INTRODUCTION
The first album I ever reviewed on this blog was Sean Price's second album, Jesus Price Supastar, so I figured it was about time I started completing the rest of his solo discography.
I already supplied you with some background information in the Jesus Price Supastar writeup, so I'll try to keep this introduction short and sweet.
After releasing two albums with Heltah Skeltah (a duo comprised of himself [where he is known as "Ruck"] and his partner-in-crime Rock), Sean P went seven years without putting out any solo material. He worked with his Boot Camp Clik crew on the 2002 album The Chosen Few and dropped a few guest verses on other projects, but for the most part, P was silent.
Then, in 2005, Sean Price released his debut album, Monkey Barz, to critical acclaim. It was named Independent Album of the Year by AllHipHop.com, and many other hip-hop aficionados and fans dubbed it one of the best projects of the 2000s.
Is Monkey Barz as good as everyone hypes it up to be?
There's only one way to find out, and that's by reviewing it.
TRACK-BY-TRACK
1. Peep My Words
Well, Sean Price is already off to a good start, as he forgoes and album intro for an actual song. The late Kleph Dollaz of the group Ill Biskits laces a soulful beat for P to spit his boasts over, and he comes with some hilarious rhymes that have become so typical of himself right off the bat. Solid way to kick off Monkey Barz.
2. One Two Yall
This is pretty freaking good. Moss is on the boards here, putting together a grimy instrumental consisting of a piano riff and some dusty drums. In his second verse, Sean P says "plain lame, acting ignorant." That's a fairly accurate way to describe Sean Price's rhymes, which generally never make any sort of sense but still somehow sound great.
3. Onion Head
This is where things really start to get good. Khrysis crafts a banger for P, who threatens to "smack off half your smile" and then smack off the other half "after trial." Awesome. Tek from Smif-N-Wessun is here, as well, and he drops the hook. "Onion Head" is one of the best pump-up songs I've ever heard. It's pretty much guaranteed to get your blood boiling.
4. Fake Neptune
Sean Price isn't exactly enthralled with mainstream rap, and he lets you know that in the title of this track alone. Clearly, P is poking fun at The Neptunes and radio records of that ilk. And come on; you know you laughed when Sean P said "how you gon' shit on me after I let you shit on me, freaky deaky." Everything from the instrumental by Phat Babyz to P's raps to the guest verses by Steele (the other half of Smif-N-Wessun) and Louieville Sluggah (from Originoo Gunn Clappaz) is on point. Louieville's verse is especially dope. Oh, and Buckshot does the hook. Yeah; "Fake Neptune" is pretty much sick.
5. Heartburn
9th Wonder lays down the smooth production for Sean P on "Heartburn," where our host talks about everything he "loves," ranging from his wife to "fist fights with brass knuckles" and, um, wallabies. Yes; wallabies. Another winner for Sean Price on Monkey Barz.
6. Shake Down
Over a pretty hard beat by Star.com and Justice (who?), P, Starang Wondah (of Originoo Gunn Clappaz) and Steele rap generically about how they can't be messed with. I know that last sentence may have seemed like a subtle criticism, but it really wasn't. This is pretty good. It's not on the same level as the preceding three cuts, but it was still good, nonetheless.
7. Mad Mann
The first true misfire on Monkey Barz. P.F. Cuttin's drums are way too busy, and the sample just sounds messy. P definitely could have done without this one.
8. Brokest Rapper You Know
Even Sean Price himself would tell you this isn't true anymore, but back in 2005, I guess this was kind of appropriate (although still not really). Regardless, this song is obviously not to be taken literally. It's Sean Price, after all, and hey; this short record is still pretty solid, anyway.
9. Boom Bye Yeah
You know how I've said how sometimes rappers "rap like nothing and it sounds like something" on this blog before? Well, this is where it came from, as Sean P says that line in "Boom Bye Yeah," which is undoubtedly one of the best tracks on Monkey Barz. Tone Mason's fast-paced beat is crazy, and P obliges with a brilliant three-verse performance. This is another one of those good pump-up songs that seem to permeate this album.
10. I Love You (Bitch)
The title of this song is obviously in conflict with itself, but that's Sean Price for you. The Luther Vandross-sampling production by Dub Z is decent, and P drops some pretty damn misogynistic rhymes about how even though he can't stand certain things about his girl, he wants to stay with her. In his defense, though, he says "I ain't shit and you ain't shit, we belong together." So, at the very least, he was also self-deprecating.
11. Bye Bye
That leads us to the crown jewel of Monkey Barz. Khrysis laces the best beat he has ever done here, utilizing an Aretha Franklin sample and throwing on some banging drums. Buckshot is here to actually drop verses this time, and although Sean P clearly walks away the winner, Buck does very well. "Bye Bye" is actually a misogynistic record itself (maybe even moreso than the song prior), but Khrysis' instrumental is so damn good, and the performances by both Sean Price and Buckshot were more than impressive, objectionable lyrics aside. The record is basically about how P and Buck no longer want to deal with their girls' bullcrap anymore, and I'm sure a lot of guys out there will relate to that subject matter regardless of the way it is being presented.
12. Spliff N Wessun
You would think Smif-N-Wessun would be the guest artists on this track, but you would be wrong, as Ruste Juxx hops on (and rips it, I might add). The Ayatollah beat is really freaking good, and Sean P comfortably spits some fire. Good cut.
13. Jail Shit
This was solid. Agallah lays down the instrumental, and Rock is on the hook. I'm not sure why P wouldn't ask his Heltah Skeltah brother to drop a verse here, and I'm really curious as to how Rock would have sounded on this if he did so. Oh well. Sean Price does well enough on his own.
14. Monkey Barz
Ty Deals' production seriously consists of a bunch of jungle noises--especially monkeys, surprise, surprise--and Sean P somehow manages to make it work. This is actually one of P's best lyrical outputs on the album, as the Brownsville rapper proves that he can spit over any beat. I enjoyed this quite a bit.
15. Slap Boxing
Rock is here again, and this time, he actually drops a verse. Ruste Juxx comes through for another verse of his own, too. Unfortunately, the instrumental by Edward Maximillion III isn't engaging enough to make "Slap Boxing" that worthwhile, a pretty freaking dope performance from Rock notwithstanding. It doesn't help that Sean Price sounds like he phoned in his verse, either.
16. Rising To The Top
You may remember this song from the Grand Theft Auto III soundtrack. Agallah is on the boards again, and he offers up two verses and the chorus, as well. The production is just alright, if not a bit bland. This was a fairly boring way to close out Monkey Barz, and to make matters worse, this is the longest song on the album.
