INTRODUCTION
I have already reviewed Smif-N-Wessun's Dah Shinin', Heltah Skeltah's Nocturnal, and Originoo Gunn Clappaz's Da Storm, so I might as well review the album that got the entire catalog of Boot Camp Clik albums started: Black Moon's Enta Da Stage.
Black Moon consists of two rappers, the now well-known Buckshot and the lesser-known (but not bad by any means) 5 ft, and one producer, DJ Evil Dee of Da Beatminerz (although Enta Da Stage was not produced exclusively by him). The trio instantly gained recognition in the industry when it released the hit single "Who Got Da Props?" at the tail-end of 1992. Then, 10 months later, it released Enta Da Stage, a project that would become widely regarded as a hip-hop classic, generally placing somewhere on every top 100 hip-hop-albums-of-all-time list you can find.
The production on Enta Da Stage is more hard-hitting than on the other three Boot Camp Clik debut albums, as the record contains much more ominous-sounding instrumentals and more threatening subject matter overall. Most people credit the Wu-Tang Clan's Enter The Wu-Tang: 36 Chambers, Nas' Illmatic, and The Notorious B.I.G.'s Ready To Die for the east coast's revival, but one can easily argue that it was Black Moon's debut that got it all started, as it was released before all of the aforementioned albums.
Enta Da Stage (although not to the extent of The Infamous) is one of my favorite releases of all-time, so prepare yourself for a fairly nauseating review.
TRACK-BY-TRACK
1. Powaful Impak!
Black Moon completely forgoes any kind of album intro and jumps right into things, as DJ Evil Dee drops an extremely bass-heavy beat (and get used to that) for Buckshot, who is alone on this cut (get used to that, too, as 5 ft only makes three appearances on this entire album; weird, right?). I'm not even kidding when I say you will probably need to reduce this song's bass to actually be able to discern Buckshot's lyrics in your ride. There is also the chance that it will completely shatter your windows if you don't, either.
2. Niguz Talk Shit
The same thing I said about the bass on "Powaful Impak!" applies here. DJ Evil Dee's instrumental here, though, is much more menacing overall, as it contains some eerie (but very effective) horns. Yes, Buckshot is alone once again (how about this; I'll tell you when 5 ft is actually present, okay?), and he spits his typical tough-guy rhymes that he was (and still is) so damn good at.
3. Who Got Da Props?
The funny thing is, this was always one of my least favorite songs on Enta Da Stage. I dig the dusty snares, but other than that, I have always thought of the album's lead single as being fairly meh.
4. Ack Like U Want It
And to think I was criticizing some of the titles on The Infamous. I will never understand why some rappers go out of their way to intentionally misspell song titles, but whatever; this track is damn good. That beat is just crazy. It also represents a shift (if you can call it that) on the album, as a co-producer is now featured for the first time: Mr. Walt of Da Beatminerz. Plus, 5 ft (who I've always felt is very underappreciated) is on this!
5. Buck Em Down
So much for a shift, as "Buck Em Down" resumes the DJ Evil Dee/Buckshot collaboration portion of Enta Da Stage (which is basically the whole thing). I love the hook on this, even if it is just someone shouting "buck 'em down!" repeatedly. The beat is fantastic, too.
6. Black Smif-N-Wessun
I don't really think I need to tell you what group is featured here, but for those of you who might be a little slow, it's Smif-N-Wessun. This is a damn fine collaboration, containing a sick beat from DJ Evil Dee and great contributions from both Smif-N-Wessun members, Tek and Steele. The drums on this are especially dusty.
7. Son Get Wrec
Believe it or not, Buckshot is not present on this track. Instead, 5 ft gets his time to shine, and he comes through with one of the best cuts on Enta Da Stage. I really, really dig his voice. The hook on this, although simple, is sick.
8. Make Munne
Mr. Walt is the lone producer on this record, and he does a heck of a job. Those drums are just incredible. Buckshot puts forth a nice effort, as usual.
9. Slave
"Slave" contains one of the simplest beats on the album, but the DJ Evil Dee production is still fire. Interestingly, there is no hook on this track. The beat just plays by itself where the hook would be.
10. I Got Cha Opin
Another Mr. Walt beat. His use of the horns on the hook is ill, making "I Got Cha Opin," without a doubt, one of the strongest records on the project. By this point, Buckshot's raps are becoming very predictable, but there's nothing wrong with that, as it fits the theme of the album perfectly.
11. Shit Iz Real
DJ Evil Dee's drums are fantastic, but I wasn't really feeling the horns. I don't really have much else to say about this one, as I think the song's title is pretty self-explanatory in terms of describing the track itself.
12. Enta Da Stage
This is a flat-out banger. Buckshot sounds outstanding on it, and the single piano hits that litter the track just sound great. This is also another one of those cuts on Enta Da Stage that needs a bass reduction before you decide to blast it in your ride. Nevertheless, Mr. Walt's drums knock.
13. How Many MC's...
This was the album's second single, and it was a pretty good choice. DJ Evil Dee's kicks are crazy good, and Buckshot's flow, much like the beat, is very relaxed, which is in great contrast to the rest of Enta Da Stage. We as the listeners certainly needed that "break," even if it was toward the very end of the project.
14. U Da Man
Smif-N-Wessun, Havoc of Mobb Deep (and this was before Mobb Deep hit it big), and Dru Ha (the record label executive) all make guest appearances on this track. 5 ft also gets a verse here, and he rips it. The result? A head-nodder that absolutely bangs in the whip. Also, the hook, while being as simplistic as a hook could possibly be (and that's saying quite a lot), is addicting as hell.
FINAL THOUGHTS
Although Enta Da Stage doesn't contain much variation, it is still an outstanding album overall, and due to the impact it had on the hip-hop landscape, it certainly deserves the ample amount of praise it gets. The production on it is strikingly consistent, as is Buckshot's rapping.
One criticism I have about Enta Da Stage is the lack of 5 ft on the album. I mean, he is a part of Black Moon, yet he only appears on three of the 14 cuts. I don't know how he stood for that, because if I were him, I would have been pissed. The dude clearly has talent, and I actually enjoy his voice, which reminds me a bit of Canibus' (especially right now; listen to Black Moon's past couple of projects and you'll see what I mean), more than Buckshot's.
That quibble aside, this is one of those albums that you just can't get enough of. The beats are too simple to get tired of, and Buckshot has a way of keeping you interested even if he is talking about the same exact thing for all 13 tracks he appears on.
Although Black Moon is not all that relevant in the hip-hop game anymore, it never really "fell off," as the three albums (four if you count Diggin' In Dah Vaults, which was essentially a remixed version of Enta Da Stage with a few new tracks) the group released succeeding Enta Da Stage were all solid (even though 5 ft still got shafted on each and every one of them).
Enta Da Stage is not my favorite Boot Camp Clik album; Nocturnal is, as I feel Ruck and Rock are, clearly, the two best rappers in the collective and that the production on it displays much more versatility than any of the other releases from the B.C.C. groups. However, Enta Da Stage is, and always will be, one of my top hip-hop albums ever.
TOP FIVE TRACKS
1. Ack Like You Want It
2. Enta Da Stage
3. U Da Man
4. Black Smif-N-Wessun
5. I Got Cha Opin
SKIPPABLE TRACKS
None.
