A+ "All I See" (Universal U8P 1064)

O-Dub: Few things are more annoying than listening to a teenager rhyme about how much sex he gets. Sorry, but while I could believe that he's gettin' some it's bad enough listening to adults brag about that sh*t...it's even worse when some pre-pubescent kid is doing it. That being said, Da Beatminerz remix is kind of fly and I like A+'s flow but I just can't help but laugh at the baby mack lyrics. A'ight


Alley High "Worldwide/Voodoo" (Harlem High HH-6107)

O-Dub: I guess I was a couple of months late in hearing this, but better late than never. A solid 12" from Harlem High Entertainment, both lyrics and production are strong. "Worldwide" is the stronger cut of the two...showcasing good lyrical flow and content by Alley High. It's an East Coast influenced track, but heavier on the jazz influences that minimalist tendencies. "Voodoo" has a NICE track too, but the lyrics are misogynistic and I'm getting tired of played out themes, especially those about women. Even so, both sides play well...good indie sh*t hits again. Cool


Big Noyd "Usual Suspect" (Tommy Boy TB 755)

O-Dub: Rumor is that Big Noyd had a murder rap pending on him that got dropped, thus making a new album from him more likely (nothing like a stretch up-state to delay an album project). This new single by him (with remix on its way) was surprisingly good. For one thing, Mobb Deep actually produced a track with some degree of freshness to it...I had been getting a little tired of hearing the same formula repeated over and over. Add to that an energetic chorus and good lyrics and you have a solid 12" on your hands. Cool


Big Shug "Crush/Official" (Payday 697-120 088-1)

O-Dub: How is it that the GangStarr foundation can put out people like Jeru and Bahamadia on one hand and then come out with people like Group Home and Big Shug. Look, I'm not one to dis, but Shug just doesn't have flow...or lyrics. Following a pattern too evident on the Group Home album, this 12" is made distinctive by Premier's production on "Crush" and the B-side is lit up by the cameo-duo of Ed OG and Scientifik, but the star MC just doesn't keep up with the other elements. A'ight


Busta Rhymes "Do My Thing/Abandon Ship" (Elektra ED 5873)

O-Dub: Holy sh*t...ANOTHER 12"? Busta's already gone platinum...what's up with this sh*t? He might as well release the whole f---in album on 12"...just for those keeping score at home, this makes: SIX 12"s since "Woo Hah!" first dropped on promo and I'm not including imports. In any case, they picked two strong cuts to put on single...only problem is that anyone who picked up the album (and apparently, over 1million people have done so) you've heard this sh*t months ago. Ah, but you ask, what about the DJ Scratch remixes of both songs? What about them? No big deal. This review is beyond simple: Don't trip


Busta Rhymes "It's A Party" UK (Elektra EKR226T)

Mercer: Hey, why isn't this 33RPM like the one that came before it? Anyway, while the "Woo-Haa" import remixes were quite on the cutting edge of hip-hop definitions, the "Soul Inside" versions by Dodge are pretty straight up. I like the "Work Permit" mix better - it has a busier rhythm and holds up via the bassline rather than the extraneous high-pitched samples on the alternate radio cut, which is more of the old R&B style rather than the latest kickin' flavor. The flipside tracks are on the domestic 12", and though the pressings on this one are better, I guess it's negated since they're 45.


Call O' Da Wild "Ruffturrain/Intellectual Dons" (Ruffhouse CAS 8375)

Mercer: Seems just when the planet Earth had enough of Cypress Hill, Muggs gets a new outlet for his underrated production chops. Call O' Da Wild is just another fairly competent rap group in a cast of thousands, but the earlier bow "Clouds Of Smoke" already proved there's a good amount of artist-producer chemistry. Now that I think of it, Mr. Muggerud didn't have to change his beat styles at all for this project - what we really wanted was that damn whiney voice out of the picture.

"Ruffturrain" keeps the Eastern-influenced feel of "Temple Of Boom" with a light bounce for the rhythm track. Nothing will strike you lyrically even on careful listen, but at the same time it's good that nothing intrudes or irritates the experience. Pretty much the same for "Intellectual Dons", which you probably already heard on the "Unreleased And Revamped" EP. This group won't ever be known for profound rhyming, but if they keep the flow tight and Muggs comes through with some fat, smoked out tracks on a consistent basis, you've got something worth checking out. Instrumentals would have been nice for this promo, but I'm guessing Ruffhouse will tack a little something extra onto the retail 12" as usual.

