understand that was his intention, it doesn't work all that well. Apollo Brown also picked the wrong song to make the longest one on the album. I did like how Magestik Legend took a shot at people who air out things over Twitter and social media rather than actually physically talking to people, though.
7. Streets Won't Let Me Chill (feat. Diamond District)
This is, for all intents and purposes, a remix to the Diamond District song of the same name off of In The Ruff (which I reviewed a while back). I definitely like this remix better than the original. That's really all I've got.
8. Balance (feat. John Robinson and Kenn Starr)
Apollo Brown's instrumental is absolutely gorgeous, and I'm not sure if I've ever used that term when referring to anything musical before. "Balance" seriously has one of the trippiest hip-hop beats I've ever heard, and both John Robinson and Kenn Starr (who makes his second appearance on the album) do well for themselves. I would love to see what someone like Skyzoo could do over this production, though.
9. Turn & Run (feat. MED and Rapper Big Pooh)
This absolutely sounds like a beat that the Wu-Tang Clan would have rapped over in the 90s, and that alone makes this fantastic. Both MED (who has done some work with Madlib) and Rapper Big Pooh (making his way onto a song for the second time on The Reset), tear it to pieces, too. Awesome, awesome, awesome.
10. Odds Ain't Fair (feat. Hassaan Mackey)
Apollo Brown and Hassaan Mackey would later collaborate and do a full-length album called Daily Bread together (and that will be reviewed eventually), and the two gave you a little preview of what to expect on "Odds Ain't Fair." This track is simply terrific, with Mackey sounding right at home over Apollo's banging instrumental. As for who that female singer on the hook is? I have no freaking idea, but she sounds pretty awful. Regardless, this record still still rocks.
11. Brainwash (feat. yU [of Diamond District], Grap Luva and Finale)
I was merely okay with this one. Apollo's beat was uncharacteristically sloppy (too much static and the snare drums were too busy), and none of the MCs sounded particularly comfortable on it. Plus, those vocal skits throughout the cut seemed unnecessary and out of place.
12. Just Think (feat. Magestik Legend)
Apollo Brown utilizes an unbelievably soulful Love Unlimited Orchestra sample (one that 9th Wonder fans will likely recognize) and puts together a thought-provoking beat (no pun on the title intended) on which Magestik Legend raps admirably. This was short and sweet.
13. Propa (feat. Oddisee and Tranquil)
Eh, this one kind of sucked. Apollo's production was pretty bland, and Oddisee's hook was pretty lame. Definitely the weakest cut on The Reset.
14. Ghetto Soul Music (feat. Declaime [a.k.a. Dudley Perkins], Prince Po and Finale)
Nice to see Prince Po of Organized Konfusion get on the mic for this one. In sharp contrast to "Propa," Apollo Brown's beat was pretty engaging on this track, and all three guests do it, well, proper. Effective way to close out the album.
FINAL THOUGHTS
The Reset was an outstanding way for Apollo Brown to introduce himself to the hip-hop world. The 14 tracks vividly display his ample talent on the boards, and he brings an old-school boom-bap approach that is sorely missing from the game today.
Think of Apollo Brown as a 9th Wonder/DJ Premier hybrid. He combines the elements of soul and grit to beautifully illustrate the mood of Detroit, an area of the country that has been churning out dope producers non-stop over a good portion of the last decade (Apollo Brown, Black Milk, Bronze Nazareth, 14KT, etc.).
The Reset was only the beginning to what would become an incredibly successful career for Apollo Brown. He went from a virtual unknown to one of the main producers that the rawest of the raw hip-hop artists gravitate toward when they want to pair up with another beatmaker.
The rest of Apollo's catalog will absolutely be reviewed on this blog as time passes on, and it only gets better from here.
TOP TRACKS
1. Real Detroit
2. Hungry
3. Odds Ain't Fair
4. Balance
5. Beauty of a Day
INTRODUCTION
Not many rappers in the game do it like Roc Marciano these days.
Hailing from Hempstead in Long Island, New York, Roc Marciano's career started with Busta Rhymes' Flipmode Squad. After some brief work with the crew, including an appearance an Busta's 2000 track "The Heist," Roc Marci decided to go a different route and formed a group with three other unknown rappers (Dino Brave [whom he still collaborates with], Laku and Mic Raw) called The U.N.
After dropping one album, The U.N. was never heard from as a group again, and Roc Marciano went into a hibernation of sorts. He was featured on Wu-Tang Meets The Indie Culture in 2005 and dropped a verse on GZA's song "Short Race" in 2008, but other than that, you didn't hear much from Roc Marci.