FINAL THOUGHTS
The verdict on Monkey Barz is in, and it's that it deserves every ounce of praise that has been heaped upon it since its release in 2005. This is a great album, containing numerous bangers and consistently dope performances by Sean Price (and his guests) on the mic.
Monkey Barz does not stick to any one particular theme, but that's the type of artist Sean P is. He is not a concept rapper. He just spits, and sometimes, that's for the best. P's debut record is a prime example of that. The large variety of producers on this project also adds to the unpredictability, and a little bit of volatility often makes a hip-hop album that much more interesting.
The only criticism I would have is that Monkey Barz is an album that probably should have come out five years earlier. I'm not sure what took so long for Sean Price to release his debut record, as Heltah Skeltah put out Magnum Force in 1998 and then didn't put out another project for 10 years. Perhaps Sean P was very busy during that time period; I don't know, but an earlier release would have certainly lengthened his solo career.
It was also a bit disappointing that there was no production from Da Beatminerz on here, but the beats were good enough as a whole where P's former go-to beatmaking team wasn't sorely missed.
Another aspect about Monkey Barz that you have to admire is how Sean Price kept the features in-house. Outside of Agallah, every guest on the album is a member of the Boot Camp Clik or, at the very least, is affiliated with the collective (Ruste Juxx).
Monkey Barz was a very impressive debut effort from a rapper that wasn't expected to be this dope as a solo artist. If you don't have this in your collection yet, then I suggest that you get moving.
TOP TRACKS
1. Bye Bye
2. Onion Head
3. Boom Bye Yeah
4. Fake Neptune
5. Heartburn
INTRODUCTION
Roc Marciano has been very busy since dropping his debut album, Marcberg (which I reviewed here), in 2010.
After garnering massive critical acclaim for his first project, Roc Marciano has been heavily sought out for features by some of the dopest artists in the game.
In 2011, for example, he did an EP with Gangrene (a duo consisting of Alchemist and Oh No) called Greneberg. Shortly before that, he dropped a guest verse on Random Axe's song "Chewbacca."
Roc's popularity in the game has only grown since then, with rappers such as Action Bronson, Crooked I, Ka and Prodigy asking him to grace some of their records in 2012 and 2013.
He has also started his own label called Man Bites Dog Records, and he is in the process of recording his third LP, Marci Beaucoup.
In between all of that, Roc Marci released his second album, Reloaded.
While Marcberg was produced entirely by Roc Marciano himself, the Hempstead native enlisted beatmakers such as Alchemist and Q-Tip (among others) to assist him this time around, seven of the beats on Reloaded being laced by guest producers.
Many feel that sophomore projects often define a rapper's career and determine which route he is going to take. Will he be able to match--or improve upon--his first album, or will the pressure of success overwhelm him and result in him laying an egg?
Let's see how Roc Marciano approached that fork in the road on Reloaded.
TRACK-BY-TRACK
1. Tek To a Mack
Roc kicks things off in a similar fashion to the way he started Marcberg, lacing an eerie--if not a bit unorthodox--loop that is perfectly suited for his style. If you hadn't listened to Roc Marciano's features in between Marcberg and Reloaded, you'll likely notice that his voice has changed slightly, and for the better, too. Very solid way to begin the album.
2. Flash Gordon
The first of three Alchemist beats on the project (three on the deluxe version, anyway), and it is a colossal success. The piano-sample-driven instrumental possesses a dark and introspective feeling, and Roc Marci drops some of the best lines he's ever spit. No; seriously. You need to listen to this song quite a few times to catch the punchlines, metaphors and double entendres and truly comprehend what Roc is saying. As a matter of fact, I suggest you check out the annotations at Rapgenius (love that site) to help you out. "Flash Gordon" is proof that Roc Marciano can rap about anything and make it sound elegant. This is not only the best track on Reloaded, but it was the best record of 2012. Period.
3. Not Told
Roc Marci is back on the boards for this one, and you'll likely be able to denote that the second the beat begins. This is one of two cuts on the album with guest appearances, as Knowledge The Pirate and Ka jump on "Not Told" to drop verses of their own. Knowledge dazzles with his performance, and Ka comes through with his trademark lazy, half-asleep flow that can only work for him. Roc Marciano's production is pretty repetitive and isn't all that engaging, though.
4. Pistolier
Think of "Pistolier" as the "Pop" of Reloaded, but twice as grimy. This is the second Alchemist instrumental, and it is a banger. I highly recommend that you play this in your whip and turn up the volume. Trust me. Also, Roc's "the fish scale, color Kevin McHale" line is both hilarious and genius.
5. Thug's Prayer Pt. 2
The interesting thing about "Thug's Prayer Pt. 2" is how Roc Marci's beat builds throughout. Once it finally kicks in toward the end (it's only one minute and 36 seconds long), you'll probably realize that it's the same instrumental that was used on the original "Thug's Prayer" off of Marcberg.
6. 76
This was Reloaded's second single. The production is more involved than something you would expect laced by Roc Marciano would be, and it works pretty well. Like usual, Roc's raps are smooth as butter.
7. We Ill
A lot of people gravitated toward this song when the album first dropped, but I wasn't one of them. I know Roc Marci likes minimalistic beats, but this one was a little too minimalistic, with no drums even remotely in sight. Not just that, but the sample kind of grates on the ears, which is the main problem with "We Ill."
8. Deeper
And we're back on track. This cut is awesome, containing one of the most relaxing beats your ears will ever have the pleasure of hearing. Roc Marciano sounds extremely energized as if this were his favorite song on Reloaded.
9. Death Parade
Sometimes, songs sound actually nothing like their titles suggest. This is not one of those types of songs, as Roc's piano-laced instrumental couldn't possibly be any more ghastly. "Death Parade" is freaking great, even if the "niggas don't want it like the HIV virus" line on the hook is kind of corny for a gifted wordsmith like Roc Marciano.
10. 20 Guns
After a creepier first 18 seconds than I needed to hear, Roc Marci drops one verse over an extremely refined production. This was under two minutes long, and it's a good thing, because I didn't like "20 Guns" that much at all.
11. Peru
Roc lays down what is probably the most non-confrontational beat imaginable, and it sounds pretty freaking good. Roc Marciano gets his Sean Price on, throwing a bunch of rhymes together that are completely independent of one another, and like Sean P, he manages to make it work.
