INTRODUCTION
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 (Blah, Blah, Blah).
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.
PF Cuttin still produces (he is actually tight with Sean Price), and I'm sure Out Loud is doing some rapping somewhere. However, as far as Blahzay Blahzay is concerned, the group is defunct (or, at the very least, in a very, very long period of dormancy).
I won't pretend to know anything else about this duo, because, well, I don't. Still, Blah, Blah, Blah has been hailed as an underground gem by some.
Let's see how much weight that praise holds.
TRACK-BY-TRACK
1. Intro
Well, there's that.
2. Blah, Blah, Blah
The first actual song on the album freaking knocks. 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.
3. Medina's In The House
This short skit, which utilizes Dr. Dre's "Nuthin' But a G Thang" beat for all of 14 seconds, was kind of a West Coast diss. Too bad Blahzay Blahzay didn't have enough of a following for it to make any sort of dent.
4. Danger Part 2
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 bangs. 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 not La The Darkman; just listen to his verse, for God's sake; sounds nothing 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 fantastic.
5. Don't Let This Rap Shit Fool You
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 six freaking minutes long, either.
6. Pain I Feel
Ah, back on the right track. Much like the first two actual cuts on Blah, Blah, Blah, "Pain I Feel" (which was the album's second single) rocks. PF Cuttin's production is both hard and soulful at the same time, and Out Loud absolutely shreds it, even if he doesn't actually talk about the pain he feels at any point of the song (unless I missed something).
7. Posse Jumpa
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, not La) all do it justice. Decent record, even if it runs a bit too long.
8. Maniac Cop
Skit.
9. Good Cop/Bad Cop
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.
10. Sendin' Dem Back
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.
11. Long Winded
Mental Magician (who I really like) is here again, and Verbal Fist (who also sounds like Top Dog; what the hell 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.
12. Jackpot
Believe it or not, "Jackpot" is the first song on Blah, Blah, Blah 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 something.
13. Danger
The aforementioned single, and I can definitely see why it was such a hit: it's entertaining as hell. 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.
FINAL THOUGHTS
Blah, Blah, Blah 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 really good.
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.
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.
That being said, quite a few of PF Cuttin's productions on Blah, Blah, Blah were rather boring, and the worst part about that is the fact that most of them were also really 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.
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.
TOP TRACKS
1. Danger Part 2
2. Pain I Feel
3. Blah, Blah, Blah
4. Danger
5. Posse Jumpa
INTRODUCTION
Trigger Tha Gambler's rap career started in 1996 when he appeared on Once Upon a Time In America (which I reviewed here), 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.
Little did Trigger Tha Gambler know that he was about to be screwed over (a record label screwing over an artist? Never).
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, Life's a 50/50 Gamble.
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.
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?
Anyway, Life's a 50/50 Gamble is produced entirely by DR Period, the man who also produced most of Once Upon a Time In America. So, obviously, you'd expect the two projects to sound very similar.
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. Life's a 50/50 Gamble will be a new experience for what I assume to be all of us.
Let's see how right or wrong of a decision Def Jam made.
TRACK-BY-TRACK
1. Intro
A standard intro? Well, so far I'm siding with Def Jam.
2. Hitman
Well, not anymore. Trigger Tha Gambler gets things off to an awesome start with the first actual song on the album. DR Period's beat knocks, 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 rips this.
3. My Crew Can't Go For That
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 Life's a 50/50 Gamble, and as you're listening to his verses on this track, you'll have to remind yourself that this is not Once Upon a Time In America. 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.
4. Broken Language Pt. 2
The sequel to Once Upon a Time In America's "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.
5. Nickel Plated Nine
DR Period certainly likes using piano-laden samples; that's for sure. This is pretty boring overall.
6. Nothing Can Stop Me
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.
7. 50/50 Gamble
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 extremely 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.
8. Smoothe Da Hustler Interlude
Skit.
9. Welcome To The World
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 Once Upon a Time In America Pt. 2.
10. Bust
What the hell is that on DR Period's production? A freaking orgasm? This is absolutely awful. Good God. 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.
11. Rugged
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.
