Archived February 8, 1997

Group Home: East New York Theory (white label)

F---in nice. Pras might claim that w/o Primo, Jeru can't sell it, but Group Home does just fine without the able production skills of Premier. The track is smooth and jazzy...very distinctively different from the strong kick/snare combos that we're used to, but buuuuuuuuutter nonetheless. And sh*t...if that's Melachi on the track, I might just reevaluate whatever I said about him in the past. Both lyricists on this cut sound tight, especially in conjunction with the music. This is out now in finer hip hop stores.


Buckshot: I Ain't No Joke (on Funkmaster Flex: The Mix Tape Part 2-Loud Records)

This new cut is a remake, but not a cover, of Eric B and Rakim's song of the same name...down to the beat. The moment Buckshot intones, "I ain't no joke" and the beat hits, you're thrown for a minute, hearing Rakim's words, but having his bass tones replaced by Buckshot's rough edges. I don't know if everyone's going to like the song, insomuch that it doesn't sound like the old Black Moon (circa 1993). But to me, sh*t's fly as hell, regardless.


Defari: Change and Switch (ABB Records; n/a on vinyl)

Likely to be the first release on the new indie label, ABB, Defari was feat. on the massively over-promoted Immortal Records' unsigned compilation from a year back. Defari's flow is interesting...he doesn't rush the track, instead he kind of melds into it. At times, it's kind of jarring b/c he takes long pauses in order to keep the beat...whereas most contemporary MCs would cram some verbals into the same space (Saafir for instance). However, the song is overall, quite engaging...using a nice, string-flavored track to set it off jazzy-like. Look for this to come out later this year.


Redman: Whateva Man b/w Buddah Smoke

Not one of my favorite choices from "Muddy Waters", "Whateva Man" isn't a bad choice though. I am a little curious about whether or not Def Jam is trying to push radio play on "Buddah Smoke" though since it's liberal borrowing of Rick James' "Mary Jane" is sure to light up the urban contemporary format something lovely. So where the remixes at?


Chino XL: Rise b/w Jesus/Ghetto Vampire (American AMR-PRO-0051)

What was I saying about Chino being kind of played out? Well, I don't take it back entirely, but I am impressed by his latest collabortion with Kutmasta Kurt (who Kool Keith has all over "Sex Style"). "Rise" was an interesting selection off the album, not one of my favorites, but an interesting strategic choice for what amounts to Chino's FOURTH single released from his "Here To Save Us All" LP (as a comparison...Common only released TWO singles from "Resurrection"). The B-side has his equally interesting, and rather metaphorically compelling "Ghetto Vampire". However, the real gem on this clear vinyl (at least the promos are) is the new cut, "Jesus"...where Chino breaks even more taboos by likening himself to Christ: a man who died for his sins even though he was trying to "save us all". Interesting analogy right?

Anyway, for one thing, Kustmasta's production is nice: minimalistic and rough...using the same beat that Large Professor made notorious on "Live at the BBQ". Rhyme-wise...Chino's still smacking up folks with punchrhymes...Tupac gets a special mention...twice on this cut, as does Muhammed Ali, Marlon Brando, and other assorted victims. I still think an ALBUM full of punchrhymes is more than I can take, but on a keen single, like this one...the elements come together well. Chino fans will NOT be disappointed and those lukewarm on him will still find things to smile about...here's a sample, "I'll make Makaveli sound like the Macarena."


Outkast: Jazzy Belle (LaFace LFDP-4225)

You'd think ATLiens would have sold well enough for Outkast to press up some remixes of SOMETHING besides "Elevators". Oh well...this latest, smoothed out release from the album is cool and all, but for fans of their LP, it's not much new besides an instrumental and acapella.


Rampage: Wild For Da Night (Elektra ED-5897)

Well...after burning up (or burning out depending on your perspective) cameos on Busta's album, looks like Elektra is ready to start preparing the world for the last Boyscout's first album. This new cut has a track that sounds like Mobb Deep-lite...piano-flavored...and maybe in the hands of another lyricist, it could have really gone somewhere. But Rampage comes off sounding a LOT like Pras' younger brother in both voice and flow. You can guess where I could go from there. Bottomline, for all that Busta's doing to support (including contributing his ramblings on the intro and chorus)...you still have to be able to stand on your own two. This cut could have been called "Mild For Da Night" instead.