Then, 2010 arrived, and Roc Marciano released his debut solo record, Marcberg.
Bloggers instantly put the project on a pedestal, some labeling it the album of the year and applauding Roc for bringing that 90s golden era-type hip-hop back to the game.
Roc Marciano produced the entire album by himself, choosing to go with mostly minimalist beats via the use of grimy samples and sparse drums.
So, was Marcberg worth the hype?
TRACK-BY-TRACK
1. Pimptro
Typical album intro.
2. It's a Crime
And it begins. The second Roc Marci's beat drops, you'll notice the heavy Wu-Tang influence, and the second he starts to rap, you'll notice how much he must have listened to Raekwon and Prodigy growing up. The sample is raw as hell, and the faint drums somehow make it that much grittier. Roc Marciano knows how to get it started; that's for damn sure.
3. Whateva Whateva
While this cut isn't as good as the preceding track, it's still pretty effective, consisting of another minimalist sample with even sparser drums than "It's a Crime." Roc Marci raps with such an aura of confidence and sureness that you can't help but take everything he says seriously, even if it's meant to be a joke.
4. Raw Deal
This record contains the hardest drums on the album thus far far and a sample containing a grimy-as-all-hell guitar twang that Roc Marci rides effortlessly. This is one of those records you play in your ride when you're driving down the block with the windows down during a heatwave.
5. We Do It
KA, a rapper from Brownsville who has been creating some buzz of his own over the past couple of years, makes the first--and only--guest appearance on Marcberg here, and he fits alongside of Roc perfectly. If you thought the first three tracks were raw, just wait until you listen to this one. Also, even though simply repeating "we do it" on the hook may seem like it would sound corny, trust me; when you hear it, you'll realize it doesn't, and even if you do think it's corny, I dare you to say that to Roc's face.
6. Snow
Roc Marciano managed to make the beat actually sound like something you'd listen to during the winter, further illustrating how much of a genius this man is. The instrumental is fire, and Roc comes through with what is his best performance on Marcberg thus far. The hook is also ill. Phenomenal record here. This cut also has a remix with Sean Price on it, and I highly suggest you go and check that out.
7. Ridin' Around
This is easily the darkest beat on the album, and, naturally, a lot of people gravitate toward this song. The cut is exactly the type of record that the title entails: rider music. It's not "Snow" or anything, but it's still pretty damn good. Also, Roc's interpolation of Debra Laws' "Very Special" (the sample that was used for J. Lo and LL Cool J's song "All I Have") on the hook is pretty hilarious. I don't understand how in the hell it fits within the concept of the record, but that's what makes it so awesome.
8. Panic
The. Best. Song. On. The. Album. Period. Roc Marci's beat is both hard and unorthodox at the same time, sounding like something Black Milk would have produced for the Random Axe album. Roc then proceeds to tear ish up, proving that he can rip a track no matter the tempo of the instrumental. If "Panic" doesn't get your blood flowing, then nothing will.
9. Thug's Prayer
Another one of those cruising down the block cuts that this album seems to be full of. Another winner, too. The drums on this track are nearly non-existent, although you can definitely hear a faint snare throughout. Great performance by Roc Marciano on here, as well.
10. Pop
Good Lord almighty. That's all I've got to say, and that's all I have to say.
11. Jungle Fever
We are now 10 songs in (excluding the intro), and we are yet to have a clunker. Actually, we're yet to even have a mediocre track. "Jungle Fever" continues that trend, containing some banging drums and a crazy sample that Roc just goes in on. You may need a neck brace after listening to this. You've been warned.
12. Don Shit
Okay. This is the first record on Marcberg that I wasn't really feeling. I just wasn't too crazy about the production. But hey; they can't all be winners, right?
13. Marcberg
This one wasn't all that, either. The instrumental was pretty dull, and this was probably the most uncomfortable Roc Marci sounded on the album. The long ass phone call was kind of off-putting, too.
14. Hide My Tears
Better than the previous two tracks, but still nothing compared to the first 10 songs on the album. Plus, Roc's delivery doesn't seem to match the beat at points. Seems like he is getting winded as he approaches the finish line.
15. Shoutro
Fortunately, Roc Marciano ends Marcberg on a good note after tripping up in the three cuts prior. "Shoutro" is full of soul, and even though Roc only drops one verse until going into predictable shoutout mode, it just sounds really good. I really wish at least one of the preceding three cuts would have been better, though.
FINAL THOUGHTS
Marcberg is an incredible debut album by an artist who simply knows what's up. There is absolutely no flash to Roc Marciano's game: just substance and grit, and it works wonders for him. It's always refreshing to hear a dude rap like it's still the 90s in this day and age, and Roc Marci does just that.