INTRODUCTION
Heltah Skeltah introduced itself to the rap world in 1996 with its classic debut album Nocturnal, an incredibly raw and grimy record featuring top-notch production from Da Beatminerz and more than palpable raps from Ruck and Rock. Apparently, the duo was feeling so good about themselves after the critical success of their first project that they decided to completely exclude Da Beatminerz from their sophomore release, Magnum Force (did you sense any foreshadowing there?).
Now, it is well-known that putting out an outstanding debut is almost like a kiss of death, as the masses will never be satisfied will anything you put out afterward, no matter how good it may be (just ask Nas). I completely understand that aspect. However, failing to duplicate the success of your first album is one thing. Completely going away from the formula that brought you such success is another, and that is what Heltah Skeltah does on Magnum Force.
Don't think that I am about to metaphorically crap all over this album, because I'm not. In the grand scheme of things, I don't hate it. I mean, Ruck, who clearly established himself as the stronger member of the group on Nocturnal, had improved as a rapper by this point (which would eventually lead into a phenomenal solo career), and Rock's booming voice was still more than prevalent. The issue is whether or not the production on this album did Heltah Skeltah justice, and you're about to find out (in case you couldn't already tell).
TRACK-BY-TRACK
1. Worldwide (Rock The World)
Actually, Magnum Force gets off to a very solid start, as a producer named Self laces a good one for Ruck and Rock here, and Ruck just puts it to bed: "I'm artistic, watch how fast I draw my gun." Ruck was spitting vicious punchlines long before he became known as Sean Price. "Worldwide (Rock The World)" is pretty damn good.
2. Call Of The Wild
"Call Of The Wild" is the first of many mistakes on Magnum Force. It's not even that Self's beat is that bad (although it certainly isn't anything to write home about). The problem is the guest appearances. First of all, Ruck isn't even on here, which is a travesty in and of itself, but look who rapped instead of him: Representativz (a duo consisting of Supreme and Lidu Rock), Hardcore, and Doc Holiday. Starang Wondah is on this cut, too, so at least it has that going for it, but excluding Ruck for those guys is just beyond comprehension.
3. Gunz 'N Onez (Iz U Wit Me)
On the surface, this song looks like it would be really good, as it features Method Man, and who wouldn't want to hear a track featuring Ruck, Rock, and Meth? Don't get too excited, though, because this cut really isn't that impressive, thanks to the lackluster beat by Smoke which sounds like it's trying to mimic "Place To Be" off of Nocturnal at points.
4. Perfect Jab
Alright; now this effing bangs. Bangs. Like on "Call Of The Wild," Ruck is not present, which is extremely disappointing because he would have ripped this beat (which was co-produced by Rock and Supreme) to shreds, but Rock and Supreme (yes; they rapped on and produced this cut) do more than enough to hold it down. Seriously, though; what's with leaving Ruck out on two of the first four tracks?
5. Chika Woo
Ohhh; I get it now. Ruck didn't perform on "Call Of The Wild" or "Perfect Jab" so he could write this sappy break-up song. I appreciate the fact that Ruck tries to branch out and do something different, but he is just not suited for this type of track at all. The production (by Punch and NOD) is alright, but I have to convince myself that it's actually Ruck rapping whenever I listen to this. That generally isn't a good thing.
6. I Ain't Havin' That
This was the album's first single, and it was actually pretty popular. The beat by Cuzin Bawb (the hell?) and Starang Wondah (who also makes a guest appearance) is alright, but I lost interest in it midway through. There really isn't anything to see here.
7. Brownsville II Long Beach
One thing is for sure; the good moments on Magnum Force are really good, and this Dogg Pound collaboration is one of them. Daz Dillinger produces a banger of a beat, and both he and Kurupt drop solid verses (Kurupt actually drops two). However, it is Ruck who takes this track, kills it, revives it, and then kills it again. He absolutely shreds this. For example: "Act like it can't happen when would I ever let you slide, two fly niggas becoming victims of whorides, you try to avoid my clutches that's when you die, news fly fast as fuck on how Ruckus done bruised guys." Both of Ruck's verses (yes; he got two) are ill, making "Brownsville II Long Beach" the best song on the album.
8. Magnum Force
This is another one of the album's better tracks. The beat by Grand Daddy I.U. has "street banger" written all over it, and Ruste Juxx, who I friggin love, makes an appearance and drops a verse. The Representativz drop in, too, and they actually hold their own.
9. Sean Wigginz
Ruck gets his second solo cut on the project, but, unfortunately, it's only a minute and fifty-three seconds long, and he only spends about half of that time actually rapping. NOD's beat is pretty solid, though.
10. Forget Me Knots
This reminds me of "Perfect Jab," which is a great thing, and this time, Ruck is present. Grand Daddy I.U.'s beat is ill, possessing ridiculously hard-hitting kicks and snares that Ruck and Rock ride flawlessly. This is the Heltah Skeltah everyone wants to hear.
11. Black Fonzirelliz
If its title didn't tip you off as to how terrible "Black Fonzirelliz" is, then I guess you can go ahead and listen to the actual song for confirmation.
12. MFC Lawz
The beat is terrible, and it contains guest appearances from a bunch of guys I've never even heard of. Yeah; no thanks.
13. Hold Your Head Up
Heltah Skeltah tries to get deep here, and even if this isn't one of my favorite songs on Magnum Force, you've gotta appreciate the effort, as both Ruck and Rock sound sincere. Anthony Hamilton sings the hook.
14. Gang's All Here
This cut is over nine minutes long, so I obviously don't listen to it consistently as I just don't have the patience, but it's actually not that bad. Heltah Skeltah wasn't lying, either; the gang really is all here, as everyone from Smif-N-Wessun to two Originoo Gunn Clappaz members (Starang and Louieville Sluggah) to Buckshot make appearances. The beat by Smoke is decent enough.
FINAL THOUGHTS
As a whole, Magnum Force just isn't very good. Sure, Ruck and Rock (especially Ruck) prove they can still rip it and spit with the best of them, but the lack of any production by Da Beatminerz on here really puts a damper on anything the two rappers accomplish lyrically on this project.
Maybe it's because I am so spoiled by Da Beatminerz's beats on Nocturnal, but the beats on this album just do not hold up well at all. There were a couple of brilliant moments, such as "Perfect Jab" and "Forget Me Knots," but overall, the production on Magnum Force is extremely underwhelming, and some of the instrumentals (like "Chika Woo," for example) just do not suit Heltah Skeltah one bit.
I really have to question why in the world Ruck and Rock decided to go off on their own without Da Beatminerz in tow for this album. It's not like they had any kind of beef or anything, so what gives? Da Beatminerz just have a distinct sound that fits all of the Boot Camp Clik groups like a glove. If you would have given me only the instrumentals on Magnum Force to listen to without me knowing Ruck and Rock rapped over them, I never would have guessed that this was a Heltah Skeltah record.
I guess I shouldn't blast Heltah Skeltah too much, though, because this album is still better than a lot of the trash that is out there today. The problem is that it just isn't up to the standards that I expect out of the duo.
Perhaps the worst part about all of this is that Heltah Skeltah apparently did not learn from its mistakes, as its third album, D.I.R.T. (Da Incredible Rap Team), released after a 10-year hiatus in 2008, also does not feature a single beat from Da Beatminerz. Oh well. Time to pop in Nocturnal.