O-Dub: Ironically, the B-side, with Cypess Hill, was on their "Unreleased and Unleashed" EP, but I guess it's out now. No complaints here 'bout that. "Intellectual Dons" is made distinctive by a rich, string-filled track, supported by a thumping drum loop (produced by Muggs). The interplay, lyrically, b/t B-Real and the Call o' the Wild lyrcists works well even though B is only on the chorus and doesn't drop his own lyrics. The A-side isn't quite as good...the track is on ganja smoking vibe, but it didn't move me, nor did the lyrics. Cool


Choclair "Just a Second/What It Takes" (Kneedeep/Day 201)

Mercer: This guy did an okay job sharing a 12" with Canadian big man Saukrates a few months back. Must have got to this guy's head since now he's got a solo single hoping to match the slightly above average cut that was "21 Years" (which at least had some intelligence and self-awareness to it.) "Just A Second" is a very paltry attempt to switch to brag style, talking about prowess with the ladies but ignoring the extremely weak production by "12-inch" (yes, that what he calls himself.) Regular beatsman Day helps bring things back to earth on the other side, which has more competent lines on the level of old, but also has some unnecessary female chorusing and a repetitive sample loop that gets tired halfway through the song. What's the reaction? Go fish.

O-Dub: After burning up the B-side of Day's last 12" (Saukrate's "Father Time" graced the A), Choclair is back on another team-up with Day Productions. I'll start with the bad sh*t...the B-side..."What It Takes". I understand that they're trying to big up R&B singer Jully Black, but that's no excuse for an outstandingly mediocore crossover joint. Luckily, the A-side comes better...Mercer hated the production but I thought the sh*t was hella nice. Choclair's flow is on...his lyrical content isn't quite as impressive...some braggadocio mack sh*t, but I was too busy head nodding to really get critical. Cool

- Choclair What It Takes (featuring Jully Black) [243K]


De La Soul "Itzsoweezee/Stakes is High remix" (Tommy Boy TB 757)

O-Dub: "Itzoweezee" is one of my favorite tracks off the album...and like "Stakes is High" speaks to one of the fundamental issues that the album tackles: cream mentalities. The remix adds in some new lyrics...keeps the same beat...and flips in a new reggae flavor which did not work for me. Oops. Maybe if it was a new beat or something, but it sounded way disjointed to me.

Meanwhile, the remix of "Stakes is High" (done by JayDee) totally flips the vibe...adding in a quicker-paced beat plus cameo lyrics by Truth Enola and Mos Def. Most def, most definitely. Sh*t's tight...and given the issues I raised with the A-side, it's what definitely makes this 12" another must-have De La butta. The bomb


Dead Poetz Society "Klockuz/Lick a Shot" (Challys DSE 0901)

Mercer: A whole bunch of Brooklyn kids come together on this record, led by MC/producer/engineer 7STORM8. His verse is one of three heard on "Klockuz", which has a cool melodramatic feel and very competent rhyming about "the warzone of Crooklyn", complete with tick-tocks in the background of the chorus. Four other MC's are featured on "Lick A Shot", a similar reality/represent theme. Neither the original nor the Slomo remix are as strong as the lead cut, but it appears the rapping is just as noteworthy for its consistency and flow. With at least seven voices in the mix including a producer who can bring it all together, Dead Poetz Society is an indie crew to be reckoned with.

O-Dub: Both sides have strong production, especially "Klockuz" and the "Lick a Shot" remix...however, once the lyrics kick in, it falls short a bit from being a dope ass indie effort. I think it's worse on "Klockuz", but while I feel where the lyrics are coming from, neither the flow, nor the content is really diggable to me. "Lick a Shot" is much the same, but it's a step better IMO. This 12" is still better than a load of commercial, major label sh*t though... Cool (barely)

- Dead Poetz Society Klockuz [258K]


Dr. Octagon "Blue Flowers" *1 (Mo Wax MW055)

Mercer: I did my best to describe the jungle/ambient remixes last time, but now it's back to the hip-hop. Now Keith - he's not always the best but he's always far from the worst. Maybe he'll be considered the Robert Frost of rap one day, but even with the most liberal lyricists, you simply won't go far without kickin' beats. With that in mind, the chances of Automator coming off dope or just weird-as-hell is a coin flip - but I'd say his remix here is definitely...HEADZ. There's definitely a lean towards the conventional dome-nodding vibe, thanks to a punchy syncopated drum track that gives the original eerie string samples a new life. And of course, you'll definitely need a conscious mind to catch all the new jive coming out of X's mouth on this re-recording. I'm not going to offer any detail on the orations, but it's without a doubt up there with some of his "da-fuck-was-that-shit?" stylings (yes, he sings.)