12. Thread Count
Q-Tip is on the boards for "Thread Count," and he laces one of the best cuts on Reloaded. The sample is gritty, complementing Roc Marci's style very well as he glides over the instrumental like he was born for the sole purpose of spitting on "Thread Count." This is impeccable rider music. The fact that Roc says "ride to this" as he is ad-libbing toward the end only further proves my point.
13. Nine Spray
This is the only other track on Reloaded with a guest appearance, and it's Ka again. While "Nine Spray" may have fit better on Ka's album, this is still pretty solid. Ray West's beat (Roc Marci did not produce this one) is appropriately reticent, and both Roc Marciano and Ka ride it seamlessly.
14. Emeralds
"Emeralds" was the first single. Plain and simply, this knocks. The Arch Druids crafted the banging, dusty instrumental for Roc, who immediately raps about how he has "Lamborghini dreams and Nissan nightmares." Only "Flash Gordon" can top "Emeralds" on Reloaded.
15. The Man
Roc Marci lays down a soulful production for himself to rip, and he does just that. The rhymes don't actually make sense when you try to piece them together, but who cares? That's Roc Marciano's style, and he does it damn well.
*16. I Shot The King
If you have the deluxe version of Reloaded, then you'll be treated to three bonus tracks, and "I Shot The King" is the first of the three. Roc does his best to get his Twista on here (okay, not really, but this is as close as Roc Marci is going to get to doing that), and it actually ends up sounding alright. Not one of my favorite songs on Reloaded, but it's not half-bad. I could have done without the sampled hook, though.
*17. Sweet Nothings
This is awesome. The Arch Druids laced the beat for "Sweet Nothings," and they produced a joint that is ideal rider music. Possibly even moreso than "Thread Count." The instrumental is very stately, and Roc Marciano spits on it gracefully.
*18. Paradise For Pimps
The final record on Reloaded goes to Alchemist, and it sounds exactly like the title entails. Alchemist has really changed up his style over the past couple of years, and it has been for the better. His productions just sound that much grimier now. I would really like to hear an entire project from Alc and Roc.
* = deluxe edition bonus track
FINAL THOUGHTS
There was certainly no sophomore slump for Roc Marciano. As a matter of fact, he managed to surpass Marcberg with Reloaded.
As dope as Roc Marci's debut was, his second effort was that much better. He displayed obvious musical growth, from his choice of samples to his overall performance on the mic. The fact that Roc also collected a batch of beats from other producers proves that he was doing all he could to make sure that Reloaded was superior to Marcberg.
The best songs on this album are absolutely phenomenal, representing some of the best that the year 2012 had to offer. Also, while there were a couple of tracks that I wasn't really feeling, they did nothing to interrupt the consistent flow of the project, as each record transitions seamlessly into the next.
What's most impressive about Roc Marciano is the scarce features. Too many times, artists will lump together countless guests on their albums to try and make a hit, but what they fail to realize is that they are taking the spotlight off of themselves (actually, maybe that's their intention).
Roc Marci does not do that. Instead, he showcases his own lyrical talents and only permits guest verses to his own crew, and of the 18 cuts on Reloaded, there are only three such verses, two of them occurring on one song ("Not Told").
Reloaded was easily one of the best albums of 2012, and I'll even go as far to say that it is one of the top hip-hop records of the 2000s. It's that good.
TOP TRACKS
1. Flash Gordon
2. Emeralds
3. Thread Count
4. Pistolier
5. Sweet Nothings
INTRODUCTION
When I started this blog way back when, I reviewed Redman's second album, Dare Iz a Darkside. That was probably a bad idea in retrospect, as I obviously should have tackled Red's debut, Whut? Thee Album, first. Now that I have taken more of a chronological approach on this blog, I might as well go back and right my wrongs.
I did provide some background information on Redman (a.k.a. Reggie Noble) in the Dare Iz a Darkside review, so I'll save myself (and you) some time by bypassing that this time around and instead just tell you a little bit about his first LP.
Whut? Thee Album was released during a time where the New York renaissance had not begun yet. The West Coast was dominating the rap scene, with Dr. Dre putting out The Chronic that same year and Snoop Dogg's Doggystyle soon following. That's what makes Red's debut so special and important.
Produced almost entirely by EPMD's Erick Sermon (with Redman landing co-producer credits), Whut? Thee Album both revitalized and revolutionized the sound of New York hip-hop, taking elements from the 1980s and combining them with a new twist that would soon become prevalent on the East Coast.
Characterized by its witty raps and punchlines, Whut? Thee Album was only the beginning to what would become an illustrious career for Redman.
Let's get to it.
TRACK-BY-TRACK
1. Psycho Ward
An incredibly creepy intro.
2. Time 4 Sum Aksion
If this doesn't get you amped, nothing on this planet will. I really have no clue how this song, which was the album's second single, isn't still playing in clubs across the country. Then again, given the collective musical taste of human beings nowadays, I guess it really isn't that surprising. This is just awesome.
3. Da Funk
It takes nearly one minute for this track to actually drop, and it isn't really worth the wait. Fortunately, "Da Funk" is very short, so it's not like Redman extends the listener's disinterest anymore than he has to. It also ends very abruptly.
4. News Break
Skit.
5. So Ruff
Erick Sermon's beat here is similar in vein (not quality) to "Time 4 Sum Aksion," and that's always a good thing. That being said, the instrumental wasn't strong enough to truly grab my attention. "So Ruff" isn't a record I'll be coming back to anytime soon.
6. Rated R
You can't get much funkier of a production than this. Redman obviously feels very comfortable over E-Dub's beat, dropping rhymes that are simultaneously disturbing and hysterical. My feeling on the track as a song as a whole though? It's alright.
7. Watch Yo Nuggets
Erick Sermon hops on this cut with Red. The result? Decent, although it's clear as day that Reggie is miles ahead of E-Dub as a rapper. Also, man; the beats on this album are really, really dated.
8. Psycho Dub
Skit...
9. Jam 4 U
E-Dub really knew how to integrate multiple samples within his productions back then, huh? "Jam 4 U" contains a rather eclectic combination of such samples, and while they work well together on Redman's verses, they sound like an unnecessary consolidated mess on the hook.
10. Blow Your Mind
This was Whut? Thee Album's first single, and it bangs. "Blow Your Mind" will undoubtedly get your head bobbing. Props to Erick Sermon for implementing three Zapp samples into the same beat.
11. Hardcore
E-Dub's EPMP partner-in-crime Parrish Smith (a.k.a. PMD) assists on the production here, and the outcome is really, really freaking good, even if the instrumental is a tad repetitive. Unfortunately, this song runs less than two minutes.