Bounty Killer w/ the Fugees: Hip-Hopera ("Mr. Punk") (TVT TVT-1011-OP)

When Biggie was at his high point, he was like Midas...and every artist wanted to be touched...hence, his billion and one cameos. Well, the winner, by far, for 1996 and a little beyond has to be the Fugees. Fresh off cameos with Kulcha Don, Forte, "Rumble in the Jungle", Poor Righteous Teachers, and whoever else I forgot, the Fugees now show up with Bounty Killer on a most unconventional dancehall/hip hop cut. Hip Hopera is a play on opera, which is what the production sounds like it's trying to do...it actually sounds just a little like the beat on "Affirmative Action", but nowhere as smooth. Three words: Wyclef singing opera. Sorry, but while I might credit this with good effort, the result meets with great resistance from me.


Babigezus w/ Greg Nyce: Can't Hold Us Down b/w remix (Paper Music PAP412)

This is the type of 12" that you should really listen all the way through before you pick it up...at least I should have done it. Look, I'm not expecting Greg Nyce to go out and blow my mind lyrically, but while his last Paper Music project sounded fine...I do NOT need to listen to him rhyme, "Freak, freak ya'll, I wanna get buck naked" over and over. Believe that. Otherwise, it's a nice party track...smooth bassline and drum loop makes for some good booty shaking and bouncing. Same goes for the b-side remix, but Greg Nyce just needed to ease off that wack hook on the chorus. It's a shame too b/c Babigezus comes off kinda nice (though his name needs ta go). There's also a ragga track for folks too, but it ain't that big o' a deal.


Big Jaz: Waitin b/w Foundation (Bulldog PVL53255)

Ah...Big Jaz aka The Jaz returns to us from the shadows of hip hop past. Hey, I know he put Jay Z on the map back in the day, but yo...is it mee, or does he sound a LOT like Jay Z now? I could be wrong, but I don't think he had that same flow back in the day. I'm not suggesting anything, but you tell me... Anyway, "Waitin" is a typical waste of an A-side, trying to snag that crossover audience, but with not much to hold on with. It's really the B-side that blows the doors off this 12". Feat. Jay Z, Sauce Money and Tone Hooker, the Ohio Players sample that powers this track is just f---ing electric. Definitey some head nod sh*t and the perfect match for both Big Jaz and Jay Z's lyrics... which offer a really scary comparison in flow similarity. It's like putting Lord Finesse and Big L up against one another. Personally, I'd like to know why Sauce Money is getting put on? He's like Sean Black on Sadat's LP...if Mobb Deep wants to talk about some "love sh*t", they should as it about crews putting their less talented homeboys on. No matter, the first half of this song is dope enough for the whole 12".


Company Flow: Infokill b/w Population Control (Official OFF1202)

Ah...the golden boys of indie labels are back again... Co-Flow is never going to make it into club play, but I guess that's ok right? "Infokill"s somber track, overlaid by their Redman scratch and the typically cerebral lyricism of Co-Flow ends up with another bugged out cut. I wasn't as into it as other Co-Flow sh*t, but maybe it's b/c I wasn't digging on the groove. "Population Control" begins with a long acapella rhyme session that sets it off for a very simplistic track of drums and noise. Vicious like Sid. "Independent as f---" declares the label. That's the exact attitude you'll get on this 12".


Crooklyn Clan: Tha Doin' It EP (AV8 AV21)

My first real disappointement from the AV8 label in a while. It's a formulistic package, but somehow, looping LL's "Loungin" remix wasn't my idea of what I wanted to hear. The other A-side track is just a series of familiar drum breaks...played for 16 bars. For one thing, it's been done, for another thing, it's boring...c'mon now, Crooklyn Clan couldn't do more than that? The B-side, "N.Y.S. Theme" is some standard, "NYC is da best" fare...and it' s ok, using the bassline from MOP's "Do You Want Some Hardcore?" However, the other track is a dub of the first...can someone say, "Lazy"? Yaaaaaaaaawn.