Grav "C'mon/Snake Bite" (Correct 10209-1)

O-Dub: Looks like the overall jury is still out on this cut. I didn't care for either side...the A-side is totally ruined by a wack chorus. The B-side is a little better but just fails to energize on any real level as far as I'm concerned. Other folks I know are feeling the beats mostly, and while "Snake Bite" has a dope beat on the intro, they ruin it by adding in too many more elements once the lyrics start. Don't trip


Hi-Tech "Book of Life/Degrees for the Street" (Mass Vinyl MV 1596)

O-Dub: In short, get this for the A-side...the B-side isn't horrible, but it sounds a bit mediocore. The A-side is where sh*t cooks though, thanks to a rich track, full of strings and other orchestral smoothness that works well with Hi Tech's flow...good content too. Cool


Hip Hop Classic "World Premiere Vol. 1" (Pop Art PA 8804)

O-Dub: This is a rerelease (bootleg too probably) of two Roxanne Shante's cuts. The stand out one is the "Def Fresh Crew" which is her interplay with Biz Markie's beatboxing. As the song says, "So fresh...". Why did beat boxing go out of flavor?


Humankind "Bombay Falanay/Mutation"

O-Dub: Out of San Diego, Humankind offers up a sample of how far the West is going to define a new sense of lyricism that's light years away from the G-funk style. But that doesn't mean it's all good...while "Mutation" had a decent beat to back this "next sh*t" attempt, the flip side didn't move me far at all either musically or lyrically. The problem with going experimental is that originality alone doesn't mean you can get away with bad flow. Mainstream heads probably won't feel this 12" A'ight


Jeru The Damaja "Ya Playin' Yaself" (Payday 697-120 100-1)

Mercer: They couldn't squeeze "One Day" somewhere here? Anyway, this perfectly pleasant lead 12" to the "Wrath Of The Math" album will likely bring Jeru the most mainstream attention since "Come Clean", and I guess we've accepted that Jeru's singles tend to have only one song each - but what's up with a "Clean" and then an "Xtra Clean" version? I can understand holding out to make people buy the LP, but the non-radio tracks on "Sun Rises In The East" weren't exactly blowing my mind. Hey, at least he didn't bring in Trakmasterz - it's still 100% Premier on the boards the second time around.

O-Dub: This review is fairly simple. It's a very good Jeru/Primo team-up. Good lyrics (content-wise) with good flow...definitely something to appeal to most heads, especially those fed-up with the hip hop commercializers. Just for perspective sake, it's not Jeru's best song...in fact, I liked "Invasion" better flow-wise. Nor is it Primo's best production...there was stuff on Jay Z's album that was musically richer. But it's still fat. 'Nuff said. BTW, the best info I have indicates that "One Day" will NOT be coming out...ever. Check for bootlegs though...Cool

- Jeru The Damaja Ya Playin Yaself [234K]


J-Live "Can I Get It" (Raw Shack RSP002V)

Mercer: One of 1995's most-pleasing indie success stories, J-Live and Georges Sulmers won fans over with a combination of coolness in flow and lovely street-level production - a rare case where simple word of mouth proved its worth over overbudgeted major label promotions. Without too much fanfare (not that it was really needed,) single #2 just dropped and I'm assuming they're depending on the same amount of support from the ground up. However, I feel the lead cut does lend itself to more appeal rather than keeping the "realest" underground possible. Flow and rhyme complexity are tuned down a little on "Can I Get It", a quick-paced bouncy track with a defined chorus which makes it the "radio safety" cut on this 12". For more of what you wanted originally, flip to side B for "Hush The Crowd" and the "Braggin Writes" remix - the former features a wonderful melodic progression ("Chairman" Jeff Mao co-producing) while remixers-on-a-roll DJ Spinna and Joc Max provide a very justified reworking of "Writes" that nearly equals the fatness of the 1-and-2's original. Instrumentals here, acapella there, cute picture cover...best $5 I've spent (this week.)