12. Funky Uncles
Yet another skit. Redman albums tend to have a lot of those.
13. Redman Meets Reggie Noble
This is pretty damn awesome. The second Redman's (not Erick Sermon's) beat hits, you'll feel like you were teleported back in time. The good thing is, the instrumental isn't so obsolete that you can't thoroughly enjoy it today like some of the other songs on this album.
14. Tonight's Da Night
After a short break, Erick Sermon returns for this one, and he lays down a smooth, mellow production for Reggie to drop his boasts. "Tonight's Da Night" ended up being the third single, and it was a good choice. The second half of Whut? Thee Album has certainly taken a turn for the better.
15. Blow Your Mind (Remix)
The original really didn't need a remix version. That should tell you all you need to know about my feelings toward this song, which Redman produced himself. So much for that "turn for the better."
16. Sessed One Night
Including the album intro, this is the fifth skit, and there are more to come.
17. I'm a Bad
I really don't have an opinion one way or the other about this song.
18. How To Roll a Blunt
Pete Rock produced this joint (no pun intended), and what's hilarious about it is that the title isn't a metaphor or anything of the sort. Redman is seriously teaching you how to do exactly what the title says. The only thing I really came away with after hearing "How To Roll a Blunt," however, is that it definitely isn't one of Pete Rock's stronger productions.
19. Sooper Luver Interview
Told you there were more skits to come.
20. A Day of Sooperman Lover
The first of many "Sooperman Lover" tales that Redman would tell throughout his career. While this isn't bad, it isn't exactly great either, although the beat changeup in the second half of the track is pretty cool. If that instrumental was used for the entire thing, "A Day of Sooperman Lover" would have been considerably better.
21. Encore
Outro.
FINAL THOUGHTS
Listening to it today, Whut? Thee Album sounds incredibly dated. Sometimes, that's not necessarily a bad thing (see: Mecca and The Soul Brother), but in this case, the project just does not hold up and does not fully withstand the test of time.
It was obvious that Redman had ample talent on the mic even then, possessing the ability to tell a story in a hilarious and entertaining fashion while still maintaining a level of legitimate credibility. That boded well for the future, as Red was able to drop numerous good-to-classic albums after his debut. So, Reggie wasn't the problem here. Well, Reggie the rapper wasn't the problem, anyway.
The issue was Erick Sermon's beats, which Redman received co-production honors on throughout the album. E-Dub would soon change up his style and take on a more subdued production approach, something that would wholly complement Redman. Here, though, some of the instrumentals sound sloppy and are just not enjoyable in 2013.
All of that said, Whut? Thee Album certainly played a massive role in bringing East Coast hip-hop back to the forefront in the 90s, and that is something that can never be taken away from it.
Hey, this wasn't dated in 1992, and, for that moment in time, that was all that mattered.
TOP TRACKS
1. Time For Some Aksion
2. Tonight's Da Night
3. Blow Your Mind
4. Hardcore
5. Redman Meets Reggie Noble
INTRODUCTION
Almost a year to the day after the Wu-Tang Clan dropped Enter The Wu-Tang: 36 Chambers, Method Man put put the first solo disc of any Clan member: Tical.
Not that Meth's debut needed any added fuel, but the lead single, "Bring The Pain," was a pretty huge hit, providing even more hype to what was already a heavily-anticipated album.
While Tical does not get the same kind of recognition as some of the other Wu solo LPs, it is still widely accepted as a borderline classic in most hip-hop circles. I mean, the entire thing was produced by a prime RZA, so of course it's going to be good, right?
What you will probably notice about Tical is its lack of Wu-Tang features. Only Raekwon, RZA and Inspectah Deck make appearances, unlike most Wu projects where pretty much every member participates and there is usually one giant posse cut.
That being said, while it's a bit disappointing that Tical didn't include GZA or Ghostface Killah, that isn't the end of the world. After all, it was a Method Man album; not a Wu-Tang album, right?
Anyway, I probably should have reviewed Tical before Only Built 4 Cuban Linx... and Liquid Swords because it came out first, but oh well. I'm reviewing it now, and that's all that matters.
TRACK-BY-TRACK
1. Tical
The song doesn't kick in until the 1:15 mark, but when it does, you'll likely be pretty satisfied. RZA's beat actually sounds darker than anything he produced on 36 Chambers, and Method Man picks up right where he left off on the group's debut album. Thanks for not taking the easy way out and just making the first track a standard intro, Meth.
2. Biscuits
RZA's drums on this knock, but it seems like the instrumental drowns out Method Man's voice. A little bit, anyway. Meth drops some hilarious lines on here, especially when he threatens to "pull your brain out your ass with a hanger."
3. Bring The Pain
The aforementioned first single, and one of the most well-known cuts in the Wu-Tang catalog. RZA lays down a booming bassline over an uptempo production, and Method Man rides it like his life was on the line when he was recording it. This is one of those records where, if you follow hip-hop at all, you probably can recite the hook even if you hadn't listened to the song in 10 years. "Bring The Pain" is nothing short of awesome. It's really real, son.
4. All I Need
I was never all that crazy about this track. I'm sure you already know that it was promptly remixed with Mary J. Blige and then released as a single which won a Grammy, and if you didn't, well, now you do. The remix doesn't change my opinion on the song, either. It's just not a favorite of mine.
5. What The Blood Clot
Now this bangs. RZA's beat is sick, and Meth obliges with a scintillating performance of his own. The bothersome thing is that the song essentially ends at the 1:55 mark, as Method Man then goes into shoutout mode for the remainder of the record.
6. Meth vs. Chef
Take a wild guess as to who the guest is on this cut. Regardless of your prediction (and please tell me you didn't guess wrong), this track is freaking great, as Meth and Raekwon (whoops) sound incredibly energized over the dope RZA production.
7. Sub Crazy
"Sub Crazy" consists of a roaring bassline and an unorthodox "clap" over a dreary sample, and it is extremely effective. RZA's instrumental will probably break your neck, and Method Man unequivocally rips it. I just wish this were a little longer.
8. Release Yo Delf
Yes; that is Blue Raspberry interpolating Gloria Gaynor's "I Will Survive," and you know what? It works. "Release Yo Delf" was Tical's second single, and it is also the album's best song. Meth sounds like he was possessed on the fire RZA beat, making this a record that everyone needs in their pump-up playlist. Perhaps most importantly, this cut doesn't suffer from a lack of length like some of the project's other great records.