Foundation and Rezidue: Boogie Down's Got the Flavor b/w Don't Get It Twisted (Database DB5364)

Oooh...a VERY smooth and jazzy A-side. Not the typical boogie down Bronx anthem, this track doesn't need to talk gats and smack to big up Uptown. ..it does its duty with a distinctively likeable production job. Lyrically...the group isn't that engaging...kind of simplistic, 4 bar rhyming...not bad, but not that memorable. This comes through as a liability on the B-side that has a similarly jazzy track, but is nowhere as nice as the A-side...and the lyrics come off as much weaker. I'd still recommend this butter for the A-side though.


Fugees w/ ATCQ, Busta Rhymes and Forte: Rumble in the Jungle (DAS)

So here's the track that's been making noise. An interesting collection of MCs...the Fugees haven't cameo-ed with anyone as big named as Tribe yet...and I guess Busta is cons idered in the same circles (but who the f--- is Forte)? No Jeru disses by Pras this time around, and yes, Lauryn sings on the chorus. The beat is ok...not as interestering as other Fugees productions. All in all, it's a decent track...but I didn't like it as much as the Fugees' "Don't Cry Dry Your Eyes" or Q Tip's pairing with Busta on "Wild Hot". Still, it's probably worthwhile for the fact that it puts Wyclef, Pras, Lauryn, Phife, Q Tip and Busta together on one track...kind of like "The Score" meet s "The Scenario". BTW, it's off of the soundtrack of "Muhammed Ali: When We Were Kings". I have a CD copy, and I'm not sure if it's going to be on vinyl (though with that lineup, I'd expect it to be).


MF Grimm: Get Down b/w Emotions/Int'l Rules (Dolo DOL0224)

Stretch Armstrong's Dolo label is expanding out with its second act, MF Grimm. Lyrically, it's not on that gun clap posse style that Hillfiguz was kicking (which is a good thing)...M F Grimm is worth checking, though I don't think he's got skills out the ass or anything. "Get Down" works from a combination of good flow and smooth production...it's not soft, just mellow. "Emotions" has gotten the accolades of other writers, and while the lyricism on there is more forceful, I couldn't really get too far into it. "Int'l Rules" was a disappointment...the topical content was your standard "get money" sh*t done in the same ol, same ol way. Kind of a boring track too. Even so, I think " Get Down" was worthwhile...and it's interesting to watch how labels like Dolo and Fondle 'Em develop talent...you'd assume that peeps like Bobbito and Stretch should have a good ear for talent compared to the typical flash-in-the-pan major A&R.


Mr. No-No (aka Saafir): In a Vest b/w Just Riden Remix (Hobo HJ0011)

Die hard Hobo Junction/Saafir fans have already heard this cut...it was on a Hobo Junction tape months ago. Well, looks like Hobo have entered the indie game with their own label, and this is the first song I've seen off of it. I'm not sure why Saafir is going under the name of "Mr. No-No", though I suspect he might be on some Kool Keith sh*t in trying to fake out other labels (though I think he was dropped from Qwest). Anyway, "In A Vest" wouldn't be a bad song except for two thinngs: 1) a horrible hook..."I'm in a vest, yes, I will not be taken out...and if you aim for my head and you miss, then you dead." Whateva man. Sh*t's weakola. Same goes for the beat...I understand it's on that 4-track, in the basement type sh*t, but it's just not very engaging regardakola. Same go es for the beat...I understand it's on that 4-track, in the basement type sh*t, but it's just not very engaging regardless.

The B-side remix of "Just Riden" totally rips up the mellowness of the original. Saafir comes out in full battle gear for this sucker and Jay Z (not of "Reasonable Doubt" fame) sets up a sinister, low end track to complement the Saucee Nomad's hunt. Hobo fans, no doubt, will want this one...and while it's not the best comeback vehicle for Saafir, it's worthwhile.


The Funky Men (aka Lord Finesse): Check The Method b/w Do Your Thing (White Label 0456)

Another label evasion tactic with the name change? Dunno...but regardless, Finesse makes up for some loss ground after his less-than-stellar EP "comeback". Just give the Funky Technician a smooth, jazzy track and some punchlines to work with...and the man goes to work. Don't complicate that sh*t too much and it's all love-love. That's why "Check the Method" works pretty well...good elements are all there. The B-side feats. a track that was on the EP, but has Diamond D sharing mic work with Finesse...not a bad cut, but not that exciting musically. A good selection for Diamond fans.