What's most impressive about Marcberg is how it goes a full 10 songs before an average one finally rears its head, and even the three tracks toward the end that weren't that spectacular are hardly whack.
Roc puts on a clinic for most of the project, showcasing his Sean Price-like ability to sometimes rap about nothing and make it sound like something. On the other side of the coin, he sometimes touches on serious topics, and he sounds every bit as effective when he decides to go that route.
Finally, you have to admire the fact that Roc Marciano produced this entire album by himself. It's rare that you get producer-MCs who are actually good at both things. That's what makes an artist like Black Milk so superb, and it's part of what makes Roc Marci so damn intriguing, as well.
If you care about the golden age of hip-hop at all, then you need Marcberg in your collection. It's a refreshing record in a time where electronic-techno crap passes for good hip-hop in the eyes of many nowadays (and yes; that was a shot a specific artist, and I'm sure you can glean which artist I am talking about).
Also, stay tuned: I will be reviewing Roc Marciano's sophomore album, Reloaded, promptly. You don't want to miss that one.
TOP TRACKS
1. Panic
2. Snow
3. Pop
4. Jungle Fever
5. We Do It
INTRODUCTION
Royal Flush is a rapper from Queens who is good friends with Mic Geronimo, whose The Natural album I reviewed two years ago right before taking my extended vacation. He is also acquainted with Noreaga and numerous New York producers who came to his aid on his debut record, Ghetto Millionaire.
The album is very similar in tone to The Natural, consisting mainly of street stories that Royal Flush may or may not have experienced (and let's be honest; most of these rappers haven't experienced what they actually talk about in their rhymes or else most of them would be in prison).
Some feel that Ghetto Millionaire is an overlooked gem from the 90s, arriving at the tail-end of the golden era in 1997 (the year when hip-hop began its ultimate downturn). Is it?
Let's find out.
TRACK-BY-TRACK
1. Intro
Standard album intro.
2. I Been Gettin' So Much $
This beat, produced by Buckwild, was also given to O.C. for his track "Burn Me Slow" off of Jewelz, also released in '97. When I hear this instrumental, however, the first song I think of is "I Been Gettin' So Much $." Royal Flush sounds fantastic over what is a flat-out awesome beat, and upon listening to this cut, you'll feel like you've hopped into a time-machine and been teleported back to the 90s. Great way to open things up.
3. Iced Down Medallions
Royal Flush brings Noreaga along for this record, a record that suits N.O.R.E. very well (he only does the hook, though). The EZ Elpee beat is solid, consisting of horns and a nice bassline that both artists rap smoothly over. Ghetto Millionaire is off to a good start.
4. Can't Help It
One thing you'll probably notice about Royal Flush right off the bat is that his flow is usually always on point, and that quality is very noticeable on "Can't Help It." Over a fairly introspective Prince Kaysaan instrumental, Royal Flush basically talks about how he can't help hustling. Cliché, yes, but it works. A female R&B artist named Khadejia croons the hook, and she does it wonderfully. Flush is batting a thousand so far.
5. Illiodic Shines
This is one of the best songs I've ever heard. Seriously. Over a mind-bogglingly soulful (and beautiful) piano-sample-driven Prince Kaysaan beat, Royal Flush and Mic Geronimo go back and forth, Jadakiss and Styles P style, in telling a Mobb Deep-like street tale. These two go together like peanut butter and jelly. Better yet, they go together like Prodigy and Havoc. Flush and Mic tell the story so well that you almost feel like you are there with them. Awesome, awesome, awesome cut.
6. Movin' On Your Weak Productions
Royal Flush gets some help from Da Beatminerz here, as the go-to producers for the Boot Camp Clik lay down a smooth, dope instrumental for Flush to try his hand at. A dude named Phenom Pacino accompanies the Queens rapper, and he does a fine job. Yet another winner for Royal Flush.
7. Conflict Intro
Okay then.
8. Conflict
The first misfire by Royal Flush. It's not that "Conflict" is a bad song; it just doesn't even come close to measuring up to the first few tracks on the album. It doesn't have much replay value, either. The Sha-Self beat is pretty boring, and while the guest artists from the group Wastlanz do alright for themselves, they aren't enough to bring this cut out of its doldrums.
9. Shines Intro
Another intro? Seriously?
10. Shines
Hi-Tek has always been one of my favorite producers, but it seems like he gave Royal Flush a throwaway beat here. Then again, this was extremely early in Hi-Tek's career, so perhaps he was still learning the ropes. Second miss in a row for Flush.