9. P.L.O. Style
The "Carlton Fisk" featured on here is not the Carlton Fisk of Major League Baseball fame, but you probably already knew that. Anyway, after the four-headed monster that was the preceding four cuts, "P.L.O. Style" comes off as a bit underwhelming. It's definitely not a bad track; it's just not one of the stronger ones on Tical. Thankfully, it doesn't run any longer than it has to.
10. I Get My Thang In Action
One of RZA's most ominous beats on what was already an ominous-sounding album to begin with. Method Man sounds appropriately inspired, and he tears the production to shreds, the fairly lame hook notwithstanding. Something you're probably beginning to notice, however, is that Tical kind of sounds like one long song. That's not always a bad thing, though, and this album is one of those "not bad" examples.
11. Mr. Sandman
A very typical Wu track. If there is a posse cut on the album, this is it, as RZA, Inspectah Deck, Streetlife and Carlton Fisk all appear. That doesn't mean this is all that good, though, because it really isn't. Not compared to the rest of the project, anyway.
12. Stimulation
This was pretty solid. RZA's instrumental, while not his best, is decent, and Meth seems just as interested as he does on the rest of Tical. Blue Raspberry makes her second appearance on the album, and she does alright on the hook.
13. Method Man (Remix)
I really don't see why Meth (and RZA) felt the need to remix the original, which is far, far superior to this boring-ass version.
FINAL THOUGHTS
There is a reason why hip-hop critics do not put Tical on the same level as Liquid Swords or Only Built 4 Cuban Linx...: because, flatly, it's not as good. That's not exactly much of a condemnation, though, as those two albums are two of the finest pieces of work in rap history.
On it own, Tical is a damn good project. It contains some of the dustiest production RZA has ever done, and from his beats, you could blatantly glean that this was the first Wu-Tang solo album without doing any research. The beats sound like a cross between 36 Chambers and GZA and Raekwon's debuts, and that is certainly not a bad thing.
Method Man is fully engaged from start-to-finish on Tical, and that may be the most important factor of the album. No matter what type of instrumental RZA provided him with, he attacked it with a ferocity that was uniform throughout the entire project. Good on you, Meth.
While you are not going to find many kids listening to Tical these days, you can see--better yet, hear--flashes here and there on the album as to why Method Man has become the most accessible Wu-Tang member. His style isn't particularly unorthodox, so he's comprehensible, and his rhymes range from hilarious to downright strange.
You need to make sure you have Tical in your collection if you consider yourself to be a fan of hip-hop, especially golden era hip-hop. People underestimate the impact that this project had on the game.
It's just a shame that Method Man has never been able to even come close to duplicating what he accomplished on his debut.
TOP TRACKS
1. Release Yo Delf
2. Sub Crazy
3. Bring The Pain
4. Meth vs. Chef
5. What The Blood Clot
INTRODUCTION
There was a time when Jay-Z was actually one of the dopest hip-hop artists of all-time. I know that's hard to believe given the utter horsecrap he has been subjecting us to ever since his return from "retirement" in 2006, but it's the truth, and Reasonable Doubt exemplifies the fact that he was, in fact, good at one point.
Jay-Z dropped his debut album in the summer of 1996, one week before Nas came out with It Was Written. Unlike today when Jay could record himself going to the bathroom and have it go platinum, Reasonable Doubt didn't move one million units total until 2002.
Think about that for a minute. While The Blueprint 3 went platinum in a month, it took Reasonable Doubt six years to achieve such a feat. What the hell is wrong with society?
Consisting of production from the likes of Ski, DJ Premier and Clark Kent, Reasonable Doubt dropped in a perfect climate: a time when Mafioso rap was at its peak. Naturally, given the overall theme of the album and the fact that The Notorious B.I.G. was still alive at the time, Jay recruited Biggie, his idol, to spit as a guest on one of the songs.
You wanna know the funniest thing about Reasonable Doubt? Supposedly, Jay-Z originally intended for it to be his only album.
Yeah; okay Jay.
TRACK-BY-TRACK
1. Can't Knock The Hustle
After a weird ass intro that interpolates Scarface, we're treated to an exceedingly laid back--and awesome--beat by Knobody, and Jay-Z instantly finds a niche on it. Mary J. Blige is here, as well, and this was back when she was establishing herself as the best modern female R&B artist in the game; not like today when she records songs with freaking Drake. Jay would never make a track like this in 2013, and it's a shame, because it's blatantly obvious that these are the types of cuts that he is most suited for.
2. Politics as Usual
Ski makes pretty solid use of a Stylistics sample here, and Jay-Z cruises along the smooth production. Definitely good rider music. Jigga just does not make ish this like anymore, man.
3. Brooklyn's Finest
When you first look at the tracklist and see that B.I.G. is a guest here, you would probably anticipate a gangsta yet quietly dignified instrumental that Jay and Biggie would slowly drop boasts over in Mafioso fashion, right? Well, that's not what we get here. Instead, we get an uptempo Clark Kent beat that sounds like it could have been of better use in Mario Kart. For what it's worth, The Notorious B.I.G. came away with the better performance.
4. Dead Presidents II
If you're wondering if there was an original "Dead Presidents," there was, and it was the first single released in promotion of Reasonable Doubt. However, it was replaced by "Dead Presidents II" with the same Ski production and different lyrics. This is considered by many to be the best song in Jigga's extensive catalog, and while I don't necessarily agree (you'll see why fairly soon), it's still pretty damn good. The beat also seems to be a staple on underground rappers' mixtapes. One thing I've always wondered, though: why is the Nas vocal sample on the hook edited?
5. Feelin' It
For some reason, this is the record off of Reasonable Doubt that still gets radio airplay. It's truly hard for me to understand why, but maybe that's just me, because this was never one of my favorite cuts on the album, due much in part to the rather dull instrumental provided by Ski. Also, what the hell happened to Mecca after this? Not that I really care all that much; just curious.
6. D'Evils
The first of three DJ Premier productions on the project, and this is quite easily the best of the three. This song is awesome, Premo's dark and thought-provoking beat giving Jay-Z the perfect backdrop to drop his bleak rhymes about the evils of the game. One of the best tracks on the album and one of the best records Jay has ever done.
7. 22 Two's
Jay-Z starts off "22 Two's" by interpolating A Tribe Called Quest's "Can I Kick It?" (which he then uses as the hook) over a pretty solid beat by Ski, leading into a freaking great performance by Jigga on the mic. Jay also took a shot at the west coast with his "too much west coast dick lickin'" rhyme. I'm sure that didn't make 2Pac feel any better about him.