TOP FIVE TRACKS
1. Brownsville II Long Beach
2. Forget Me Knots
3. Perfect Jab
4. Magnum Force
5. Worldwide (Rock The World)
SKIPPABLE TRACKS
Black Fonzirelliz
MFC Lawz
INTRODUCTION
Continuing with the Boot Camp Clik theme, I think it's time to take a look at another 90s classic, Dah Shinin', Smif-N-Wessun's debut album, a project produced entirely by Da Beatminerz.
For those of you who may be unfamiliar with Smif-N-Wessun, they are a two-man group, much like Heltah Skeltah, consisting of rappers Tek and Steele. They are known for their both violent and laid-back lyrics and are considered by many to be one of the better hip-hop duos ever. Like Originoo Gunn Clappaz, Smif-N-Wessun sometimes incorporates reggae-ish elements into their songs, as both members of the group display the capability to change up their flows to portray a Jamaican-like style.
Dah Shinin' is not considered to be on the same level as Enta Da Stage, but it occasionally finds itself on top 100 lists and is generally a staple in the collections of true hip-hop heads.
There really isn't much more to say, so let's get that review going.
TRACK-BY-TRACK
1. Timz N Hood Check
Like I said; this album is produced solely by Da Beatminerz, so expect an unlimited amount of dusty drums with little in the way of background instruments. Don't take that as a bad thing, either, because the beats on Dah Shinin' knock, and "Timz N Hood Chek" is a perfect example of that, as booming, dusty kicks are backed by similarly booming and dusty hats and snares. This track doesn't have much in the way of lyrics, as it consists of Tek and Steele talking about how rough they are, but it bangs, nevertheless. DJ Evil Dee is the member of Da Beatminerz who produced this cut.
2. Wrektime
The kicks on "Wrektime," produced by Mr. Walt, are not as blatant as on "Timz N Hood Chek," but the hats and snares pick up the slack. Plus, it's the sick hook that makes this track, as Tek and Steele both trade small bars back and forth in a hypnotizing fashion. A siren-type sound surfaces on the hook, as well, making it that much more enjoyable.
3. Wontime
While I am not exactly sure what the heck either "Wrektime" or "Wontime" exactly means, both songs work. Hard-hitting kicks return here, even more pronounced than they were on the album's lead track. Rock of Heltah Skeltah is featured here, but he doesn't drop a verse. He does, however, rap another ill hook for Dah Shinin'. Also, this time, Tek and Steele spit some good lines, like these bars by Steele, for instance: "I got one in store for hardcore fanatics, bangin' from basement to attic put static if ya got dramatics." This record is nails, and I have a feeling I'm going to be saying that a lot the rest of the way. Oh, and this was another Mr. Walt production.
4. Wrekonize
The snares on this are crazy, but this time, the hook doesn't really work for Smif-N-Wessun. Tek and Steele go back and forth on it like they did on "Wrektime," but on this occasion, it sounds forced, and it actually sounds like they are out of breath as they are doing it. Still, Baby Paul's instrumental knocks. P.S.: Did Tek and Steele miss a couple of sessions in English class? I mean, "Wrektime?" "Wrekonize?" Seriously?
5. Sound Bwoy Bureil
This reggae-flavored track (it uses a sample of the reggae cut "Dust Out a Sound Bwoy" by Super Beagle on the hook) is one of Dah Shinin's most popular tracks, and for good reason. Mr. Walt and DJ Evil Dee team up to produce this cut, and while the beat is ridiculously simple (it is probably the simplest beat I've ever heard; seriously), it is so damn good. O.G.C. members Starang Wondah and Top Dog are featured here, and both them and Tek and Steele adopt reggae-ish flows to accommodate the sample. Sick, sick cut.
6. K.I.M.
'K.I.M." possesses what is, by far, the "busiest" beat on the album thus far. Blaring horns appear throughout the record, and standard kicks, snares, and hats abound. The hook on this is definitely a winner. Nice track. Mr. Walt is on the boards. Also, for those of you who may be curious, "K.I.M." stands for "Keep It Moving."
7. Bucktown
Like "K.I.M.," "Bucktown" features horns throughout, but these horns are much more subdued. The hook on this is a bit peculiar, though, as it features Steele rapping, "Bucktown, home of the Originoo Gunn Clappaz," eight times. Is it just me, or are the Originoo Gunn Clappaz not even present on this song? That aside, this cut, co-produced by Mr. Walt and DJ Evil Dee, is pretty nice.
8. Stand Strong
DJ Evil Dee incorporates a sample of Isaac Hayes' "The Look of Love" on "Stand Strong" to form one of the best beats on Dah Shinin', and Smif-N-Wessun once again takes on a reggae-style delivery during different parts of the track. Really strong record here (no pun intended).
9. Next Shit
Mr. Walt lays down an unbelievably chill beat for Tek and Steele here, using a soft piano and some other light instruments to back the banging drums. Smif-N-Wessun drops some nice bars. In his first verse, Steele raps: "Pressures be buildin' in my mind sometimes and ways, that have me countin' the many reasons why crime pays, I think about the hustlin' games, should I maintain, or flip and then shift to the fast lane?" Buckshot is featured on this cut, as he continuously raps the line, "Stoned is the way of the walk, stoned is the way of the walk" toward the end. One of the album's best records.
10. Cession At Da Doghillee
I'll ignore the fact that I have absolutely no clue what the hell "Cession At Da Doghillee" actually means and just focus on the song itself. Guest artists abound, as this track features Heltah Skeltah, Originoo Gunn Clappaz, and Buckshot (who does the hook). Ruck leads things off, and man does he sound different than he did on Nocturnal (keep in mind that Dah Shinin' was released a year before, so Ruck was still a neophyte at this point). He still puts down some solid lines, though: "Do we, have to result to fisticuffs? See I get swift with myself, that's when the Ruck erupts." DJ Evil Dee lays down a crawling, relaxing beat for everyone to rap over, but "Cession At Da Doghillee," spanning five minutes and twenty-six seconds, runs too long for its own good, as the production becomes rather boring after a while.
11. Hellucination
Putting two five-and-a-half-minute songs back-to-back on an album is never a good idea, and that's what happens here. "Hellucination" isn't bad, but after hearing "Cession At Da Doghillee" drag on for nearly six minutes, you certainly aren't in the mood to hear this cut do the same thing.
12. Home Sweet Home
Baby Paul produces what is probably the darkest beat on Dah Shinin' for "Home Sweet Home," but the sample just doesn't too good. Every time it pops up, it sounds like it cuts off far too abruptly. This isn't a very good stretch of the album.
13. Wipe Ya Mouf
Ah, now we're out of the woods. Baby Paul gets the production for "Wipe Ya Mouf," too, but this time, he comes to play, as his sample fits in perfectly with his drums (which sound a lot like they do on "Leflaur Leflah Eshkoshka," and that's a great, great thing). The hook here is simple, as it is simply a part of Top Dog's verse from "Sound Bwoy Bureil," but it's sick. Outstanding track.
14. Let's Git It On
This is another dark beat, but this go around, it works. Mr. Walt and DJ Evil Dee once again team up to make this cut, and Tek and Steele just sound vicious on it. "Let's Git It On" also contains yet another great hook from the duo. Love it.
15. P.N.C.
To me, it's fairly clear by now that Steele is the superior MC of the duo, and that notion is thoroughly verified on "P.N.C." (That stands for Partners 'N Crime, by the way.) While Tek decides to spend most of this cut talking about guns, Steele gets his introspective side on, discussing his partnership with Tek and paying homage to those who have fallen. DJ Evil Dee lays down a less than stellar beat for the duo to rap over, but Steele's content is enough to overcome that...almost.