12. Can U Feel It
Alright. This album is really starting to get boring.
13. Meetcha Maker
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.
14. Scandalous
Rhyme Recka, who actually sounds quite a bit like Redman, makes his second appearance on Life's a 50/50 Gamble here, and he does a great 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.
15. Make a Move
I like this one a lot. DR Period's instrumental is almost J Dilla-like with a touch of Da Beatminerz, and Trigger rips it. D.V. Alias Khrist drops a pretty awesome verse, too. This is a great way to end the album, which really picked up some much-needed momentum at its conclusion.
FINAL THOUGHTS
Life's a 50/50 Gamble is a decent album that absolutely (and not surprisingly) parallels Smoothe Da Hustler's Once Upon a Time In America. 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.
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.
So, did Def Jam make a mistake in shelving this?
Well, yes and no.
Yes in the fact that Life's a 50/50 Gamble 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 Once Upon a Time In America and probably would not have moved too many units.
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.
Anyway, if you liked Once Upon a Time In America, 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.
TOP TRACKS
1. Hitman
2. Make a Move
3. Nothing Can Stop Me
4. 50/50 Gamble
5. Scandalous
INTRODUCTION
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, Between a Rock and a Hard Place.
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, That's Them, but they resurfaced in 2010 and apparently have a third album in the works. God only knows whether they will actually complete it, though.
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 are graffiti artists themselves.
Between a Rock and a Hard Place 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.
I don't really know much else about the Artifacts, so let's just jump into the review, shall we?
TRACK-BY-TRACK
1. Drama (Mortal Combat Facility)
Artifacts sure wasted a pretty dope beat (not to mention a pretty dope song title) on an album intro.
2. C'mon Wit Da Git Down
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 knocks 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.
3. Wrong Side of Da Tracks
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 never hear it anymore. Between a Rock and a Hard Place is certainly off to a great start; that's for damn sure.
4. Heavy Ammunition
This may very well be the best track here so far. This bangs, 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 rip this. El Da Sensei's performance was particularly impressive.
5. Attack of New Jeruzalem
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 demolishes 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.
6. Notty Headed Nigguhz
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 knocks regardless, which is becoming a rather common theme on this album.
7. Whayback
This is the first track on Between a Rock and a Hard Place 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.
8. Flexi Wit Da Tech (Nique)
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 not, but this is East Coast hip-hop.
9. Cummin' Through Ya Block
Why in the world the Artifacts had to spell the word "coming" like that, I have no idea. Anyway, 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 far too overwhelming, as it simply overpowers the instrumental and the rappers. Perhaps this song would have been better if Redman dropped an actual verse. Probably not, though, because the production just isn't all that good.
10. Lower Da Boom
This is a weed track, which is kind of weird, because I don't see how the title has anything to do with smoking, but whatever. This record is okay, 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.
11. What Goes On?
Yet another song that has very little replay value, and this was actually produced by my boy Buckwild. Seriously; what the heck happened to this album after track No. 6?
12. Dynamite Soul
And we're finally 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.
13. Whassup Now Muthafucka?
This absolutely bangs and was a great way for Artifacts to close out Between a Rock and a Hard Place. It was too short, though. Seriously guys; of all songs to make under three minutes long, you chose this one?
FINAL THOUGHTS
Thanks to the start of the album (and, to a lesser extent, its conclusion), I can safely say that Between a Rock and a Hard Place 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.
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.
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.
As far as the beats, save for that four-track lull in the middle of the project, most of them freaking bang, 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.
Overall, I'd definitely recommend Between a Rock and a Hard Place no matter what 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.
TOP TRACKS
1. Heavy Ammunition
2. C'mon Wit Da Git Down
3. Attack of New Jeruzalem
4. Whassup Now Muthafuckas?
5. Wrong Side of Da Tracks
INTRODUCTION
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 should come to your mind is Onyx.
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, Bacdafucup.
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 Bacdafucup.
Bacdafucup 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 hasn't heard that song before?). The album achieved platinum status just seven months after its release.