11. Family Problems
I really hope this isn't a true story, as Royal Flush tells the tale of killing his abusive father (I looked it up and couldn't find anything on it). It's a decent record, though. The EZ Elpee instrumental is smooth, and Flush answers the bell with a solid performance.
12. What a Shame
Noreaga drops by again, and this time, he actually puts down a verse. He does a nice job, too. The beat by EZ Elpee is just alright, though. Overall, "What a Shame" was pretty forgettable.
13. Regulate Intro
Honestly; what is the point of all of these?
14. Regulate
Mic Geronimo makes his second appearance on Ghetto Millionaire here, but if you are expecting "Regulate" to be anything like "Illiodic Shines," you are going to be sorely disappointed. It's not a terrible track, as both artists flow very well over the EZ Elpee production, but the beat isn't anything to write home about. This album has been going through quite a lull over the good majority of the last several songs, huh?
15. Worldwide
And we're back on track. This song knocks, but the sad part is that the primary thing I think of whenever I hear it now is how Harry Fraud (who I like) shamelessly pilfered from the same sample L.E.S. used to make this beat to make a fundamentally identical instrumental for Chinx Drugz (yeah; exactly). Did Harry Fraud not listen to this track, or did he hear it and think because Royal Flush isn't a very well-known artist that nobody would notice? Anyway, "Worldwide" is one of the best cuts on the project.
16. Niggas Night Out
It's tough for me to say this, because Buckwild is one of my favorite producers of all-time, but his beat on "Niggas Night Out" (his second of three contributions to Ghetto Millionaire) absolutely sucks. To be honest, this song just flat-out sucks as a whole.
17. International Currency Intro
Not one of these again...
18. International Currency
Onyx's producer Chyskillz steps behind the boards to lay down the beat for Royal Flush here, but unless he is crafting an instrumental for Sticky Fingaz and company, it just doesn't seem right. Wastlanz stop by once again, and trust me; they are no Onyx. That being said, this song wasn't that bad.
19. War
This song bangs. Royal Flush produced this himself, and he laced a heater that will make you want to punch a hole through the wall. This cut is a must for any pump-up playlist. One of the best tracks on Ghetto Millionaire.
20. Makin' Moves
Then he follows that up with this boring ass crap. This was the third and final Buckwild beat on the album, and the all-time great slipped up once again. I just wasn't feeling this record at all.
21. Reppin'
Boring.
22. Dead Letter
A heartfelt dedication by Royal Flush to the deceased, but this wasn't anything special, and I won't be playing it again anytime soon.
FINAL THOUGHTS
Ghetto Millionaire gets off to a good start, but then it absolutely falls apart save for a couple of songs. Royal Flush has obvious talent on the mic, possessing an outstanding and consistent delivery and solid lyrical ability, but it's the production on this album that brings everything down.
You would think that any project blessed by three beats from Buckwild back in the 90s would be fire in terms of its beats, but that just wasn't the case with Ghetto Millionaire. Two of Buckwild's three instrumentals were subpar, and aside from Da Beatminerz joint, a couple of beats by Prince Kaysaan and one by Royal Flush himself ("War"), the rest of the production wasn't any better.
Despite the fact that Flush and Mic Geronimo are homies and come with very similar content, Ghetto Millionaire simply pales in to The Natural. While Mic G's album was undoubtedly an overlooked classic, Royal Flush's was merely an above average project released at the rear end of the best time period in hip-hop history.
Another criticism about this album is that it ran far too long for its own good. There was a lot of filler on here, and had Royal Flush cut out a few songs, Ghetto Millionaire would sound a lot better as a whole.
Had Ghetto Millionaire been released in 2013, it would probably be looked at much more favorably by underground hip-hop fans, but it wasn't, and sometimes, timing is everything.
This wasn't a bad album, but it was also far from groundbreaking. Well, except for "Illiodic Shines." That would be the best song on a whole lot of projects.
TOP TRACKS
1. Illiodic Shines
2. War
3. I Been Gettin' So Much $
4. Worldwide
5. Movin' On Your Weak Productions
INTRODUCTION
Group Home is a two-man, um, group, consisting of Lil' Dap and Melachi The Nutcracker. Affiliates of Gang Starr, they had the fortune of being able to hit up DJ Premier for some of the best beats in the business back in 1995.
Lil' Dap and Melachi tend to draw criticism from many hip-hop aficionados due to the fact that they weren't the slickest lyricists, but thanks to Premo, Livin' Proof was able to stand on the shelf next to some of the stronger albums in the game during the mid 90s.