Jungle Brothers "How Ya Want It (I Got It)" (Gee Street PR12 7313-1)

Mercer: "J. Beez Wit The Remedy" was the beginning of the end for these guys, but turned out not the be the end itself. Getting a second chance on another (slightly smaller) label, unfortunately they've done little to dig themselves out of the hole with "How Ya Want It." Backed by a sparse, unexciting beat supplied from Roc Raider (who's yet to match the production prowess of fellow X-Men Sinister and Rob Swift,) the rhymes don't really reflect on the JB's experience nor do they even come close to matching the overall sound that propelled them from 87-90. In fact, this cut may turn a double whammy by not winning over new fans and not convincing the longtime faithful that they can compete in the current market, especially against its past counterparts in Quest and De La. Look at it this way - if you've got $5 to spend on some Jungle Brothers, pick up one of the classic Idlers/Warlock singles, just reissued in good quantities.

O-Dub: The JBs have a come back project that could rival Ice Cube's (ok, it's not THAT bad), but after their Native brothers De La and Tribe dropped fat ass albums this year, the JBs have a lot to prove. Personally, I liked this single, but am I the only one who misses their "Straight Out of the Jungle" days? I'm not saying that artists shouldn't change over time, but this new cut sounds like something I'd expect out of some East New York group of ruffnecks. Roc Raida's minimalistic track, rich with static, works well with the song though...and the lyrics are decent. Still, I can't see this joint being the JBs comeback vehicle. The Native Tongues might have been reinstated but someone forgot to tell the JBs. Cool

- Jungle Brothers How You Want It (I Got It) (Raw Deluxe Mix) [263K]


Just-Ice "Keep It Real/Bad Boy Back In Town" (In a Minute)

O-Dub: Just Ice is coming back on In a Minute Records, based in the Bay Area...this tends to surprise East Coast heads who didn't even realize he had new sh*t out (someone in distribution must be snoozing). These two new cuts are ok...that's about as complimentary I can get. The biggest problem is that both sides sound like they're about three or four years out-dated, especially "Keep It Real". The B-side, which chops up "The Bridge is Over" features KRS but even that wasn't enough to get the head nodding in any steady rhythm. Don't trip


Keith Murray "The Rhyme" (Jive JDCD 42405)

O-Dub: Murray has chosen a smoother track to flow over...made all the more smoother by Erick Sermon and the Ummah remix, both of which are good, but neither one could be called "better"...I'd say they're both variations on a theme. The Ummah remix is more dense, but even the simpler nature of the Erick Sermon main mix doesn't take away from the basic "niceness" of the production. As for Murray, he's still nice as well, but someone, I don't feel the same rush that I got from peeping "The Most Beautifullest...". Maybe part of it is his flow seems a bit softer...not weak by any means...just less energetic. Remember "Hostile"? Well, this ain't it. Jive gets less props for once again leaving off the B-side cut even though it's on the f---in album cover. Cool


Lady Lee "Pon De Circuit" (Urban Street URB 53960)

O-Dub: After sparking it off with her raggamuffin stylee over the Mad Izm beat, Lady Lee is back...this time kicking her sh*t over the basslines from "Woo Hah" and "The Bridge Is Over". The result is an ok dancehall/hip hop track...not as much energy as the last time around, but still decent. Funny thing though...slow her voice down and she sounds just like KRS...no kidding...just try it. A'ight


Lateef The Truth Speaker "The Quickening" (SoleSides SS006)

O-Dub: Reflecting Soleside's observation that the "Wreckoning" wasn't hitting as well as it should have, Lateef and Shadow went back into the studio and took the first single's concept and shifted into overdrive. "The Quickening" doesn't resemeble the "Wreckoning" in either flow, beat or feel, but you can still make the evolutionary connections between the two, proving that Lateef is as versitile as his producer and co-label-mate Gab are. Sh*t's fat. That's about the simplest way I can put it. Lateef strength, to me, is that his flow and content hold up under pressure...take any four bars, and just listen to what he's cramming in there. The beat should also make those critics who complained about the down tempo of "The Wreckoning"...it's not as thunderous as Shadow's reworking of "Meiso", but it's got that Oakland bump to thump. Shadow's bonus beat is excellent as well...albeit too short. The bomb Mercer: I don't know about you, but I've been itching for a while since "The Wreckoning/Latyrx". If you thought you could just wait until this release and skip SS004, you ended up missing out on both instrumentals and the wicked "Live 45 Mix". Still, this new 12" is well worth the money musically, and it's also the first domestic SoleSides single released inside a gorgeous, full picture cover. So now you can file it away vertically with all the fancy major label records you've got in your collection, knowing that it surely belongs in that class and even more so.