Featuring production mostly from Chyskillz and the late Jam Master Jay (yes; of Run-DMC), Bacdafucup has been praised for its gritty, hardcore sound that is considered some of the best pump-up music that hip-hop has to offer.
Is Bacdafucup a classic?
Well, let's get to it. You know the drill.
TRACK-BY-TRACK
1. Bacdafucup
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 knocks. Onyx should have used it for an actual song rather than waste it on a freaking skit (a huge pet-peeve of mine).
2. Bichasniguz
The horrendous spelling of the title notwithstanding (get used to it), the first real track on Bacdafucup bangs. The instrumental by Chyskillz and Jam Master Jay is awesome, 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?
3. Throw Ya Gunz
The aforementioned first single. The Chyskillz production freaking knocks, 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 dope record "Throw Ya Gunz" is.
4. Here 'n' Now
This isn't bad, but it's not on the same level as the two-headed monster that Bacdafucup opened with. That's all I've got.
5. Bust Dat Ass
This is a skit, but you know what? It's really freaking catchy. This is the first time I have ever complimented a skit, and it will almost surely be the last.
6. Atak of Da Bal-Hedz
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 extremely 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.
7. Da Mad Face Invasion
Skit.
8. Blac Vagina Finda
I find it pretty funny how "vagina' is one of the only words Onyx chose to spell correctly on Bacdafucup, but then again, is there a way to spell that differently (and incorrectly) without completely changing the pronunciation? Wow, who am I kidding? I'm sure Onyx could have found a way. Anyway, despite the goofy title and unbelievably questionable (and grossly misogynistic) content, this bangs thanks to the beat by Chyskillz and Jam Master Jay.
9. Da Bounce Nigga
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.
10. Nigga Bridges
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.
11. Onyx Is Here
And we're back on the right track. This absolutely bangs, 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.
12. Slam
I'll say it again: who hasn't 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 vaguely 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 always 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 West.
13. Stik 'n' Move
"Stik 'n' Move" contains what is probably the most playful beat on Bacdafucup. You can decide for yourself whether that is a good thing or a bad thing.
14. Bichasbootleguz
Skit No. 568.
15. Shifftee
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 Bacdafucup.
16. Phat ('N' All Dat)
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.
17. Da Nex Niguz
This song just does not fit within the context of the album. At all. Not only that, but it just isn't very good.
18. Getdafucout
You know, instead of wasting dope-ass beats on both the intro and the outro, why not make an actual song out of at least one of them?
FINAL THOUGHTS
Bacdafucup 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 knocks.
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, Bacdafucup holds up surprisingly well from start-to-finish.
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.
Yes, there are a few missteps on here, but the good outweighs the bad. Bacdafucup 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.
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.
TOP TRACKS
1. Slam
2. Onyx Is Here
3. Throw Ya Gunz
4. Bichasniguz
5. Shifftee
INTRODUCTION
The Lost Boyz were one of those groups of the '90s that dropped a couple of hits and then vanished.
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."
"Renée," which achieved gold status in 1996, led to the group's first LP, Legal Drug Money. 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.
Almost exactly a year later, Lost Boyz put out their second project, Love, Peace & Nappiness, off the strength of their hit single "Me and My Crazy World." Although it wasn't nearly as critically acclaimed as Legal Drug Money (and rightfully so), Love, Peace & Nappiness also reached gold status.
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.
In 1999, six months before Lost Boyz put out their third and final full-length album, LB IV Life, Freaky Tah was tragically gunned down at Mr. Cheeks' birthday party. So, after LB IV Life, Lost Boyz split, and they were never to be heard from as a group again.
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.
Talk about things unraveling, huh?
Rest assured, Lost Boyz were still able to put out some good music when they were active, and many consider Legal Drug Money to be a golden era classic.
Are those people right in saying so?
TRACK-BY-TRACK
1. Intro
Exactly like it sounds.
2. The Yearn
Pete Rock is on the board for the first actual song on Legal Drug Money, and not surprisingly, the beat freaking knocks. 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.
3. Music Makes Me High
The energy level takes a rather significant dip here. Charles Suitt and Mr. Sex (no; seriously) 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.