Artifacts: The Ultimate (Big Beat DMD 2335)

O-D.U.B.: I guess I was a little early in calling this cut "slept on" since it looks like Big Beat might make this their next commercial release, in anticipation for their new album, "That's Them". It could be another promo, but then, why would they pay for Showbiz to remix it? That's right folks, Showbiz shows up to remix this puppy and my original review wasn't very positive on it, but after a re-listen I recognized where I went wrong. Baby Paul's original treatment was already dope and a half...a great bumpy bassline with some spitfire lyrics by this duo from tha Bricks. What Show did was take it a different area...it's not as bouncy, but it shifts into a more cerebral mode, helped by new lyrics from the Artifacts. A different flavor than the original and equally compelling.< p>


Assorted Phlavors: Make Up Your Mind (Hall of Fame EAS 9139/CSS 9139)

O-D.U.B.: Ah...very clever...spell "flavor" with a "ph". Ho ho ho...how original, almost like fat spelled "phat" right? Well, at least we know Big Daddy Kane is doing other things besides reliving past glory on recycled cuts like "The Cypher 3". He cameos on one of the remixes...which doesn't have much going for it (including the cameo). The "Hip Hop Drop" remix uses the ever-popular, "Get Money" loop, which might make this 12" a nice find for those DJs looking for some hip hop powered R&B sets.


Blahzay Blahzay: Blah Blah Blah b/w Don't Let This Rap Sh*t Fool You (Fader PR1 233-3-1)

O-D.U.B.: Quickly fading into the "has-been" category...1995's rap wonder Blahzay Blahzay hasn't exactly come wack...this new single has the best (arguably) album track that hasn't already been released. It has all the right touches to make a good song, including PF Cuttin's welcome scratching. But perhaps "Danger" set up an unrealistic expectation by folks, the album has sunk, and with it, carried people's interest. I've heard nada from this particular 12" on either commercial or community radio, and while I like the 12", it's not strong enough to revive what I consider to be lost interest.


Delinquent Habits: Underground Connections b/w Another Fix

O-D.U.B.: Hurricane G does have an...um... distinctive voice, but that doesn't mean it's all lovely. Her hook, "I don't give a f---" sounds a lot like Boss on a bad day. And yo, doesn't that beat sound like that "Green Island" track on Redman's second album and sh*t? Sen Dog does ok, but it's not giving me Cypress Hill flashbacks. Low octane.

The B side has the right bassline, but the wrong drums, turning a promising track into an overproduced atttempt at a dance cut.


Ice Cube: The World Is Mine (Jive JDCD 42398)

O-D.U.B.: As if Westside Connection didn't already have us bowing down to Cube's gangster sermonizing, he's gotta come solo with a cut off of the "Dangerous Ground" soundtrack (that's right folks, ANOTHER hip hop soundtrack is on its way). On second thought, maybe the Westside Connection wasn't so bad...at least they knew the right beats to drive by with. Cube's self-produced track doesn't offer much to get into, and his lyrics are about par with that...provided, he's not slurring or tweaking the echo effect as much, but that still doesn't mean he's dropping mad phlavor (see above review) on the mic.


Jay Z: Feelin It b/w Dead or Live Pt. 1 (Roc A Fella SPRO 30127)

O-D.U.B.: While not my first choice for the third (fourth?) single to be released from Jay Z's "Reasonable Doubt" album, the cut's not bad at all, especially if you let go of your conditioned distaste of Jay Z and let yourself sink into the lyrics and beats. The A-side features new lyrics over the same beat. Real Jay Z fans will probably dig on the previously unreleased B-side "Dead or Live Pt. 1" featuring, Sauce Money (who also appears with Jay Z and Big Jaz on "Foundation)...but everyone else is advised to not give it too much thought. Mostly, it's the beat that kills any interest. Using the same sample that Grand Puba fell flat all over on (it was on his first albu), what makes Sauce or Jay figure they can come doper? Funny that Jay should mention "Hawaiian Sophie" during the song...this new track sounds like it was produced in that era.