8. Can I Live
Remember earlier when I told you that you'd soon see why I don't think "Dead Presidents II" is the best song in Jay-Z's catalog? Well, this is why. "Can I Live" is superior to anything else Jigga has ever put out. So, all of you "Niggas In Paris" groupies out there, blast this track in your whip and see if you change your opinion. If not, well, you know how they say there is no such thing as a wrong opinion? Well, if you don't change your mind after hearing this, then your opinion would be wrong, kind of like saying LeBron James is better than Michael Jordan. Technically, it's an opinion, but...
9. Ain't No Nigga
This cut sounds unbelievably goofy, especially after following the austere "Can I Live," but this actually isn't half-bad. Big Jaz, Jay's old mentor (they now have beef and, as far as I am aware, haven't resolved it), laces the unorthodox instrumental. Foxy Brown drops a verse on here, too, and she sounds surprisingly solid (this helped lead to her debut album which then led to...well...not much else). While "Ain't No Nigga" may have been corny within the context of Reasonable Doubt, it works.
10. Friend or Foe
I've always wished this song was longer. Much longer. This is the second DJ Premier beat, and it is very pleasing, regardless of the fact that it is just a simple Brother To Brother loop. Also, does anyone find it funny how Jigga's flow on this is fundamentally identical to the delivery that DMX would eventually trademark?
11. Coming of Age
Jay-Z's protégé (well, he was back then, anyway) Memphis Bleek makes his debut here, and while he didn't sound extraordinary, you could certainly hear his potential. You really have to wonder what happened to what looked like a promising career for Bleek. Anyway, this song is just terrific, probably the most overlooked track on Reasonable Doubt. Props to Clark Kent for what was a really engaging, soulful instrumental.
12. Cashmere Thoughts
Seriously; what in the world happened to Jay's ear for beats? You listen to the production on Reasonable Doubt, and then you hear the type of crap he raps on today, and you wonder exactly where things went wrong. Clark Kent's instrumental on "Cashmere Thoughts" is a prime example of one of those fluid, polished beats that exhibits how good of an ear Jigga used to have. It is the definition of a head-nodder.
13. Bring It On
The final Premo production on the album, and while it's decent, it's very repetitive, and it just isn't on the same level as the other two beats he laid down. Big Jaz joins in to spit this time around. Sauce Money drops a verse, too, although the only thing I remember from his rhymes is the disgusting "get fucked with pistols, just to see my shit discharge pus" line. I mean, did we really need to hear that?
14. Regrets
Some guy by the name of Peter Panic is on the boards here, and he crafts a very introspective, organ-driven instrumental for Jay-Z. The best part of this song is the hook. Other than that, it's nothing more than adequate. I will say, though, that "Regrets" characterizes a point in time when Jay actually used to spit with feeling and emotion. Now? Don't even get me started...
15. Can I Live II
This wasn't on the original pressings of Reasonable Doubt, but if you come across this album at the store nowadays, "Can I Live II" will probably be on it, so I may as well review it, right? Not that there's much of a point in doing so, because the mere idea of Jigga even thinking about trying to come up with a sequel to the O.G. version of "Can I Live" is just blasphemy. Still, he did it, and while this track isn't terrible, it's not that good, and the original makes it sound that much worse. Oh, and Memphis Bleek is here again. You probably don't care, though, nor should you, because this song was destined for failure the second it was given its title anyway.
FINAL THOUGHTS
I'll say it again: what the hell happened Jay? Reasonable Doubt is a surefire classic, far superior to anything Jay-Z has put out since. There are only a couple of songs on here that I don't really mess with, and even those tracks are better than the garbage that Jigga saturates the radio with in 2013.
I can't just blame Jay, though, as this was obviously a different time in his life. He was on the come-up back then, and, naturally, he was hungrier, still searching for that big payday and for acceptance within the hip-hop industry. That sentence looks awfully funny at the current point in time, but back then, it was true.
Jay-Z collected a bunch of instrumentals that suited him impeccably on Reasonable Doubt, each one allowing him to express a different type of emotion. It really makes you wonder why in the world he has resorted to relying on the likes of Kanye West and Timbaland to provide him with production when he can easily hit up DJ Premier and probably have the man record an entire album with him.
That, and what was with Jigga's outright refusal to work with Pete Rock up until a lone track on Watch The Throne? Now I guess I shouldn't say "outright refusal," because I don't know if Jay specifically did not want any Pete Rock beats, but what else am I supposed to think? I mean, given Jay-Z's clout, you would think that Pete Rock would send him 50 beats after one simple phone call, so why didn't he get in touch with the only producer who is better than Premo?
All of that said, it's really a moot point, and it doesn't make much sense to give it much more thought. We never got to hear Jigga over such productions in Pete Rock's prime. That's that, and it truly is a dire shame.
Almost as much of a shame as what has happened to Jay's career. He went from being one of the best hip-hop artists to ever walk the face of the earth to becoming, let's face it, an absolute joke. There is absolutely no way you can convince me that anything he has released after The Black Album is any good, save for a few individual songs here and there (like "Kingdom Come" for example; that Just Blaze instrumental...).
So it goes, I guess.
TOP TRACKS
1. Can I Live
2. D'Evils
3. Coming of Age
4. Can't Knock The Hustle
5. Dead Presidents II
INTRODUCTION
After playing sidekick to Dr. Dre on The Chronic, Snoop Dogg put out his own solo album, Doggystyle, in 1993. Produced exclusively by Dre, it was similar in tone to Dre's debut, but much more advanced musically and sonically.
Doggystyle was the first installment of what would become an extraordinarily profitable career by Snoop Dogg, and to this day, it remains--and forever will remain--his crown jewel.
This was a time when Snoop actually used to care about the quality of hip-hop. It's not like now where he stamps his name on an album comprised of, let's be honest, trash (a reggae album? Seriously Snoop?), and hopes to succeed off of the popularity off one or two singles.
No; Doggystyle was a legitimate hip-hop record, one that further advanced the state of west coast G-funk and catapulted the status of Dr. Dre in the production world.
Doggystyle has been certified quadruple-platinum, and it represents Snoop Dogg's best-selling project to date.
Of course, in 1993, Snoop was known as "Snoop Doggy Dogg," so I guess there was at least one downside to Doggystyle.
Anyway, let's actually review the album now, because I don't think you need any more background information on one of the most well-known artists (not rappers; artists) around.
TRACK-BY-TRACK
1. Bathtub
Intro...
2. G Funk Intro
This is technically a song, but you know what? Snoop Dogg doesn't even drop a verse. Instead, it's Lady of Rage who actually raps. It's a shame, too, because Dr. Dre's beat is sick. Way to waste a perfectly fine instrumental, Snoop.