4. Jeeps, Lex Coups, Bimaz & Benz
This was the second single off of the album, and it sounds really freaking good. 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 not to like about this cut, as Mr. Cheeks rips it, too.
5. Lifestyles of The Rich & Shameless
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.
6. Renée
"Renée," Legal Drug Money's 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. Great track.
7. All Right
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, somehow, 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.
8. Legal Drug Money
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 spooky today given what ended up being his fate.
9. Get Up
This was Legal Drug Money's 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.
10. Is This Da Part
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.
11. Straight From Da Ghetto
This record, which was produced by "Buttnaked" Tim Dawg (the hell?) 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.
12. Keep It Real
Unfortunately, this isn't nearly as good as Miilkbone's "Keep It Real," but fortunately, it still sounds really freaking good (no; that statement is not 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.
13. Channel Zero
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 this 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.
14. Da Game
Either I'm just getting lazy, or Legal Drug Money 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.
15. 1, 2, 3
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 bangs. Bangs. The production by Dwarf The Black Prince absolutely rocks 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 great; I don't care how simplistic it is. Well done, fellas. Well freaking done.
16. Lifestyles of The Rich & Shameless (Remix)
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.
FINAL THOUGHTS
Like many other albums that I have reviewed, Legal Drug Money 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.
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 Legal Drug Money, the other being the fact that some of the beats are nothing better than average.
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 Legal Drug Money.
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.
I guess I'd recommend that you give Legal Drug Money 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 nothing is going to change that.
Rest in peace, Freaky Tah.
TOP TRACKS
1. 1, 2, 3
2. Jeeps, Lex Coups, Bimaz & Benz
3. The Yearn
4. Renée
5. Keep It Real
INTRODUCTION
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.
Basically, Keith Murray is pretty freaking awesome.
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.
That was when Keith Murray made his actual debut, as Sermon included Keith on his first solo album, No Pressure. Murray appeared on the song "Hostile," and an extremely successful career was born.
Just over a year after Keith Murray's cameo on No Pressure, he released his first LP, The Most Beautifullest Thing In This World. Featuring production almost exclusively by E-Dub, the project would proceed to achieve gold status by 1995.
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.
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.
So, without further ado, let's get to Keith Murray's debut album.
TRACK-BY-TRACK
1. Live From New York
Your standard album intro. At least the background music was pretty cool.
2. Sychosymatic
You can tell right off the bat that The Most Beautifullest Thing In This World 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 Whut? Thee Album 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.
3. Dip Dip Di
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" bangs. Rod "KP" Kirkpatrick's production is awesome (those claps in particular are ill), 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.
4. The Most Beautifullest Thing In This World
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 Ready To Die, 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 knocks.
5. Herb Is Pumpin'
One of the best parts about The Most Beautifullest Thing In This World 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...right? Anyway, E-Dub's instrumental bangs, and Keith Murray comes through with his usual impeccable flow to tear it to pieces.
6. Sychoward
Skit.
7. Straight Loonie
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 his 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, normal. Oh, this song is really freaking good, by the way.
8. Danger
This is decent. It's not as good as every other track leading up to it, and Keith actually sounds slightly disinterested, but it's still solid regardless and would be the best record on just about any album in 2013.
9. Get Lifted
Keith Murray talking about getting high? Never. That little snide remark aside, this is pretty damn good, but what's with Erick Sermon using the same samples that were present on Ready To Die? "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.
10. How's That
This is another one of those songs that sounds like it could have been on Whut? Thee Album, especially considering that Redman is on this track. E-Dub drops a verse of his own. This was just alright, though.
11. The Chase
Skit.
12. Take It To The Streetz
Guests 50 Grand (who would appear again on Keith Murray's second album Enigma) 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 something.
13. Bom Bom Zee
The actual sound quality of this cut is terrible, and the fact that Hurricane G is here doesn't help matters much. Seriously; why does Def Squad insist on including her on their albums? Well, at least this is short, but this album is experiencing quite a significant lull at this point.
14. Countdown
Skit.
15. Escapism
This is the final song on The Most Beautifullest Thing In This World 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.