Speaking as objectively as possible, "Quickening" kicks ass. Lateef's flow and lyrical prowess has been virtually unchallenged in '95-'96, and DJ Shadow has enjoyed similar notoriety on the production front. And while someone like Premier has never worked with someone like Q-Tip, Shadow and Lateef on the same team is almost unfair to other hip-hop artists. Even after you fully decipher the rhymes, analyzing the non-loop drum track that is never played quite the same way twice is another trip.

The B-side might already sound familiar, but if you haven't heard the crisp ambience of "The Wreckoning" or the cutting-edge simultaneous rhyming on "Latyrx" yet, stop kidding yourself. "DJ Shadow's Beat" rounds out the 12", showing those other producers who just loop the same measure over and over how it's really done in hip-hop.


Leaders of the New School "Sobb Story/Sound of the Zeekers" (Elektra WE 231)

O-Dub: Not a new cut, but just rereleashed on import vinyl. I had to include this cut b/c it reminded me how incredibly dope LONS was back in the day. "Sobb Story" is cool, but really, the "Sound of the Zeekers" on the B is pure adrenaline. The track NEVER lets up, banging the listener off one MC to the other. All of their singles from the first album are being rereleased...don't miss out if you slept the first time around. The bomb


LL Cool J "You Don't Stop" (white label)

O-Dub: It's not "No Airplay", but it's still better than 90% of what was on "Mr. Smith". LL proves that he's still got some braggadocio skill over a guitar-flavored track...put all together, it's a worthwhile cut from Uncle L. Cool


MC Lyte/Yo Yo Sampler (East West ED 5878)

O-Dub: An interesting pairing of East West new femme fatale duet, this single won't necessarily make old MC Lyte or Yo Yo fans happy, but it ain't all bad. Lyte's "Have You Ever" isn't exactly sizzling, but the Jermaine Dupri track is good for what it can do and Lyte brings back some of the fierceness that made her THE female lyricist of hip hop's golden age. Yo Yo's two contributions are mostly forgettable, not bad, but I miss the woman who ripped Cube up on "It's a Man's World". A'ight


MC Lyte "10% Dis/Kickin 4 Brooklyn" (First Priority 0-96704)

O-Dub: Not a new cut...and not rereleashed, but I just got this sucker for the first time thanks to Mercer...and man, what a cut. Even though, they were on different albums, this energy on this cut is like what made "Cha Cha Cha" such a classic joint. Lyte just RIPS sh*t up on this over a simple, but powerful drum track incorporating elements of "Top Billin". The B-side cut suffers from being overly drum-machined, but at least we know where Lyte got the line, "Kick this one here for me and my DJ". The bomb


Mixed Elements "Northern Exposure/Life's Dangerous" (Madd Mooves MM-103)

Mercer: One of a trio of 12" singles put out by new Bronx indie Madd Mooves Records, revolving around a common producer Shobaz. Beats are actually what got my attention at first, as the lyrics (though competent) break little ground and never move me to any degree. Judging by the tracks, which bounce slowly and relaxed, this crew could go somewhere if they decide to step the rhyme quality up a notch.


Money Boss Players "Walk With The Limp" (Warning BX333)

Mercer: I still think these guys have something good going that not everyone has noticed. Yes, they'd be classified as standard gangsta rappers, but there just seems to be some more intelligence involved in their projects that goes beyond the talent stereotypes that are associated with that genre. "Walk With The Limp" has that new "keep it rich" mentality - a more realistic drive for CREAM without the guns and drugs fantasy. Just becuase you live comfortable and attract the ladies doesn't mean you're committing crimes, right? The B-side has "Player's Pinnacle" and "(Caught Up In The) Crap Game", the Minnesota-produced cuts that were on their own 12" a while back. Altogether it's an underdog 12" that deserves some more attention concerning the people involved.