FINAL THOUGHTS
If I had to use one word to describe Dah Shinin', I would say that it is consistent. Very consistent. The production is fairly uniform throughout, as it consists mainly of those dusty, banging drums I alluded to earlier supported by the occasional light instruments. Smif-N-Wessun's subject matter remains virtually the same on all 15 tracks, too, as they mainly talk about their life on the streets and puffing...you know.
While I don't think Dah Shinin' is as good as Nocturnal or Enta Da Stage, it certainly has its place in hip-hop history, as Da Beatminerz lay down some of the best simple beats (if that makes sense) I've ever heard. This is the quintessential album to listen to when you just feel like laying back and clearing your head.
If you're looking for deep lyricism, Dah Shinin' probably isn't the way to go. Tek and Steele are not great lyricists. They do, however, possess outstanding mic presence and phenomenal flow and versatility. Few rappers can switch up their delivery right in the the middle of the track like Tek and Steele can; it is an art that they have mastered.
I think it's pretty obvious that Smif-N-Wessun's debut would not hold up all that well in today's market. There are no club bangers on this, and, for the most part, the production is relatively subdued. Still, that does not mean it isn't a classic that should be a part of any rap fan's musical assortment.
TOP FIVE TRACKS
1. Next Shit
2. Let's Git It On
3. Wipe Ya Mouf
4. Stand Strong
5. Sound Bwoy Bureil
SKIPPABLE TRACKS
None.
INTRODUCTION
Given that I just reviewed Heltah Skeltah's Nocturnal, I figured Sean Price's debut, Monkey Barz, would be an appropriate follow-up.
I'm not really going to bore you with too many details about Sean P, as I have already reviewed two albums where he was involved (Jesus Price Supastar, his second solo LP, and the aforementioned Nocturnal), and all you really need to know is that Monkey Barz was a long-awaited project from Sean Price, as he and his partner in crime, Rock, took a long hiatus after releasing their second record together, Magnum Force, in '98.
An interesting note about Monkey Barz, however, is that it does not feature one beat by Da Beatminerz. Instead, P enlists Justus Leaguers Khrysis and 9th Wonder, plus a plethora of other producers (most of them fairly unknown) to handle all 16 cuts on the project. Another notable is that there are no skits on Monkey Barz, and that is a fantastic thing, as I have always felt that skits were pretty pointless.
You all already know Sean Price's grimy, I-don't-give-a-crap lyrical style by now, so I won't get into that, either. Let's just jump right into that review, shall we?
TRACK-BY-TRACK
1. Peep My Words
No album intro? Perfect. Kleph Dollaz (seemingly a play on words of the pastor Creflo Dollar) produces a brilliant laid-back, reflective beat for Sean Price, but that doesn't stop P from going notoriously hard: "Y'all niggaz is fake, straight perpetrating the fraud, give me the cake 'fore I insert the eight in your broad, scared to death, niggas going face to face with the Lord, dumb out, bang ya motherfuckin' face in this board." Great start.
2. One Two Yall
Moss lays down a sick piano-driven beat for P on this cut, and Sean rips it: "Trained by ya vet, aimin' to sket, bangin' ya chest, flamin' ya flesh, straight David Koresh." Did I mention that Sean P has some vicious punchlines?
3. Onion Head
The first of two Khrysis productions on Monkey Barz is an absolute banger. As a matter of fact, it's one of the best beats Khrysis has ever laid out (it actually samples the famous song "If Lovin' You Is Wrong, I Don't Wanna Be Right," believe it or not). This is also one of Sean Price's greatest performances, as he opens up the cut spitting: "Bitch harm me, the swiss army knife in my hand, know this shit corny, but it can end the life of ya fam, niggas know Sean nice with the hands, watch me punch up your face, dig in your pockets, leave you right where you stand." Whewww. "Onion Head" makes for the perfect pump-up song. By the way, Tek of Smif-N-Wessun does the hook.
4. Fake Neptune
Well, Monkey Barz is batting 1.000, because "Fake Neptune," produced by Phat Babyz, is also ill. The beat is sick, and Sean Price's lyrics are hilarious. For example: "Her favorite song on Nocturnal was 'Brainz Blo,' put on my pants, if she can let the brains blow, heh, I had to find that funny, lost my wallet, gotta find my money, bitch, how you gon' shit on me, after I let you shit on me? Freaky deaky." Then later, P raps: "Yo, alotta niggas rhyme, some of y'all nice, some sound the same, but not Sean Price, the O.D.B. of the B.C.C, I'm David Ruffin, save it it's nothin', no, need for acceptance, no need for applause, all you need is the gauss, when you bleeding of course." Buckshot does the hook, and Steele of Smif-N-Wessun and Louieville Sluggah of Originoo Gunn Clappaz drop guest verses. Everything about this track is great.
5. Heartburn
This is the lone 9th Wonder track on the album, and it's terrific. As you can expect, the beat is very soulful, and the kicks and snares on this are crazy. Over 9th's production, P raps about all of the things he "loves." Sean opens up with: "I love selling nicks at night, go home to my son, roll a spliff and watch Nick at Nite." Thus far, Monkey Barz has no weak points.
6. Shake Down
"Shake Down" contains a strange (but good) beat co-produced by Star.com and Justice, and Sean Price makes note of that in his first verse: "Come walk with P, so you all can see, how I get dough, spit flows, to an awkward beat,
betta look both ways before you cross the street,
the Pirellis on the Porsche push you off your feet." Steele spits the hook and raps a verse, and Starang Wondah of O.G.C. drops a verse, as well.
7. Mad Mann
This is the first song on the album that I don't like. P.F. Cuttin's beat isn't hitting me at all, and P, for the first time, doesn't really rap anything memorable.
8. Brokest Rapper You Know
This cut is only a minute and thirty-five seconds long, but it's still nice. Ty Deals drops a pretty soulful beat for P, who raps about how poor he is: "Last album came out, you motherfucks hate it, Rock solo, Ruck broke, here's a hundred dollars, what a fucking joke, eviction notice, yo I gotta go, album been out two months, ain't did a fucking show." Sean was obviously referring to how Magnum Force flopped there. Good cut.
9. Boom Bye Yeah
The Tone Mason-produced beat on this is nails (you have to play this in your ride). It is in sharp contrast to the rest of the album (save "Fake Neptune") as it is very fast-paced, and because of that, Sean P must change up his flow and adapt to the production, and he does that seamlessly. "I step in the ring weighing an even two hundred, lost twenty pounds in E-ville, fuckin' around with E pills, so I took a trip to Jacklin Lane, got my weight back like that when I snatched the chain," spits P. He later raps this gem: "Niggas be rhymin' 'bout nothing, I rhyme about nothin', it sound like somethin'." Definitely one of the best songs on Monkey Barz.
10. I Love You (Bitch)
This song is similar to "Heartburn," as Sean Price sticks to one concept throughout the entire track. This time, he raps about all of the cons of his girl and how he loves her anyway. The cut is just filled with backhanded compliments (if you can even call them that), making it extremely entertaining. The Dub Z beat seems kind of "off" at points, but it's still solid (I love those snares).