King T: Str* Gone (Aftermath INT8P)

O-D.U.B.: Well, King T is the latest cat to join Dre's swelling ranks. Unfortunately, this new single just isn't doing it for me on too many levels...I was a fan of King Tee dating back to his "I Got It Bad Ya'll" days, through his last album which actually had some decent sh*t on there. This new single has all the drab phlavor (my new catch word!) displayed on most of Aftermath's projects. Did Suge's constant threats inspire Dre to make better beats or what?


Mama Mystique feat. Q Ball and Curt Cazal: Tremendous (Bulldog PVL 53262)

O-D.U.B.: Everyone wondering what happened to Q Ball and Curt Cazal need to not fret any longer. Mama Mystique (hey, is it just me or is there an eerie resemblance b/t her and Mother Superia? What's up with the maternal connection in hip hop?) featuress the two on her new cut, "Tremendous". Even though production credit isn't given, I'll lay even money that Q Ball and Curt are behind the music on this one that features a lot of the same elements on their last (and only) single. Nice snares. The remix isn't an improvement, though it does offer a different take on the song and will appeal to others.


Siah and Yeshua dapo ED: EP (Fondle 'Em FE005)

O-D.U.B.: Yow! My pick for the best new indie release since Natural Resource and J Live put out their butters. Siah and Ed's six cut EP features the incredible, 11-minute "Day Like Any Other"...the type of lyrical and musical tour de force that has long been missing from hip hop nowadays. These two Brooklyn-ites (and Jewish at that) really set sh*t off lovely, both on the mic and on the board, with jazzy tracks and a spontaniety that reminds me of the same kind of vibe that the Pharcyde could inspire back in the day. Bobbit's Fondle 'Em label is really racking up the butters...this latest release is no exception.


Us Plus One: Getting Lyrical b/w Poets Get Lyrical (Swirl World SW 80003)

O-D.U.B.: This gets a vote for being slept-on...I think "Murder Me" is what more folks have turned themselves onto, but this earlier track by Us Plus One had a lot going for it. The lyrics aren't mind-blowing, but they are enjoyable...moreover, the beat, all bassline and splices of samples, is easy to get into. The nicest touch is the sampling of an OLD oldies cut that should be familiar to a lot of folks. The B-side's beats aren't as good, but they turn up the static vibe one notch with a busier track and more intense lyrics from the Us Plus One crew. While bad distribution and promotion might have set the hip hop audience off on Sominex, it's time to wake up out of the stupor and give this 12" a try.


Aphillyation: United Snakes of America/Had R.E.M./Pupetmaster (Universityle ECHO 2278)

O-D.U.B.: I was expecting this 12" to be banging: some of Illadelph's finest on wax? Including Dice Raw of the Roots' fame? But I found most of it uninteresting...the beats were noisy, but not engaging...and the lyrics didn't strike me as anything special. Te best cut is "Had R.E.M"...dark, vibe-y, it's got the right groove to give the three MCs the opp. to just flow over it.


ATCQ w/ Common Sense: The Remedy (from the Get On the Bus sndtrk) (Interscope INTD/C-90089)

ATCQ w/ Busta Rhymes: Wild Hot (from the Rhyme and Reason sndtrk) (Priority SPRO 30124)

Mic Geronimo: Unstoppable (from The Fan sndtrk) (Blunt TVT 8062)

O-D.U.B.: The evolution of hip hop in soundtracks has followed a strange path. Time was when 1) songs on a soundtrack were actually IN the movie (vs. "inspired by") and 2) hiphop songs on soundtracks were not always the artist's best work.

Nowadays, soundtracks are marketing tools in conjunction with the movie, but not necessarily IN the movie. I mean, how many hip hop songs were banging in "Get On the Bus"? And I'm pretty sure "High School High" didn't have 16 songs playing through it, despite the long soundtrack. The other big change is that soundtrack songs are now actually pretty damn good, elevating the soundtrack cuts from the superficial to the sought-after. The three cuts I've got here, The Remedy, Wild Hot and Unstoppable are prime examples of that.