3. Gin and Juice
The second single, and Doggystyle's most popular song. Actually, this might be Snoop's most popular song period. That's for good reason, too, as this track is awesome. Dre's production is outstanding, sounding far more advanced than anything he laced on The Chronic. You know what else is awesome? David Ruffin Jr., yes, the son of the deceased legendary lead singer of The Temptations, sings the hook, and he made this cut even better.
4. W Balls
The hell kind of skit was this?
5. Tha Shiznit
Another outstanding instrumental by Dr. Dre, but Snoop raps like he is half-asleep. Even with that, this record still managed to sound really freaking good. Plus, no one really listens to Snoop Dogg for his technical rap skills--or lack thereof--anyway.
6. House Party
Skit.
7. Lodi Dodi
Dre's beat here is just plain old goofy. It still works, though, and it fits Snoop like a glove. It doesn't, however, fit guest female singer Nanci Fletcher, and yet, she still sounds good over it. Weird. That being said, this track was a bit too long, and let's be real: it was strange. And no: Biggie did not steal his hook for "Hypnotized" from "Lodi Dodi." Snoop originally took it from Slick Rick, and so on and so forth.
8. Murder Was The Case
Easily the most combative beat on the album, and even though I usually love aggressive productions, I wasn't all that crazy about "Murder Was The Case." I don't really have much else to add, and I'm sure most of you disagree.
9. Serial Killa
This is the best song on Doggystyle and the best thing Snoop Dogg has ever done. Dr. Dre's instrumental bangs, and the guests, especially Tha Dogg Pound, tear it to pieces. I have also always loved the hook on this, regardless of how simplistic (and kind of morbid) it is. "Serial Killa" is just ill. That's it.
10. Who Am I (What's My Name)?
This record is just great in all aspects. Dre's beat is phenomenal, and Snoop rides it seamlessly. The interpolation of George Clinton's "Atomic Dog" also suits Snoop Dogg pretty damn well, don't you think? This embodies rider music in all its forms (not that it has "forms," but you get the picture).
11. For All My Niggaz & Bitches
Kurupt owns this cut, demonstrating why he was the best pure rapper to ever be on Death Row. Considering that Daz Dillinger drops a verse and that Snoop isn't even on here (unless you count what are essentially ad-libs he drops at the end), you have to wonder why this wasn't saved for Tha Dogg Pound's first album, but whatever. Dre's beat is pretty engaging, and Tha Dogg Pound and Lady of Rage hold it down.
12. Ain't No Fun (If The Homies Can't Have None)
This is another one of those cartoonish Dr. Dre instrumentals, and it is freaking great. Nate Dogg's incredibly over-the-top misogynistic first verse aside, this was just awesome. Just like any other record that Kurupt was on during this time period, he walks away with the best verse, even if it wasn't one of his greatest lyrical performances (not that this song was about good lyrics, anyway). The hook is also catchy as hell.
13. Chronic Break
Another skit.
14. Doggy Dogg World
The Dramatics, of all people, serve as guest artists on this track, and hearing them croon "it's a doggy dogg world" on the hook is both disconcerting and hilarious at the same time. Tha Dogg Pound makes another appearance, too, and, as per usual, Kurupt comes more than correct. Dre's beat is cool, as well, particularly the piano riff that he laces throughout the instrumental.
15. Betta Ask Somebody
You know what I need to ask somebody? Why the hell rappers insist on littering their albums with basically useless skits.
16. Gz and Hustlas
My least favorite song on Doggystyle, and by a pretty considerable margin, too. I just wasn't feeling Dre's production at all, and not even a fairly addictive hook by Snoop could save it.
17. U Betta Recognize
I'll tell you what I do recognize: that three of the last five tracks have been freaking skits.
18. Gz Up, Hoes Down
Due to sample clearance issues, this song is no longer on pressings of Doggystyle. It was, however, on the original ones, and good thing, because this record is really freaking good. Dre's beat, containing the same sample that Irv Gotti used to make Jay-Z's "Can I Live," does not even remotely sound like a west coast track usually would, but Snoop sounds perfectly comfortable rapping on it. A dude named Hug sings the hook, and he does an outstanding job, making me wonder why he was never heard from again afterward (unless he was; you tell me). I just wish this cut was a little longer, because it really is great.
19. Pump Pump
A 50-second long skit starts the song. Way to sneak that one in there, Snoop. Anyway, this track is pretty damn good, having an uptempo Dre beat that Snoop does a fine job adjusting to. The hook was kind of lame, but "Pump Pump" is good enough as a whole to ignore that. Plus, how about that Lil' Malik kid rapping the second verse? He sounded pretty freaking solid. I wonder what became of him, because if something did, I didn't know about it. Nice way to close out Doggystyle.
FINAL THOUGHTS
Let's cut through the meat and get right to it: Doggystyle is awesome and is deserved of every bit of praise that has been heaped upon it over the last two decades.
To me, this album was a hell of a lot better than The Chronic, as the raps were significantly sharper (no surprise there) and Dr. Dre's beats were far superior to the ones he did on his own debut solo LP.
There really isn't a dull moment on Doggystyle. Snoop sounded comfortably loose over every one of Dre's instrumentals, and the guests (especially Kurupt) do their thing throughout.
There is something for everyone on this album. You have the true gangsta tracks, the party songs and the records where Snoop Dogg just goofs off and decides to have some fun.
If you've listened to Doggystyle, then you obviously understand what I've been talking about. If not, then I have no idea what the hell you are waiting for. Give this a spin now, and it will probably change your life for the better.
It's just a shame that Snoop's career has become such a joke nowadays. He put out some decent songs here and there after Doggystyle, but no album he would release afterward would even come close to matching the overall genius of his debut.
Then again, you can say that about most hip-hop artists from the golden era.
Oh well. You might as well relive Snoop's (and rap's) glory days and listen to Doggystyle again like I just did.
TOP TRACKS
1. Serial Killa
2. Gz and Hustlas
3. Who Am I (What's My Name)?
4. Ain't No Fun (If The Homies Can't Have None)
5. Gin and Juice
INTRODUCTION
Fresh off of his remarkable success with N.W.A., Dr. Dre decided to go his own route and form the famous Death Row Records. Of course, we all know the most influential album to ever come out of that record label: The Chronic.