16. The Most Beautifullest Thing In This World (Green-Eyed Remix)
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 somewhat offset what was a pretty piss-poor second-half of the album.
FINAL THOUGHTS
The Most Beautifullest Thing In This World 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.
You'll likely come away with one definitive thought after listening to The Most Beautifullest Thing In This World, 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.
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 Muddy Waters and Keith Murray's Enigma. Think of the first half of The Most Beautifullest Thing In This World as sort of a preview of what was to come.
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.
If you're a fan of either of Redman's first two albums, then you'll likely be fond of The Most Beautifullest Thing In This World. 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.
TOP TRACKS
1. Herb Is Pumpin'
2. The Most Beautifullest Thing In This World
3. Dip Dip Di
4. Straight Loonie
5. Sychosymatic
INTRODUCTION
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?).
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.
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'm Not a Player."
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.
Shortly after, in 1998, Pun dropped his debut album, Capital Punishment. 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.
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.
If only Big Pun would have taken better care of himself...
TRACK-BY-TRACK
1. Intro
You know the deal by now.
2. Beware
After the intro, we get treated to one of the best album openers in history. In any genre. This freaking bangs like an anvil dropping on Wiley Coyote on Looney Toons. 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 Lord. 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.
3. Super Lyrical
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.
4. Taster's Choice (Skit)
Well, at least Pun took time out to name his skits.
5. Still Not a Player
"Still Not a Player" is another perfect example of when radio hits used to be dope and tasteful. You'll never 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 Capital Punishment. Finally, 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 rocks and always will rock.
6. Intermission
Remember when I said at least Pun took time out to name his skits? Well, I stand corrected.
7. The Dream Shatterer
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 knocks. Domingo's production will break your neck, and Big Pun obviously tears it to shreds. One thing, though: this is not the original version of this cut. That one was produced by Buckwild, and I am actually a bit partial to that version. It's that good.
8. Punish Me
This is by far the weakest song here so far, and it may very well be the weakest track on Capital Punishment. It's not that Pun doesn't do his job here; he actually puts together a very impressive lyrical performance. It's just that "Punish Me" sounds sort of out of place on this project.
9. Pakinamac Pt. 1 (Skit)
You're telling me there is a part two? Great.
10. You Ain't a Killer
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 anyone says: Pun has the best flow of all-time, and it's not even close. It's also great how all of Pun's threats are legitimately menacing.
11. Pakinamac Pt. 2 (Skit)
And there it is.
12. Caribbean Connection
Wyclef hops on this Younglord-produced song, and not only does he kind of sound like Canibus here, but it also sounds like 'Bis wrote his verse. It makes sense, too, as Capital Punishment came out around the same time as Canibus' debut album, Can-I-Bus, 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 terrific on this.
13. Glamour Life
L.E.S. steps behind the boards for this posse cut, and it freaking bangs. 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 gigantic 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" knocks.
14. Capital Punishment Medley
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.
15. Uncensored (Skit)
Featuring Funkmaster Flex. What's that? You don't care? Yeah; me neither
16. I'm Not a Player
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.
17. Twinz (Deep Cover 98)
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.
18. The Rain and The Sun (Interlude)
There are far too many skits on Capital Punishment.
19. Boomerang
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.
20. You Came Up
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.
21. Tres Leches (Triboro Trilogy)
That brings us to what is easily one of the best songs on Capital Punishment. 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 bangs. 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 rips this to shreds, although both Deck and Pun also do their thing with impunity.
22. Charlie Rock Shout (Skit)
The last skit on the album. Thank the good Lord.
23. Fast Money
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.
24. Parental Discretion
Showbiz is on the beat here, but it isn't one of this better ones. Also, Busta Rhymes' hook sounds incredibly sloppy. Big Pun was good as usual, but this isn't exactly a great way to close out the album.
FINAL THOUGHTS
Some may say that Capital Punishment 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.
Pun put out Capital Punishment 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.
What makes Capital Punishment 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.
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.
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.
Capital Punishment 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.
TOP TRACKS
1. Tres Leches (Triboro Trilogy)
2. Beware
3. Still Not a Player
4. Glamour Life
5. The Dream Shatterer