Since Livin' Proof, Group Home had a bit of a falling out with DJ Premier, and, perhaps appropriately, they have vanished into obscurity ever since. Lil' Dap eventually explored life as a solo artist, but with very little success.
Regardless, Group Home did put out a record that was worth a damn in '95, so it's time to review it.
TRACK-BY-TRACK
1. Intro
It is what it is: an intro.
2. Inna Citi Life
The first song on the album happens to be its best. DJ Premier uses Bob James' famous "Nautlius" as a sample, and it works masterfully. The beat suits Lil' Dap and Melachi The Nutcracker to a T, and you'll immediately find yourself ignoring the fact that they aren't exactly gifted lyricists because of it. Not only that, but you know what? Group Home sounds really good over the instrumental. The Nas "It Ain't Hard To Tell" vocal sample on this is also awesome. I just absolutely love this song.
3. Livin' Proof
What a start for Group Home's debut album. While the title track isn't as dope as "Inna Citi Life," it's still great. The incredibly simple Premo instrumental is ridiculously good, containing a sparse sample, hard-hitting drums and a very effective bassline. Sometimes, simplicity is better. "Livin' Proof" is a perfect example of that.
4. Serious Rap Shit
This track wasn't produced by Premo, and, consequently and unsurpisingly, it's one of the worst (okay; the worst) cuts on Livin' Proof. It was actually laced by Guru, who also drops a guest verse. Hey Guru; if you're gonna rap on a song, you should probably have DJ Premier produce it; not you. That's why you teamed up with him in the first place. Just saying. Big Shug is on this, too, but it doesn't matter. The beat is extremely out of place on this album, and it just isn't very good.
5. Suspended In Time
Ahh, back to Premo. This is one of those put-you-in-a-trance type instrumentals, and Lil' Dap and Melachi ride it seamlessly. Songs like "Suspended In Time" are proof that DJ Premier's beats can make anyone sound comfortable. The vocal sample in the background on the hook is also awesome.
6. Sacrifice
The vocorder (or whatever the hell that is) that Melachi uses at the beginning of the track is really, really creepy (it actually sounds like he's speaking right into a freaking fan). Once you get past that, though, you'll be treated to a very smooth and subdued beat by Premo. Nice record.
7. Up Against The Wall (Low Budget Mix)
I have absolutely no idea why this is called the "Low Budget Mix," but regardless of what the name of the song is, it's really good. DJ Premier's instrumental is extremely effective, and, much like on the rest of Livin' Proof, Lil' Dap and Melachi The Nutcracker sound right at home.
8. 4 Give My Sins
Like "Serious Rap Shit," this track was not produced by Premo. Instead, Jaz-O gets behind the boards to provide Group Home with a beat. Unlike "Serious Rap Shit," though, this actually wasn't bad. The aggressive instrumental is blessed with some ominous horns, and Lil' Dap and Melachi do a solid job of attacking it. It's not DJ Premier-level, but it's still decent.
9. Baby Pa
I really hate it when rappers waste really good beats on skits, and that is exactly what Group Home does here (unless you consider what Lil' Dap does about two-and-a-half minutes in a "verse"). The worst part is that this "track" runs three minutes and 13 seconds in length. Thanks for wasting some of my valuable time, fellas.
10. 2 Thousand
Not one of the better Premo beats that you will hear. To put it plainly, this song is just boring, and by this point, this album is beginning to lose some momentum.
11. Supa Star
Until now. "Supa Star," the most well-known cut off of Livin' Proof, is undoubtedly one of the best tracks on the project. DJ Premier's instrumental is outstanding, evoking an almost nostalgic feeling in the minds of the listeners, and Group Home sounds fantastic on it. I can't imagine not liking this song.
12. Up Against Tha Wall (Getaway Car Mix)
Much like its cousin, the "Low Budget Mix," I have no idea why this version is called the "Getaway Car Mix," but who cares? It's ill. The sleek piano sample utilized by Premo is hypnotizing, and the drums fit in perfectly. Many people say this is one of DJ Premier's best beats, and with good reason.
13. Tha Realness
A very dark way to end the album. Premo's beat isn't all that great, though. Overall, "Tha Realness" was fairly underwhelming. That's all I've got.
FINAL THOUGHTS
Lack of good lyrics aside, Livin' Proof is a very dope album. It contains some of the best beats DJ Premier has ever done, and that is enough to allow the less-than-stellar performances on the mic from Lil' Dap and Melachi The Nutcracker.
Also, while Lil' Dap and Melachi may not be the best rappers in the world, they sound very good over Premo's instrumentals. The beats seem to suit them incredibly well, and you'll promptly find yourself ignoring their mediocre skills because of it.