Released in December of 1992 off the strength of its hit single "Nuthin' But a 'G' Thang," The Chronic became an immediate triumph. By November of '93, it was already certified platinum four times, with all three of its singles flying up the charts on Billboard. Dr. Dre's debut solo project also massively helped in giving birth to a new style of hip-hop: west coast G-funk.
The Chronic was the first of a wave of hit records to drop out west during the early-to-mid 90s, with Dre heavily influencing the soon-to-be successful careers of Snoop Dogg, Kurupt and Daz Dillinger (who came to be known as Tha Dogg Pound), Warren G, 2Pac and the like.
Of course, Dr. Dre didn't just stop there. He would later discover rappers such as Eminem and 50 Cent and would eventually play a significant role in the career of Xzibit.
Plain and simply, it seemed that everything Andre Young touched turned to gold back in the day, and even though he is far past his prime at the current point in time, his legacy lives on forever.
That being said, if you're still waiting for Detox, then I've got an island to sell you, and it probably won't be ready for another 10-15 years (at least).
Anyway, The Chronic is considered a staple in hip-hop history and a must for every rap fan's collection. Is it as good as everyone says it is?
Let's see.
TRACK-BY-TRACK
1. The Chronic (Intro)
Well, there's that.
2. Fuck Wit Dre Day (And Everybody's Celebratin')
The first actual song on The Chronic is a banger, introducing you to what west coast hip-hop would song like for the next several years (well, the next several years after '92, anyway). Snoop Dogg guests here, and get used to it: you're going to see an awful lot of him on this album. This track works in every way possible.
3. Let Me Ride
Some people say this is one of the best beats ever made. While I won't go that far, it's definitely really good, epitomizing one of those types of records that you blast with the windows down in the summertime. The trademark west coast synthesizer on the hook does get a bit irritating, though.
4. The Day The Niggaz Took Over
This actually doesn't sound like much of a west coast track at all. Dr. Dre's instrumental sounds like something that a producer from Diggin' In The Crates would have laced. Once you hear Snoop Dogg, though, you'll quickly remember that "The Day The Niggaz Took Over" is, indeed, an L.A. cut through and through. Oh, how good is the song, you ask? It's definitely nothing special, especially with the constant background skits interrupting the instrumental throughout.
5. Nuthin' But a "G" Thang
Okay, seriously, who doesn't love this song? That is all.
6. Deeez Nuuuts
Dre's beat on this bangs, and despite the fact that the title of the record is absolutely awful and that the lyrics are pretty freaking bad, "Deeez Nuuuts" works, thanks in part--actually, thanks only--to the instrumental and the overall mood of the track. Nate Dogg's crooning adds a cool element, as well.
7. Lil' Ghetto Boy
This cut is the most serious in tone on The Chronic, from Dre's production right down to Snoop's lyrics. Sadly enough, the sternness of "Lil' Ghetto Boy" renders it somewhat boring.
8. A Nigga Witta Gun
This is the only song on the entire album where Dr. Dre is all by his lonesome, and while you would think that could potentially be a terrible thing given Dre's lack of prowess on the mic, this actually wasn't bad. The beat is fairly engaging, and Dre sounds fine enough on his own. Still, once you reach the record's conclusion, you'll realize that "A Nigga Witta Gun" is pretty repetitive.
9. Rat-Tat-Tat-Tat
The Chronic sounds re-energized here, as Dre's aggressive production on "Rat-Tat-Tat-Tat" is pretty solid, and the hook is damn catchy. As I'm sure you're beginning to denote, the content on this album is very uniform throughout. Not that that's a bad thing, though.
10. The $20 Sack Pyramid
You know what I hate? Skits. You know what I hate even more? Skits that run nearly three minutes long.
11. Lyrical Gangbang
The fact that Kurupt absolutely tears this track a new one aside, Dre's instrumental wasn't all that impressive here. Dre doesn't rap on this cut, either. Not that some (okay; most) of you will be disappointed about that.
12. High Powered
I've always said that I really hate it when artists waste hot beats on skits, and that is essentially what happens on "High Powered." Dr. Dre's production is fire, but it takes one minute and 15 seconds for the song to actually start, and by "song," I mean one terrible verse by RBX. Oh well.
13. The Doctor's Office
Another skit...
14. Stranded On Death Row
Now this is sick. Kurupt, RBX, Lady of Rage and Snoop Dogg all rip what is an outstanding beat by Dre, with Kurupt working away with top honors. Easily one of the best songs on The Chronic.
15. The Roach (The Chronic Outro)
Four minutes and 36 seconds of a glorified skit? The hell is this Dre? I also fail to understand why the "outro" comes before "Bitches Ain't Shit," but hey; it's not my album.
16. Bitches Ain't Shit
That brings us to one of the most--if not the most--misogynistic songs in what is generally a misogynistic genre of music to begin with, so that's saying a lot. While Dre's instrumental is really freaking good, I just can't bring myself to like this track because of the lyrics. Sorry.
FINAL THOUGHTS
Crucify me for this if you want, but I think The Chronic is an overrated album. That's not to say it isn't good, because the best songs on here are really freaking incredible, but as far as ranking it in best-of-all-time discussions, it doesn't hold a candle to the Illmatics of the world.
Maybe it's because I'm not the biggest fan of G-funk, but as a whole, The Chronic just doesn't hold up all that well for me, and a lot of that has to do with the fact that, outside of a couple of verses by Kurupt, no one on this project is coming through with any sort of groundbreaking lyricism.
Dr. Dre is certainly a musical genius and a tremendous businessman, and I can definitely see why The Chronic is so beloved in most hip-hop circles. However, to me, some of the beats felt like they were missing certain elements. Again, some of the instrumentals were awesome, but in the end, I was left feeling a bit underwhelmed.
To me, Dre did a much better job on Snoop Dogg's debut solo LP, Doggystyle, an album which I will get to promptly. The instrumentals on that project felt much more complete and much more well-rounded.
To conclude, I will say that The Chronic, even though I wasn't that crazy about it, was certainly one of the most influential pieces of work in hip-hop history. It served as the impetus to a period of west coast dominance, and let's face it: without Dre, there is no Snoop (not the Snoop we came to know, anyway) and probably no Kurupt/Dogg Pound. Plus, Dre played a significant role in the release of 2Pac's most popular album, All Eyez On Me.
So, while The Chronic may not have been what many drum it up to be musically, its impact on rap cannot be denied. That's for damn sure.
TOP TRACKS
1. Nuthin' But a "G" Thang
2. Fuck Wit Dre Day (And Everybody's Celebratin')
3. Stranded On Death Row
4. Deeez Nuuuts
5. Let Me Ride