11. Bye Bye
Which brings us to the best song on Monkey Barz, and my favorite song of all-time, period. Khrysis produced what I think is the sickest beat in rap history, sampling a relatively unknown Aretha Franklin number ("No One Could Ever Love You More") and chopping it perfectly to form some incredible background vocals. There is no hook on this; just Sean Price and guest artist Buckshot each dropping two sick verses. In the first verse, Buckshot spits: "I know I coulda called you more, even though my niggas hustlin' in Baltimore, I call, you call, you call, I call but, I ain't callin no more, call a U-Haul, 'cause you off." P then raps: "Shorty rob all the stock outfit from pickin', I'll rip the fifth and, I ain't playin' witchya pa, leave ya shit split and take a quick trip to Wichita." I have listened to this track over and over again and I just can't get sick of it. Khrysis is a genius.
12. Spliff-N-Wessun
I figured "Bye Bye" would just be setting this track up for a letdown, but then the great Ayatollah comes through with a sick beat for Sean Price and Ruste Juxx, and Ruste rips it: "The criminal of the year, yeah I'm back to rob, so take ya shine off, when you see me on the job, due to the mac, I'm strapped, ready to clap, react, stop runnin' ya yap, and run ya stack." Nice, nice record.
13. Jail Shit
"If I die, yo I'm going out with knives in they grill, all my motherfuckin' life I've been real," spits P to end this Agallah-produced cut. Rock does the hook, but his performance on it is rather lackluster. The beat is decent, but overall, this track isn't anything spectacular, especially when compared to all of the songs prior.
14. Monkey Barz
Ty Deals puts together probably the most unorthodox beat I've ever heard here. Whenever I listen to the album's title track, I have to look around me to make sure I'm not in a zoo, because the production here literally consists of a bunch of jungle animals with some drums thrown over it. Somehow, though, P manages to make it work, spitting: "Aiyyo we Mighty Joe Youngin' it, thuggin' it, straight from the jungle my brother, my niggas Banana Republican, rang-a-tang slang, Chewbacca not proper, two socks full of rocks, plus the cops watch us." This will really grow on you after a couple of listens.
15. Slap Boxing
I didn't like this one at all. The beat, produced by Edward Maxmillion III (try saying that five times fast) is just terrible, and Sean Price sounds pretty uncomfortable on it. Rock and Ruste Juxx make guest appearances, but it doesn't matter; this track just isn't very good.
16. Rising To The Top
Unfortunately, Monkey Barz ended on a pretty poor note to me, as I didn't like this cut either. Agallah produces the beat (which isn't very good), does the hook, and drops a verse, and he manages to sound like a strange combination of DMX and Canibus in the process. "Rising To The Top" is also far too long for its own good, spanning five minutes and three seconds.
FINAL THOUGHTS
Although it didn't exactly end well, there is no denying that Monkey Barz is a spectacular effort by Sean Price. The good songs on the album are ridiculously good, possessing fantastic beats and some slick rhyming by P. Generally on an album that I like, I'll love one or two songs, like another four or so, and then the rest will just be so-so. On Monkey Barz, however, I love a good four or five songs and like every other track on the project save for "Mad Mann" and three of the final four records.
It's evident that Sean Price certainly does not need Rock to succeed, as one can argue that P's debut was actually a better all-around record than Heltah Skeltah's classic Nocturnal. Sean P obviously has a great ear for beats, as even the productions that were done by lesser producers sound good, for the most part. P's punchlines are also sharper than ever on this album, displaying considerable growth from the Heltah Skeltah days.
Monkey Barz is certainly one of the best hip-hop efforts that has been released thus far this century, as the production and Sean Price's otherworldly swagger is sure to keep the listener interested for all 16 cuts. P's choice of guest artists was also superb, as he, for the most part, limits it to fellow Boot Camp Clik members.
Of course, it would have been nice if the album ended better, but hey, the rest of the project is so phenomenal that I'm not going to gripe about that too much. Monkey Barz is one of my favorite records and will always receive consistent rotation in my music player.
TOP FIVE TRACKS
1. Bye Bye
2. Onion Head
3. Boom Bye Yeah
4. Fake Neptune
5. Heartburn
SKIPPABLE TRACKS
Mad Mann
Slap Boxing
INTRODUCTION
I'm pretty sure I've already pimped Nocturnal on this blog before and given bits of background information on Heltah Skeltah, but for the purpose of this review, I'll do it again.
Of course, Heltah Skeltah, made up of the duo of Ruck (now known as Sean Price) and Rock, were a part of the loose Boot Camp Clik collective, along with groups such as Black Moon, Smif-N-Wessun, and Originoo Gunn Clappaz. While most people would probably say that Black Moon's Enta Da Stage was the best album any branch of B.C.C. ever released, I beg to differ, as I think Nocturnal tops them all.
The good majority of the project was produced by Da Beatminerz, so, obviously, the beats on Nocturnal are grimy to the max. However, Da Beatminerz show considerable growth on this album, as their beats display much more variability and substance than on Enta Da Stage or Smif-N-Wessun's Dah Shinin'. I think that is what separates Nocturnal from the rest of the Clik's albums. That, and the fact that Ruck is clearly the best MC in the entire group, and Rock follows.
For some reason, Heltah Skeltah's debut has always been incredibly slept on, but then again, so has most of the Boot Camp Clik's work.
TRACK-BY-TRACK
1. Intro (Here We Come)
At first, this sounds like your typical album intro, which obviously disappointed me. However, that changes at the 1:11 mark, as Rock jumps on the mic and kills a solid beat that was co-produced by Buckshot and Lord Jamar. What's clever about Rock's verse, though, is that he incorporates the names of nearly each and every song on the album throughout. Some were understandably left out (it's kind of hard to work "Letha Brainz Blow" and, especially, "Leflaur Leflah Eshkoshka" in to a verse), but I don't see what was so hard about trying to fit "Undastand" in there. Whatever. I like the way this album is starting.
2. Letha Brainz Blow
Baby Paul of Da Beatminerz drops a smooth, sick beat (I love those dusty kicks) for Ruck and Rock here, and the two MCs trade verses throughout. Really nice record.
3. Undastand
This might be my favorite song off of Nocturnal, but I like the album so much that it's hard to pick. "Undastand" is another Baby Paul beat (he gets most of the production credits on the project), and, unlike most Boot Camp Clik productions, it's actually pretty soulful. The hook on this is especially sick, with Ruck and Rock rapping, "Undastand, Heltah Skeltah only means war, undastand, the war's with everything outside your door, undastand." Also, for the first time on the album, Ruck demonstrates his lyrical prowess: "Heltah Skeltah start stormin', your life's a dream and it's morning, I'm warnin', people who jail my name ring bells like a doorman, a warrant, for the arrest of a militant menace, who serve heads like tennis with words that diminish."
4. Who Dat?
I guess this one-minute, forty-four second cut is a song. Whatever it is, I don't like it. It seems out of place and throws the album out of its rhythm.
5. Sean Price
As I'm sure you can guess, Ruck is the only Heltah Skeltah member present on this track. I bet you didn't guess, though, that Ruck is not alone on this cut, as Illa Noyz, a B.C.C. affiliate, jumps in and drops a verse. Illa Noyz certainly holds his own (his verse is actually very impressive), but this cut was built for Ruck: "Word is Bon Jovi, niggas don't know me, hoes blow me, show me affection for constant erection, my direction of pistols pointed at niggas on Bristol, who thought it was fun to pull guns and issue my dismissal." The beat, produced by Shaleek, is extremely dark and fits the subject matter perfectly. Sick record.