Plus, hip-hop isn't only about lyrics. Group Home is able to convey their subject matter in a way that hits home, and even if they don't have the deepest vocabulary, they get their point across. That's always important.
If you haven't listened to Livin' Proof yet, do yourself a favor and do so. It is an album that withstands the test of time, and, again, the beats are absolutely phenomenal.
TOP TRACKS
1. Inna Citi Life
2. Supa Star
3. Livin' Proof
4. Up Against Tha Wall (Getaway Car Mix)
5. Suspended In Time
INTRODUCTION
I'm not even sure this man needs an introduction, but I'll give him one anyway.
As most of you already know, GZA The Genius (more commonly known as just "GZA"), is a member of the Wu-Tang Clan, one that most consider to be the most lyrical member of the group. You also probably already knew that he is the cousin of RZA and the late Ol' Dirty Bastard.
What some of you may not know, however, is that GZA entered the game before the Wu even existed. In fact, he, RZA, and ODB started a three-man group called "All In Together Now" back in the day. That eventually resulted in GZA (then known as just "The Genius") being signed to Cold Chillin' Records. There, he actually released his debut album, Words From The Genius, in 1991. To be perfectly honest, I really couldn't care less about that project, as Liquid Swords is miles beyond it. Heck; Liquid Swords is miles beyond just about every hip-hop album that has ever graced the genre.
That's why I will be reviewing GZA's first album with the Wu rather than the actual first album of his career.
Except for Killah Priest's "B.I.B.L.E.," Liquid Swords is produced entirely by RZA, and because "B.I.B.L.E." (produced by 4th Disciple) is a Killah Priest song and is on Priest's debut album Heavy Mental, I will not be including it in this review.
Now that's enough background information about a guy that you likely already know about, anyway. Let's get to the review.
TRACK-BY-TRACK
1. Liquid Swords
One of the RZA's goofier beats, but it works. You would think GZA would have started this album with a more aggressive backdrop, but he easily glides over the almost comical (in a good way) instrumental. Solid way to begin a classic effort, but to me, this title track doesn't even scratch the surface on how good the rest of Liquid Swords is.
2. Duel of The Iron Mic
The energy picks up nicely here on this posse cut, as RZA's piano-sampled instrumental sounds really freaking good and GZA, Ol' Dirty Bastard, Masta Killa and Inspectah Deck all oblige. They just don't make music like this anymore.
3. Living In The World Today
The first thing you will notice about this record is how dope the drums are. Well, once the drums actually kick in anyway. Once they do, you'll feel like your eardrums are being battered. The horns that pop up throughout the track sound pretty cool, too. Method Man drops some adlibs on the hook, but he doesn't actually put down a verse. Don't worry; Meth will do that soon.
4. Gold
No; those adlibs you hear from Meth at the beginning do not mean he is going to drop a verse on "Gold," but you know what, GZA doesn't need him (and again; be patient; Meth is on his way). On what is easily the most aggressive beat on Liquid Swords thus far, Genius goes in and makes you want to strike the nearest object repeatedly. Instrumentals like this just confirm RZA's genius.
5. Cold World
This has always been one of the most popular records on the album, and while it's certainly better than just about all of the B.S. that saturates the market today, I was never all that into it. The beat strikes me as a bit bland as opposed to the rest of the project. The hook by Life was pretty cool, though. Oh, and Deck makes a guest appearance here. It really is a shame that he never released an album during that period of Wu dominance during the mid 90s. By the time he put out his debut record, that era was sadly over.
6. Labels
Remember when I commented on how hard the drums were on "Living In The World Today"? Well, they're even grimier on "Labels." On what is actually a fairly simple (but incredibly dope) instrumental by RZA, GZA rips ish up. It's short, but it's sick. "Labels" is best listened to in the ride. You'll thank me later.
7. 4th Chamber
This posse record was another one of the most well-liked songs on Liquid Swords, and you can easily see why. Once that beat kicks in, you'll immediately start nodding your head. It's as if your head will start moving independent from your brain, even though that isn't even possible. Ghostface Killah makes his first appearance on the album here, and Killah Priest and RZA himself also drop guest verses. Everyone comes correct.
8. Shadowboxin'
Anddd Method Man finally makes an appearance where he doesn't just drop adlibs. He comes with one of the most vicious performances in the Wu catalog, and what Wu fan hasn't said "talkin' out your assholeeeee" in casual conversation at some point in their life? Plus, Meth's "you know my steez" line helped give birth to one of the most famous songs Gang Starr has ever done (I'm not going to tell you the name, because, well, you should know it, and if you don't, well...I don't even know). RZA's beat on this also bangs. If you don't love this song, you probably hate your life.