ATCQ is no stranger to the soundtrack song...so far, I count: "Hot Sex" (Boomerang), "Glamour and Glitz" (The Show) and "Peace, Prosperity and Paper" (High School High), plus now: "The Remedy" and "Wild Hot". "The Remedy", feat. on the "Get On the Bus" soundtrack is a pairing with Common. Is it me or this Chi Town talent cameoing with everyone nowadays? In any case...the song is not one of Tribe's more memorable production jobs...it's quaint certainly, touched with keys and strings, but it's light and mild. Both Q-Tip and Common come with good verses though and while this cut won't be rocking the club scene, it's well worth a listen.

"Wild Hot" represents the fifth pairing of Tribe with the former Leader of the new School. Featured on the yet-to-be-released movie, "Rhyme and Reason", the song comes with some down home funk thanks to the main guitar sample, plus the fierce lyrics of both Busta and Tribe. It's the best song on the eight song sampler, even outdoing the Blastermaster himself (see "Bring It On" below).

As for "Unstoppable"...the sh*t is simply on fire. Blunt, for all its problems, still knows a fat cut when it hears one (see Royal Flush's "Rotten Apple" for another example). I mistakenly said, last time, that "Rotten Apple" was produced by Pete Rock...instead, it's "Unstoppable" that's the Soul Brother #1's work and Pete Rock comes with a fierce track powered by a dope bassline and ill piano loops. Mic Geronimo is still "The Natural" on the lyrical tip...all together, one of better cuts I've heard in a while.


Bush Babees: Love Song remix

O-D.U.B.: Lyrically, the remix is hard not to like...when's the last time you heard a bad De La cameo? Musically, I thought the original version swung better, but the hard-hitting drum track on this one lends itself more to a head's appreciation than a dancer's.


Camp Lo: Luchini b/w Swing (Profile PRO 7458-0)

O-D.U.B.: If Profile does anything on point, it's being consistent. I don't know why they're so insistent on working the crossover-A-side-with-dope-B-side tip...seriously, this is at least the sixth example off of Profile this year where the A-side seems to be a throwaway track, but the B-side kicks more flavor. Provided, "Luchini" is better than most of Smoothe da Hustla's A-sides, but it sounded like some Lost Boyz sh*t. The B-side is worth talking about if only b/c it features Butterfly from Digables Planets. However, the beat itself rocks, simple, but with a helluva snare hit that lets both Camp Lo and Butterfly whip lyrics across it. B-side wins again...


Channel Live: Maintain (EMI SPRO 11646)

O-D.U.B.: I'm still not sure why people dis on this pair...provided, they're not my favorite duo of all time, but in general, I think their lyrics and production have been on point. On their newest cut, the chemistry works once again on both angles. I thought the hook on the chorus was catchy, the production bouncy and the lyrics, while not mind-blowing, was easy to swing. It's definitely not as dope as "Mad Izm", but it should ok for them.


Fierce: Crab b/w Come Close (Wreck House HW1803)

O-D.U.B.: When I first heard of this 12", people (who I usually trust) couldn't say enough...comparing this sh*t to some classics like "Time's Up" and "Come Clean". Well...I sure didn't share in that opinion...for one thing, Fierce sounds a lot like Ras Kass...even done to how he two tracks and overdubs his own vocals (check the chorus for an example). "Crab" was forgettable, but "Come Close" was better...blaring horns and some agressive piano samples set the beat off better...Fierce still sounds like Ras, but he comes more...ahem, fierce, on this cut. Overall, I wasn't that impressed by it...perhaps a consequence of having too high expectations.


Frankie Cutlass: Cypher Part 3 (Relativity 88561-1576-1)

DJ Kool: Let Me Clear My Throat (American PRO-A-8557)

O-D.U.B.: Both of these singles represent a "return to the old school" trend that Frankie Cutlass is generally known for and certainly, DJ Kool's resurrection of "The 900 Number" is on the same tip. Cutlass' song is more ambitious...the "Cypher Part 3" is a continuation of the "Symphony" and the "Symphony Part 2", done by Marley Marl. Bringing back, Roxanne Shante, Big Daddy Kane, Biz, and Craig G (two of whom were on the original Symphony) I respect the effort, but as far as posse cuts go, it isn't anywhere close to the original "Symphony"...it almost seems to be asking for props just for the sake of nostalgia.