6. Clan's, Posse's, Crew's, & Clik's
You'd figure that because this song is five minutes and twenty-three seconds long, there would be some guest appearances. There aren't, though, and that's a good thing. I haven't really talked about Rock too much yet, but he rips this cut: "I, be the drama bringer, wringer of a nigga's neck, wrecker of a set, I buck shots with a steel tec." DJ Evil Dee of Da Beatminerz produced the cut, laying down a number typical of Da Beatminerz.
7. Therapy
This was Nocturnal's third and final single, and judging from its sound, it was a pretty good choice. The hook, done by Vinia Mojica, is pretty lame, but the Baby Paul beat is very smooth and relaxing (which is appropriate considering the title), and the track's content is surprisingly introspective (I say "surprising" because, generally, B.C.C. cuts are nothing short of hardcore). The only problem that I have with "Therapy" is that Ruck plays the therapist and Rock plays the patient. I think it would have been better had a guest played the former role and Ruck and Rock both played patients on separate verses, but whatever; this is still a good song.
8. Place To Be
"Place To Be" contains one of the most simplistic beats on the album, but also one of the best. Shawn J. Period lays down the cut for Heltah Skeltah, a production heavily reliant on hats and snares much like was prevalent throughout Enta Da Stage and Dah Shinin'. "Yo and if you think that’s hectic, it gets worse when Rock’s up in it, so somebody tell the fat lady she’s up in five minutes, shit is almost finished right after I take care of witnesses, roamin' the premises not mindin' they businesses," spits Rock.
9. Soldiers Gone Psycho
Back to Baby Paul for this beat, and it's ill. Unorthodox, but ill. "My parabellum means swelling cerebellums when we dwelling with caucasoids, you void, my niggas rebellin'," raps an unrelenting Ruck. This track epitomizes the head-nodder.
10. The Square (Triple R)
For some reason, I always forget what this track sounds like until I go back and listen to it. I really don't know why, though, because Heltah Skeltah's delivery on this is out of control. The Representativz, B.C.C. affiliates, drop guest verses, but they're essentially negligible because Ruck and Rock demolish this Supreme beat: "Yo, who’s the square there squared with the back bender? I beat blood out of ya number one contender, The Representativz are, sent to ya drama, while I sneak up behind ya to put space in your back like a comma," spits Rock. Ruck later comes through and raps these sick bars: "Aiyyo, we equal emcee squared, dare tempt me, empty shells, now ya layin' where playas and pimps be, on microphones with hyper tones, that’s when I swipe ya bones with knife and chrome."
11. Da Wiggy
Two things really stand out on this track, and they both collide with one another: 1.) The drums are sick. 2.) Those stupid chipmunk-sounding vocals on the hook are just plain annoying. Still, as a whole, this cut is really good, as both Heltah Skeltah members rip it. "I serve, justice, must this be the answer? For my gun to click, terminal like cancer," raps Ruck. Rock and Ruck then each trade three bars, with Rock rapping: "Send that guy to Rockness Monsta, stomp ya, split him in half, divide and conquer, I want ya," and Ruck continuing with: "To test the irrational inflictor, Rock pounds the ground, while Ruck shakes the Richter."
12. Leflaur Leflah Eshkoshka
This was Nocturnal's first single and, without a doubt, its most popular song. The Originoo Gunn Clappaz are featured on this cut, and Starang Wondah gets the first verse, spitting: "Ay caramba, Starang, Gunn Clappa numba, one on the set man, I'll cut ya like lumber." Ruck then drops a colossal verse later, rapping: "I control the masses, with metaphors that's massive, don’t ask if the nigga Rucker bash shit like Cassius, I’m drastic, when it comes to verbs I be flippin', 'cause herbs just be shittin' off the words I be kickin'." Baby Paul is on the boards once again, and he drops a simple, ultra-relaxing production that may very well be the best beat on the album. "Leflaur Leflah Eshkoshka" is the reason why I said "Undastand" might be my favorite song earlier; this one is right there with it.
13. Prowl
This one is just okay. Louieville Sluggah of O.G.C. drops a guest verse and does a solid job, but the entire song itself is kind of bland. It just sounds far too ordinary and doesn't stand out at all. That's not to say it's a bad song, though, because it really isn't. Mr. Walt of Da Beatminerz produced it, by the way.
14. Grate Unknown
Outside of some adlibs from Ruck, Rock is by himself on this track, and as much as I love Rock, this is one of the album's weaker efforts. Shaleek's beat is just alright (it pales in comparison to the "Sean Price" joint he laid down for Ruck earlier), and a Heltah Skeltah song without Ruck is like the 90s Bulls without Jordan. It just isn't right.
15. Operation Lock Down
There was a bit of a lull on the past two tracks, but, thank God, "Operation Lock Down," Nocturnal's second single, saves the album from a less-than-stellar conclusion. E-Swift lays down an absolutely mesmerizing beat for Heltah Skeltah and guest artist Buckshot (don't get too excited about Buckshot; he only mumbles barely audible adlibs in the background), and Ruck and Rock change up their vocal styles a bit to match the beat, adapting a much more subdued delivery. Great, great way to end the album.
FINAL THOUGHTS
Nocturnal is, in my opinion, one of the most overlooked albums in hip-hop history. The production throughout, mostly done by Da Beatminerz, is pretty spot on, and it suits Ruck and Rock to a tee. The subject matter is pretty steadfast for the duration of the project, with Heltah Skeltah spitting their best "I'm tougher than you" rhymes on all 15 tracks.
The beats on Nocturnal are clearly more advanced than they are on Nocturnal's cousins, Enta Da Stage and Dah Shinin', making the album, in my opinion, the most enjoyable of all of the Boot Camp Clik projects. I think the key difference however, lies within the actual performances of Ruck and Rock, who are undoubtedly the best two rappers in the B.C.C. collective (even though some are partial to Buckshot).
This isn't the kind of album to listen to if you're looking for club bangers or even a good record to bump in your ride, as not many of these cuts make for good rider music. However, it is a great record to throw on while you're chilling at the crib. I understand that statement may come off as surprising given the aggressive content on Nocturnal, but the production will relax you beyond belief (see: "Operation Lock Down").
For some reason, Nocturnal was always considered to be a step behind Enta Da Stage, which is generally always on top 100 lists, and Dah Shinin', which also makes occasional appearances on such lists. I personally do not understand why it doesn't get more love; I figured it would show up on someone's top 100 rankings at some point, but it never has (unless you're counting me).
All of that said, you need to go and cop this.
TOP FIVE TRACKS
1. Undastand
2. Leflaur Leflah Eshkoshka
3. Sean Price
4. Operation Lock Down
5. Da Wiggy
SKIPPABLE TRACKS
Who Dat?
INTRODUCTION
I decided it was time to take a hiatus from Justus League projects and go in a different direction. Thus, the review for Da Storm was born.
For those of you who may be unfamiliar with Originoo Gunn Clappaz, they are a group that branched off from Boot Camp Clik, much like Black Moon, Heltah Skeltah, and Smif-N-Wessun. The group consists of Starang Wondah, Louieville Sluggah, and Top Dog and is known for its dark, grimy production from Da Beatminerz and its almost hybrid rap/reggae style.