9. Hell's Wind Staff/Killah Hills 10304
This sounds good at the start, but then after a while, the beat kind of gets tiring and repetitive. Plus, it's kind of annoying that the song doesn't actually start until a minute-and-a-half in. I don't really have much else to add. Definitely not one of my favorite cuts on Liquid Swords.
10. Investigative Reports
I go back and forth between this and "Shadowboxin'" in trying to decide which is the best song on the album, but I find myself leaning toward "Investigative Reports" more often than not. The beat is absolutely crazy, possessing hard-as-hell drums and an extremely ominous sample. Raekwon makes his presence on Liquid Swords known here, and he drops what is the best verse on the record. Also, how about U-God on the hook? He sounds really damn good. Ghostface puts down a verse, as well, and he does not disappoint. One of the best songs in the Wu catalog. Easily.
11. Swordsman
One of the best tracks on Liquid Swords. The RZA instrumental is particularly menacing, and GZA's raps are equally as ominous. GZA makes sure to let you know what happens to motherfuckers who step out of place, and you know what? It makes you never want to step out place. Thanks, Genius.
12. I Gotcha Back
Solid way to close out the album. "I Gotcha Back" isn't one of the project's most impressive tracks or anything, but it's good in its own way. Nice drums and a nice use of multiple samples by RZA, who also appears on this cut for some adlibs.
FINAL THOUGHTS
There really isn't much else to say other than the fact that Liquid Swords is phenomenal in every sense of the word. It is one of the few albums that can go blow-for-blow with Illmatic, and, in my opinion, it is the best work in the Wu-Tang catalog.
There are never any significant dropoffs on this record, as the energy effectively remains the same throughout. GZA also proves that he is the best rapper in the Clan, as his lyrical acrobatics surpass that of anyone else in the group.
What else do you want me to say? If you don't like this album, then you do not like hip-hop. Sorry.
TOP TRACKS
1. Investigative Reports
2. Shadowboxin'
3. Swordsman
4. Duel of The Iron Mic
5. Gold
INTRODUCTION
I'm going to be honest: I really don't know much about Mic Geronimo, so I am not going to pretend that I do. All I know is that he was associated with Murder Inc.'s Irv Gotti, who met Mic at a talent show at a Queens high school. Gotti was so impressed with Mic that he instantly collaborated with him, recording the single "Shit's Real." After said single hit the industry, Mic Geronimo landed a record deal with TVT Records.
This set the stage for Mic's debut album, The Natural, probably one of the most overlooked hip-hop records of the 90s; seriously. Featuring production from the likes of Buckwild, Da Beatminerz, and Irv Gotti himself, The Natural possesses a dark, Boot Camp Clik-esque feel that Mic was clearly suited for.
It's also worth noting that Mic Geronimo sounds a lot like Prodigy of Mobb Deep, both in terms of his voice and his delivery, and that quality made Mic that much more interesting and entertaining to me as an artist, especially considering that The Natural was released the same year as The Infamous.
Mic's grimy style blended in seamlessly with the hip-hop landscape of the mid 90s, as groups such as the Wu-Tang Clan, Mobb Deep, and the Boot Camp Clik collective were in the process of establishing a new category of rap, one that consisted of a rough, dusty sound that would characterize the streets of New York.
Can you already tell that I like this album?
TRACK-BY-TRACK
1. The Natural
Mark Sparks lays down a ridiculously chill beat for Mic Geronimo on the album's title track, and Mic rips it. This was just a great way to open up the project, especially considering Mic brings the whole Prodigy vibe immediately. This is one of the best cuts on The Natural, but the fact that the last minute of the song is just a conversation is pretty annoying.
2. Lifecheck
One of two instrumentals by Da Beatminerz on the album, and while it is actually pretty lazy, it manages to be effective. "Lifecheck" certainly sounds like something that could have been on Smif-N-Wessun's album Dah Shinin', and that's always a good thing. Mic Geronimo is able to ride the beat very well, too. No qualms from me about this one.
3. Wherever You Are
Another Mark Sparks beat. I didn't like this song the first time I listened to it, but the smooth production eventually grew on me. Solid track here.
4. Masta I.C.
The first of three Buckwild productions on The Natural knocks, containing an eerie sample and those shakers that I love so much. Also, Mic's performance makes the beat sound that much better. "Masta I.C." was the second single off of the album, and it was a great choice, as it is just an all-around great song, although the hook was pretty corny (yet standard). Mic Geronimo's friend Royal Flush makes an appearance on the track and impresses.