Nappy Crumb Snatchers "Real Shaolin" EP (Black Prince BPR 1637)

O-Dub: Not much else to say but that this EP is weak. Real Shaolin? Real mediocore is more like it. The rhymes are weak, as are the beats. Just a general lack of originality and skill. Bleah


Nas "Message/Freestyle 1 & 2" (NAS FRE 2)

O-Dub: An INTERESTING new freestyle. The first one isn't no big deal...but if you missed out on it the first time, you got it on this joint. The second freestyle starts out as some typical Escobar bullsh*t, but midway through, Nas says, ""F*ck that drug sh*t, it's all about this hip hop sh*t." But wait...Nas isn't exactly revoking his Escobar image...b/c what he's saying is that nickle and dime clockers are just stupid MFs who ain't doing nothing but wasting their time. Nas also says, "If you ain't moving weight, you ain't doing sh*t." What the f---? Is that some convoluted philosophizing or what? To make it all the more confusing, he ends by warning the "legends of the ghetto" to watch what they tell their younger ones in the projects 'cause they might grow up to be just like them. I just have to ask...um...how does that reflect on Nas then when he starts flexing his cream mentality? l At least they put "The Message" on it, giving us a 12" quality version of it. Otherwise it's hard to say if this single is worth getting...maybe just to debate Nas' sense of logic, but musically speaking, I wasn' tripping. A'ight


Natural Resource "Negro League Baseball/They Lied" (EKAPA-070676)

O-Dub: My latest pick to click on the indie tip. This whole 12", which has three and a "half" cuts to sample is just dope from beginning to end. Lyrically, the three MCs, which includes a dope female lyricist, represent lovely...they don't sound as experienced as other MCs, but their flows and content are compelling nonetheless. Production is fantastic as well...it's all kept simple, but still flavor-full. "They Lied" uses a basic guitar loop, "We're Not the One" depends on a piano sample to keep the track moving. The B-side, "Negro League Baseball" is making much noise among folks...it's not about the Baseball League itself, instead, Natural Resource use it as a creative metaphor for the music biz, all laid over an interplay of basslines and piano drops. Seriously, this 12" deserves the love of underground support from coast to coast, one of the dopest pieces of wax I've peeped this year. The bomb

Mercer: This is the most "confident" indie I've heard in a long time. They're not like, "we're shopping this on wax and maybe we'll get a major deal" - they KNOW they're dope and KNOW the industry is wack - so this is simply their debut single. I'm still puzzled why the name of the group isn't explicitly indicated anywhere on the center label (Ollie had told me to check these guys without telling me this, and of course I said I didn't see it while it was just sitting there in local stores.) There's a difference between selling your records underground and selling records where people can't figure out who the hell it is - I'm assuming someone goofed at the pressing plant.

The concept of a "Peter, Paul and Mary" rap group isn't new at this point, but in terms of the DIY market, NR happens to be the first on the block. However, unlike some earlier label attempts where the "token venus" wasn't happening, here the female MC (no name credited on the record) comes off with some serious poise and skill. She's also one of the few girl rappers that seems fully aware of the male-dominated hip hop ideals yet can shine in an honest, distinctive feminine matter (MC Lyte and Paula Perry are the only others I can think of at the moment.)

And yes, the men do their job without a problem either. I really like their "fuck the labels" mentality, considering that the whole trio is having a good time on the mic in the meantime. If they know what they're doing musicwise and (persumably) businesswise, who needs those A/R guys trying to serve up single-digit royalty rates? No big-name remixers are needed either - NR's production covers everything from maximum head nod (the percussive guitar loop on "They Lied") to maximum smooth vibe (relaxing piano tracks on "Baseball" and the unlisted bonus cut "We're Not The Ones".) While fans and critics can complain all they want about the state of hip-hop business, not nearly enough of them will figure out that rap's evolution is always on wax...not print.


One And One "Phenomenon" (Next Plateau NPE 1440-1)

O-Dub: Half of One and One is the new incarnation of UTFO's Dr. Ice for those who give a damn. Taken as a whole, the 12" works, though it's not stellar. The lyrics are ok, but not too memorable...mostly it's the beat and chorus that support this braggadocio single. It'll probably make some noise and then fade out in a couple of months...it's not a bad cut, but it's hard for me to feel hyped about it 'cause it just strikes me as slightly above average. Cool (but barely)

Mercer: This record could have been mixed better - the track is very cool but you can barely hear it against the loud drums and vocals. If people aren't paying attention, "Phenomenon" may come off close to nothing, which is dangerous since there's only one cut on this 12". It's still an above average cut once you get a chance to hear it good, but it's not bomb enough for the full price of a single nor do I feel the lyrics long term.