DJ Kool's song is definitely aimed at a party crowd...no real lyrics, just the recycling of a lot of (tired) party cliches and shouts. I know it's getting a lot of love from DJs, but personally, I'd much rathe throw on an AV8 breakbeat or something from one of the Wreck DJs than have to depend on this 12" to get sh*t started lovely.


Fugees: Don't Cry, Dry Your Eyes/Ready or Not (Clark Kent remix) (Ruffhouse)

O-D.U.B.: First featured on the Fugees' "Bootleg Versions" EP, Ruffhouse has released, on promo-only, the only "pure" new cut that was on that EP. "Don't Cry..." returns to the Fugees tried-and-true formula of guitar-flavored tracks, and this one is among the better ones. Lauryn is, as usual, the star of the show...after leading off with the first set of verses, everything afterwards is a little moot (that's just my opinion though).

Also featured on the 12" is the Clark Kent/Django remix of "Ready or Not", a surprisingly infectous reworking of the already remixed (vocally) song. The vibes, taken from the MJQ's "Django" work very well in the situation, bringing new life to the original remix which I thought was better lyrically, but not musically.


Hi Tech: Book of Life Page 2 (Mass Vinyl MV 1001)

O-D.U.B.: I enjoyed the first "Book of Life", which had a nice groove under it that Hi Tech flowed well over...Page 2 is mellowed out as well, but it felt a little too mild. Hi Tech... as an MC, sounds like yet another Queens offering, and he doesn't emerge as more distinctive than his peers. "24/7" is a better cut, benefitting from a hard hitting drum track and a simple keyboard loop.


J Live: Longevity import remix (Gap 00211)

O-D.U.B.: This European remix 12" isn't better than the new 12" ("Can I Get It?"), but it makes a good link b/t their first single and the new one. The remix of "Longevity" is cool...but I still think George Sulmner's original track had it going on too - listen to how it gets cut and mixed on the new CD, "Mushroom Jazz".

The "Braggin Writes" remix is interesting b/c it uses the original lyrics (with a few variations)...the version on the new single has the same Headcracker (aka DJ Spinna) beat, but new lyrics. Another bright spot is that you get the acapella too, which gives aspiring beatminers their chance to get live.


Keith Murray: Hot To Def b/w Love L.O.D. (Jive JDAB 42435-1)

O-D.U.B.: I've been hearing a fair amount of negative comments about this new LP, which surprises me b/c I didn't think it was that bad. This latest single from Murray has a decent A side and a solid B side. "Hot to Def" uses the beat that Mary J used on the album version of "What's the 411?"...it's not a bad re-use, but overall, Murray doesn't quite heat it up, no matter what the chorus says.

"Love L.O.D." was much better...the simple, four note loop, combined with the sharp drum track is amazingly effective, proving that sometimes, less can be more. The interplay between Murray, 50 Grand and **** is good too...the only real flaw I can hear is that the chorus is repeated a little too often...I liked the hook, but not that much.


Keiyon: So Glad You Chose Me/The American Dream/Thought U Knew (Faculty MVF 12376)

O-D.U.B.: Keiyon is on the indie label, Faculty, part of their freshmen cadre. I had a hard time getting into the 12"...it's not that Keiyon's wack, but I wasn't that moved by his lyrical flow, somewhat reminiscent to Buckshot, but not nearly as versitile. Content is fairly mediocore..."Thought U Knew" being the best of the three. Musically, it's all decent...the A-side is likeable, and "Thought U Knew" benefits from a slight reworking of the "Top Billin" beat. All in all, it's an ok 12".


KRS One: Bring It On (from the Rhyme and Reason sndtrk) (Priority SPRO 30124)

O-D.U.B.: Taking it back...KRS flips lyrics, lyrics and more lyrics over the "Little Bit of Soul" bassline...it's definitely on an older school tip...not some futuristic George Jetson sh*t, but some back-in-the-day, kick some ill sh*t on the mic type stuff...D O P E. How does Kris keep doing it?