O.G.C. was the last of the Boot Camp groups to release an album, following Enta Da Stage by Black Moon (released in 1993), Dah Shinin' by Smif-N-Wessun (released in 1995) and Nocturnal by Heltah Skeltah, released only a few months before Da Storm.
It is generally viewed as the weakest of the four efforts, but that is largely due to the fact that all three of the albums that preceded it are widely regarded as classics. Some even consider Da Storm to be classic material, as well (I know I do).
The album is relatively short, as it possesses only 11 full-length songs (there are a bunch of skits and interludes), so let's get to that review.
TRACK-BY-TRACK
1. Calm Before Da Storm
The album starts off with an extremely mellow beat done by...well, this is strange. The beat is done by Shaleek, who, unless I missed something, is not one of the three member of Da Beatminerz. Nevertheless, the production is sick, and Top Dog drops the first verse on the record: "'Cause it's dangerous, in these fills that we walk, it's a rap race in this wicked city we call New York, you all talk, and ain't nothin' workin' upstairs, so stop acting like you know what I be saying when you scared." The entire album is littered with those types of raps, and I for one enjoy it. Great way to open up Da Storm.
2. No Fear
That brings us to the album's lead single and most popular song, which also happens to be the track whose video dissed The Notorious B.I.G. which resulted in Starang Wondah being pistol-whipped. Let's focus on the cut itself, though, because "No Fear" is ill. Mr. Walt of Da Beatminerz lays out a banger here, throwing on some ridiculously dusty drums over an eerie sample, and all three members put down great verses. This is the best record on Da Storm and one of the best records Boot Camp Clik has ever put out.
3. Gunn Clapp
Mr. Walt does his thing again here, dropping a laid-back but dark beat for O.G.C. Louieville Sluggah is especially on point, rapping: "Two shots to a brain, punk tryna maintain in pain, but it's insane how you was raised in this game, streets is hectic, you should have been on ya best bitch, I don't feel sorry that we had to wet shit." The only thing that stinks about this track? It's listed as being four minutes and fifty-one seconds long, but the rapping stops at the 2:03 mark and it's all adlibs thereafter. Almost three minutes of adlibs? Seriously?
4. Hurricane Starang
Starang Wondah, the group's frontman, gets a solo joint here (with a few one-liners by Rock of Heltah Skeltah sprinkled throughout), getting a chance to rip one of the best beats on Da Storm (again produced by Mr. Walt): "It's a shame Strang got more aim than an archer, M.P. Rock please prepare my shit for departure." You may have figured out by now that the Originoo Gunn Clappaz aren't exactly the greatest lyricists around, but it's the tenacity with which they rap their lines that makes them so damn good.
5. Danjer
Let me start off by saying that there is no such thing as a bad Boot Camp Clik song, but compared to the other tracks on this album, "Danjer" is just a *bit* boring. It's still solid, but it's not up to par with the rest of Da Storm.
6. Da Storm
Now this, I friggin love. DJ Evil Dee, another member of Da Beatminerz, makes his first appearance on the album here, laying down a superb beat for O.G.C., and Louieville Sluggah rips it: "Put pine to your spine, now you niggas hate me, for reasons, we bring freezers to heated regions, troopin' through your crew like the PM night demon." While most people prefer Starang Wondah, Louieville is my favorite O.G.C. member.
7. Wild Cowboys In Bucktown
This beat actually wasn't produced by Da Beatminerz, but by DJ O. Gee. Oddly enough, this may actually be the hottest production on Da Storm. The kick drums in particular are sick. Sadat X drops a couple of guest verses, and Sean Black drops one, too (did I know who Sean Black was before listening to this song? No.). To be honest, no one rips off any memorable lines here, but the production carries this and makes it a phenomenal track.
8. God Don't Like Ugly
Buckshot and Lord Jamar produced this banger of a beat and, once again, Louieville Sluggah is the most impressive on the track: "I give it to the boy, word bond, he got balls, there's too many bottles on these walls first of all, fools die coarsely, scheming rap sheets for thoughts, lying harshly defeated seeking things he didn't earn." Even without Da Beatminerz on the boards for these last two tracks, the production doesn't skip a beat (no pun intended; seriously), as "God Don't Like Ugly," much like "Wild Cowboys In Bucktown," has one of the illest beats on Da Storm.
9. X-Unknown
Da Beatminerz are back for this track, with DJ Evil Dee handling the jazzy production. The hats and snares seem even more dusty than usual here (and that's a good thing), and all three O.G.C. members sound very at home over the beat. Man; it's gonna be hard to pick the top five tracks for this album.
10. Elite Fleet
The snare in this cut is so hard-hitting that it's crazy. There are a few guest appearances on this five-and-a-half-minute record, those being Lidu Rock and Supreme (The Representativz), M.S., and Bad Vybes. I'm sure by now, you know the types of rhymes that the Originoo Gunn Clappaz spit, and "Elite Fleet" is no different than the rest of Da Storm, so I won't even bother writing some of their more notable lines.
11. Flappin'
This was the first production credit Madlib ever had, and he produced a sick track here (with E-Swift). The chime-like sound throughout "Flappin'" really increases the grittiness of it, as do the verses of all three O.G.C. members. I particularly like this line from Starang: "You know me, chillin' with number 2 and the O.G., hoes be on me like that glow on Obe Wan Kenobi." Da Storm goes out with a bang.
FINAL THOUGHTS
In my opinion, Da Storm is a classic. The production done by Da Beatminerz is scintillating, as are the four tracks that were made by other producers. All 11 tracks follow a similar formula, and while you might think that would grow tiresome on a full-length album, it doesn't. There is a reason why Da Beatminerz have such longevity in the game; their style works.
If you are expecting mind-blowing lyricism out of Starang Wondah, Louieville Sluggah, and Top Dog, then you've come to the wrong place. None of these guys are going to be challenging Canibus or Ras Kass as far as hip-hop's best lyricists go, but, as I stated earlier, it's the style with which they rap that makes them so enjoyable to listen to. I mean, they had the balls to openly diss Biggie, so that earns them mad respect in my book.
I can already tell you the main beef that people will have with Da Storm: it's too repetitive. While I will admit that some of the beats sound familiar, to me, that means that the album followed a specific structure, something that is missing from a substantial amount of rap albums today. These days, artists seem to have their ish all over the place, and that's not very conducive to success.
Anyway, go out and cop this now. It is a must-have for any true hip-hop fan.
TOP FIVE TRACKS
1. No Fear
2. Wild Cowboys In Bucktown
3. God Don't Like Ugly
4. Flappin'
5. X-Unknown
SKIPPABLE TRACKS
What are you crazy?
INTRODUCTION
Sean Price is a "your favorite rapper's favorite rapper" type of artist. Originating from the duo Heltah Skeltah (where he is known as "Ruck"), part of the loosely-knit supergroup Boot Camp Clik, Sean Price has stamped his name in the annals of hip-hop history as one of the most vicious punchline rappers to ever grab a mic.
In 1996, Sean P teamed up with his partner-in-crime Rock to create Heltah Skeltah's first album, the classic Nocturnal (which will certainly be reviewed at some point on this site). Although it did not sell incredibly well (and honestly, does anyone who actually likes real hip-hop really care about record sales?), it was critically acclaimed for its dark and grimy production by Da Beatminerz and skillful, effortless lyricism by Ruck and Rock. Thus, Sean Price was born.