5. Man Of My Own
As soon as the beat hits, you will probably think it was produced by Da Beatminerz, as the ominous horns will bring back memories of Black Moon's Enta Da Stage. However, "Man Of My Own" was actually laced by Chyskillz, and it's pretty damn good. By this point of The Natural, you have most likely realized that Mic Geronimo's delivery is extremely monotonous, but, like Guru's, it works. Also, Royal Flush is here again.
6. Time To Build
This was one of Jay-Z and DMX's first appearances in the rap game, and it was Ja Rule's. "Time To Build" is interesting to listen to for that reason, as DMX's sounds like a kid, and while Jay-Z's voice sounds the same as it does in his prime, his delivery is somewhat different. As far as Ja Rule goes, he is almost unrecognizable. This is the same guy who would go on to make songs like "Always On Time" and "Wonderful"? Anyway, the Irv Gotti beat is very good, and all four rappers make appropriate use of it.
7. Shit's Real
The first single. This was also one of the weaker tracks on the album, as Irv Gotti's instrumental is way too, um, non-confrontational, for Mic. "Shit's Real" ended up sounding very plain.
8. Three Stories High
The second Buckwild production on The Natural reminds one of DJ Premier's "Come Clean" beat that he did for Jeru The Damaja, as one can audibly hear the sound of a dripping faucet (or something of that nature) in the background. Royal Flush is once again and featured and holds his own, and Mic sounds right at home. Solid cut.
9. Sharane
This Mark Sparks-produced song is just phenomenal in all aspects. Sparks' beat is incredible, as the drums couldn't be any more perfect, and Mic Geronimo engages in some outstanding storytelling about a female who ends up setting him up. Probably my favorite track on the project.
10. Men vs. Many
The second and final Beatminerz beat on the album is the better of the two productions, as the instrumental on "Men vs. Many" will likely throw you into a trance. Royal Flush once again joins Mic here, and O.C. does, as well. Regardless, you will find yourself far too mesmerized by the beat to pay any attention to how well the three rappers performed.
11. Train Of Thought
Buckwild's last beat on The Natural happens to be his best one on the record. Yes; even better than "Masta I.C.". The drums knock, and the dark sample gives "Train Of Thought" street authenticity. It helps that Mic Geronimo absolutely tears this to shreds, too.
12. Things Change
Aside from "Wherever You Are," Mark Sparks really brought it on this album, as his instrumental on this cut is very effective (love those kick drums). Mic and his boy Royal Flush seamlessly flow over the beat, making "Things Change" one of the more relaxing tracks on The Natural. The R&B hook is somewhat cheesy, but other than that, there isn't much not to like about this song.
13. Masta I.C. (Remix)
The remix, produced by Irv Gotti, is certainly a head-nodder, and The Lost Boyz and (surprise, surprise) Royal Flush accompany Mic Geronimo on the cut. It's not as good as the original, but the menacing guitar strums that Gotti throws on the beat add a nice element. It doesn't help matters much that this cut is six minutes in length, though.
FINAL THOUGHTS
The Natural is definitely one of the most underrated gems in hip-hop history. Due to the fact that it was released during a time when rappers such as Nas, The Notorious B.I.G., Mobb Deep, and The Wu-Tang Clan were bursting onto the scene, it's easy to see why it got overlooked, but that obviously doesn't make it right, as this album is just plain great.
Yes, the production may become repetitive at points, but, as I know I've stated many times on this blog, if it's working, why stray away from it? The slow, dark instrumentals clearly suited Mic Geronimo, and the fact that most of the beats sounded very similar to one another gave The Natural a sense of direction and cohesion, something that too many hip-hop albums are missing these days.
It is also clear that Mic is a very gifted emcee who can consistently bring it, and he parallels Prodigy so much it's not even funny, making him a very enjoyable listen for huge Mobb Deep fans like myself. As I pointed out earlier, his delivery is very monotonous, but not so much as to steer your attention elsewhere. He is able to utilize that monotony and make it so that he sounds unique rather than boring.
I am going to take a guess and say that the good majority of you readers (how many of you there actually are) have not heard this album, so heed my advice: don't waste any more time; listen to it. It is a very steady listen throughout, and at its conclusion, you will be wondering why Mic Geronimo was never really heard from again outside of the sophomore album he dropped (Vendetta) in 1997.
TOP FIVE TRACKS
1. Sharane
2. The Natural
3. Train Of Thought
4. Masta I.C.
5. Men vs. Many