Kulcha Don: Bellvue Da Bomb (Ruffhouse CAS 8924)

O-D.U.B.: Hey...are the Fugees cameo-ing with everyone on Ruffhouse? This cut, by rastaman Kulcha Don feat. 1996's fav. trio of MCs over a very somber, mellow beat. It's not going to get people throwing hands in the air, but it's got a nice groove that works well with a chill mood. Actually, I found all three Fugees decent on this cut...Lauryn's set was too short, but hey, you can't win 'em all. Skip the Handel remix, it wasn't much to bite at...the b-side, "Who's the Don" sounds like some outdated dance sh*t...not horrible, but not that big o' a deal, know I mean?


Munk Wit Da Funk: I Been Here, I'm Staying b/w I Blame My Neighborhood remix (Illadelph MUNK98)

O-D.U.B.: Munk isn't Illadelph's illest lyricist, but through three previous singles, I've appreciated his skills as an earnest MC who doesn't seem to get caught up in the same kind of bandwagon bullsh*t that afflicts other rappers. Musically, the Militant Mind State has a knack for taking familiar beats (both mixes of "I Blame My Neighborhood" use well-borrowed samples), but still making sh*t sound good. The new EP is available on cassette and CD...check for it.


Nas: Street Dreams (R. Kelley Remix) (Columbia CAS 9205)

O-D.U.B.: Nas pulls out one of his better lyrical offerings for a song that will turn off most heads (I think) based on R. Kelley's all-too-crossover beat. Personally, I'd be happy if Nas put this song to bed and left it there. "Street Dreams" was far from my favorite on an album I already disliked...and its continued popularity only furthers my belief that the "Illmatic" Nas we all know has come to pass into something else that I'm not down with.


Royal Flush: Rotten Apple (Blunt TVT 6613)

O-D.U.B.: I gave a brief review last time...this one's a little more extensive. As noted with Mic Geronimo's "Unstoppable", its cuts like this that make me wonder why Blunt can't get their act together long enough to release an album by Flush. Sure, Queens has had a lot of artists to talk about lately: Nas, Mobb Deep, Mic Geronimo, etc., but Flush has dropped three solid singles now...starting nearly a year back with "Movin On Ya Weak Production". "Worldwide" gets my vote for one of the top 10 singles of the year...and absolutely solid cut from any perspective. "Rotten Apple" uses an effective sample from Nas' "The World is Yours" to set sh*t off...while the track (produced by E.Z.) doesn't have the simplistic beauty of "Worldwide", the jazz-influenced beats (sounding like older Pete Rock) work well. Lyrically, it's Flush's least memorable work so far, but even then, it's better than most of...say...Big Noyd's album. I don't think an album out of Flush is guaranteed on, but at least give the brother a chance to shine.


Third Sight: Ballsacks/Rhymes Lika Scientist (Darc Brothas DB 92696)

O-D.U.B.: Coming out the biggety Bay area, Third Sight brings an interesting mix of old school, UHB and player sensibilities. "Ballsacks" refer to what you think they do...personally, I'm sick of songs about sexual prowess but at least the beat is hitting...their sh*t is jazzy, simple, and wildly effective, plus an added bonus of scratching on both songs. "Rhymes Like a Scientist" starts with a DJ virtuoso for the first HALF of the song, very unorthodox, but enjoyable. Lyrically, sh*t's nice...the MC has a deep voice and flows nicely over the beat...I'm not trying to say anything by this, but it reminded me of early Rakim. It's a shame they waste their dope lyricism on a bullsh*t song like "Ballsacks" though.


Urban Underground Vol 1 (UU6 13836)

O-D.U.B.: A Bomb Bay compilation (referring to the Bay Area)...this is a mixed bag of cuts from the Bay Area underground scene. In an effort to represent the diveristy of sound and perspectives in t he Bay, it's got a mix of everything from the underground club scene to player clubs to some dancehall flavored tracks. For the most part, the majority of the tracks didn't move me, especially on the B-side which had mostly flat cuts, both musically and lyrically. The best is on the A...where "Do What You Want", feat. Shade, Spaztik and March the 5th, was the strongest cut on the whole comp. Good production (very catchy) and good lyrics made it a stand out. Flesh, also feat. most of the same people as "Do What You Want" was another good track, dropping some chemistry both on the vocals and on the beat. As for the rest of the album, I think it's worth checking out, but take it with a grain of salt.


From early March to late August, about 5,000 peeps dropped by. Since 8/23/96, heads have popped in for a visit. Thanks for the support!
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