Fast forward nine years later to 2005, and P released his debut solo album Monkey Barz (which, like Nocturnal, will also be reviewed), regarded by many as one of the best rap albums of the decade. Two years later, he dropped Jesus Price Supastar, and that brings us to the review:
TRACK-BY-TRACK:
1. Intro
I generally don't care too much for album intros, as most of the time, it is a rapper simply talking (not rapping; talking) over a boring beat. This is not the case on the intro to Jesus Price Supastar, as P.F. Cuttin supplies P with a thumping instrumental, and Sean absolutely laces it.
2. Like You10 For The Triad is on the boards here, and he puts down a solid beat that P does work with. I particularly like the repetitive and catchy hook, and of course, Sean P's verses are sick: "Go, line for line, rhyme for rhyme, ten paces turn around shoot nine for nine, you can tell by the rhyme it's my time to shine, let's eat, motherfucker I don't dine on swine."
3. P-BodyProduced by 9th Wonder, "P-Body" may not exactly sound like a trademark 9th production, but nevertheless, it bangs. Rock stops by to spit the hook as Sean Price puts together one of his best lyrical performances on Jesus Price Supastar. "Supposed to, lie to the cops and tell the truth in the booth instead you tell the truth to the cops and lie in the booth." *insert P! adlib here*
4. CardiacIllmind drops a fast-paced banger here, and Buckshot and Ruste Juxx jump in to drop verses while Flood (who sounds like he could be Tony Yayo's identical twin brother) raps the infectious hook. P is spitting, as usual: "The first verse is the worst, like why the fuck they call you Jesus Price, nigga? And you curse in church." Buckshot also spits flames: "Ill reflections are protecting ya face, bitches tucking in they necklace when I step in the place." Ruste Juxx, who I maintain is one of the most overlooked artists out there, unfortunately doesn't rap anything worth remembering.
5. StopThis is the first of many Khrysis beats on the album, and being that Khrysis is my favorite producer not named Hi-Tek, I was salivating all over this one before I even listened. That said, this isn't one of Khrysis' better productions, and Sean Price's rhyme scheme is a little awkward and unorthodox here. This is not one of the better cuts on the record. That's not to say it's bad, because it isn't, but it's not up to par with the rest of Jesus Price Supastar.
6. ViolentThe second of four 9th Wonder beats on the album, "Violent" is smooth to the point where it's almost disturbing, and Sean Price does his usual thing where he puts together phrases that would normally make absolutely no sense but, for some reason, are perfectly coherent thoughts to his listeners: "Timberland boots I got stomp out your grill, Sean Price, the nicest nigga in Brownsville, word bond, y'all niggaz can't rap worth a damn, the nine burst blam and earthslam your fam."
7. Da God"Da God" is another 10 For The Triad track, and although it's simplistic, it's a strong record. Buckshot spits the chorus and Sadat X stops by to rap a verse, but it's Sean P that gets the listener's attention: "Don't try to get deep with the god, don't try to conversate 'n hold hands down the street with the god." Only one thing about those two bars (and this song in general) bothers me: how many times are people going to use "conversate" in a sentence until they realize it isn't a word? That said, who am I to question Sean Price?
8. Oops Upside Your HeadIf you hadn't already noticed, I'm a huge Sean Price fan, but I have to be painfully honest here: this song is terrible. The beat does nothing for me, and P sounds very out of his element, as does Steele of Smif-N-Wessun who drops in.
9. ChurchThis must be the part of the album where Sean Price just said, "You know what, I don't care about tracks eight or nine; just throw whatever on there," because "Church" isn't any better than "Oops Upside Your Head." Interestingly enough, too, the hook on "Church" actually includes the phrase "oops upside your head." I'm not even gonna ask.
10. King KongPhew. Just when it looked like Jesus Price Supastar was taking a horribly bad turn for the worse, Khrysis saves the day with "King Kong." The beat BANGS, Rock drops a sick hook, and Sean P is at his best: "If ya, knock on my door I'm cockin the four, free to escape from the law like Assata Shakur, for a dime a tack you can put your cock in a whore, kinda worse when you rockin on tour, listen." Now we're back on track.
11. OneAnd Khrysis delivers yet again. The only beef that I have with "One" is that it's too short, clocking in at one minute and fifty-two seconds. That aside, Sean Price eats this sick beat alive: "Listen, Sean Price the name, you kinda nice but we not the same, so I copped the Range, then I copped the chain, now the cops in range." Definitely one of the album's strongest tracks.
12. You Already KnowBack to 9th Wonder, who helps create the best song on the album. "You Already Know" features Skyzoo, who drops one of the illest hooks I have ever heard here. There isn't much to it, but Skyzoo's voice and delivery make you want to rewind the hook again and again. Unfortunately, "Big 'Zoo," as Sean P calls him, doesn't have a verse, but no matter, as P just kills this: "Yo it's my time to shine, you had your turn you lost, hate to hear the truth then turn the shit off, motherfucker."
13. Directors CutWhat's with the under-two-minute beats by Khrysis? "Director's Cut" spans one minute and twenty seconds, and while the instrumental is hot, it sounds a little too familiar to "Violent" for my liking. There really isn't much else to say about this one.
14. Let It Be KnownThis is the final 9th Wonder beat, and it's easily the weakest of the four tracks he produced on the album. Phonte makes an appearance here, but the production is just too dull for him to shine (I will admit that the kick drums are nice, though).
15. Hearing Aid"Hearing Aid" wraps up Khrysis' production on Jesus Price Supastar, and Khrysis goes out with a bang, as this track knocks. Chaundon, one of my favorite MCs, joins Sean Price and spits some impressive bars: "People, listen I'm a nasty muh'fucker, stickin dick to a broad same age as your mother." Fortunately, it looks like the album is finishing on a good note.
16. Mess You MadeThis sounds like a 9th Wonder beat, but it isn't. A producer by the name of Masse laid out this instrumental for P, and it's definitely worth receiving significant rotation on your iPod. Sean Price re-adopts his "brokest rapper you know" persona here: "My man said he heard me on Mister Cee, yeah that's cool but it don't equal chips to P, the brokest rapper you know sell crack after the show, with a fo'-fo' that'll blow back half your fro." Great way to end the album.
FINAL THOUGHTS:
While Jesus Price Supastar may not match the unquestioned ferocity and hard-hitting nature of Monkey Barz, it is still an outstanding album worth adding to your collection. Sean Price reaffirms the fact that he is one of the best MCs doing it, as he rips nearly every beat on this record to shreds. It also helps that he is backed by The Justus League, home to one of the best production teams in the business (consisting of 9th Wonder, Khrysis, and Illmind).
There is one thing that irks me about each of Sean Price's first two albums, though, and it is that Da Beatminerz, who orchestrated Nocturnal and the good majority of the Boot Camp Clik's most classic albums, are absent from both of them. I'm not complaining about the production in general, because I believe that the production on Monkey Barz was essentially flawless and that it followed a similar trend (although not on the same level) on Jesus Price Supastar, but it's just not the same without Baby Paul, DJ Evil Dee, and Mr. Walt on the boards.
That one issue aside, Jesus Price Supastar is an incredible album overall and is certainly deserving of your purchase (please buy this rather than rip it, as rappers like Sean P deserve your money).
TOP FIVE TRACKS:
1. You Already Know
2. King Kong
3. P-Body
4. One
5. Like You
SKIPPABLE TRACKS:
Oops Upside Your Head
Church
INTRODUCTION