Originoo Gunn Clappaz "No Fear/Da Storm" (Priority PVL 53243)

Mercer: Who _wasn't_ waiting for this record to come out? Then again, who _really_ expected it to be some ultimate shit that would finally take our minds off how great Black Moon was? We've still got Mr. Walt and Evil D working the boards, but OGC is clearly a few stone throws away from Buckshot and 5-Footer, or even Tek and Steele for that matter. I mean, there's no problem shaking your body to something like "No Fear", but these guys simply do not come with any lyrics that I wouldn't start ignoring after one or two listens. It gets painfully apparent on the B-side, where the production does not hold up and the Clappaz are left standing on a wet paper towel.

O-Dub: After Heltah Skeltah had their chances to come strong (and failed in my opinion), it's the OGC's turn. The first thing I'll say is that Da Beatminerz' production on both sides is good, but still a far cry from their butter cuts on Smif n' Wessun and those Black Moon 12"s. What's up? As for OGC...they're similarities to Heltah Skeltah are just a little too close for comfort...the voices are different, but the flows are hella similiar, especially on B-side cut "Da Storm". It's the A-side, "No Fear" which is the stronger selection off the 12"...the production sounds a notch tighter and even though I still thought the lyrics weren't distinctive enough, they fit better with the music on this side. Cool


PMD "Rugged-N-Raw" (Relativity 88561-1572-1)

Mercer: P's second try to make a major label happy has made it to this "test-the-market-and-maybe-well-try-an-LP" 12", albeit many months after the white label first circulated the promo markets. While yes, it's still a halfway decent cut and a serious step in the right direction after "Shade Business", the 8-Off produced original didn't look to establish much in the long haul. This records adds an alternate version with played-out verses by Das Efx, as well as a Solid Scheme remix best described as "zzzzzzzz". "Leave Your Style Cramped", slightly under two minutes and all, has Charlie Marotta and Ivan "Doc" Rodriguez on the mix just like those classic duo days, and kicks nearly as authentically.


Psyclone "Trife/Front Line" (BeatForce BEF-0104)

Mercer: This one was pretty much a miss for me. Among other unappealing aspects, production is fairly weak and repetitive, and the lyrics and voice sound extremely forced and unnatural. I hate to say it, but Psyclone may want to do the hip-hop thing but obviously doesn't have what it takes. Not recommended, sorry.


Ras T: "96 Million Dollar Man" (Norfside NR-0002)

O-Dub: If it wasn't for Salaam Remi's name on the production, I might have passed this by. Unfortunately, listening to it didn't go to far to changing my original opinion. The beat is ok, but definitely not memorable. Ras T himself...suffers from a bad voice and an average flow...plus mediocore lyricism. Nothing too remarkable. Don't trip


Royal Flush "Worldwide" (Blunt TVT 6612-OP)

Mercer: Is Blunt broke or something? I know Mic Geronimo's sales figures were a little below par, but it seems like nothing retail been released for anyone else for a long time. In classic anti-hype fashion, people have been down to get with some Royal Flush for nearly a year, but there's yet to be any opportunity to buy his commercial product. Keeping "Weak Production" promo-only only made the bootleggers rich, and who knows if the same thing is going to happen with "Worldwide". I mean, it took them long enough just to put out sufficient promos for the industry. To me it's not even a great cut - L.E.S.' track comes off silly and immature to the subject matter, though I guess it works beatwise. Still, the only thing I dislike more than the industry not knowing what the fans want is them frontin' on something that can easily sell and keeps everyone happy. Like the blank label guys have a conscience!

O-Dub: Mercer asks, "Is Blunt broke or something?" Rumor is yes...it's having some serious business problems which might explain why they're being so tight with copies of this single. Personally, I thought this cut was the sh*t...LES adopts Diamond D's formula of K.I.S.S. (Keep It Simple Stupid) and throws down a track that's elementally basic, but has definite head nod power. As for Royal Flush, I'm feeling his own distinctive style more now...even though I think Nas and him share a lot of flow similarities. Personally, I think this cut is definitely worthwhile, especially for heads down with the theory that less can be more. Cool


Saukrates "Still Caught Up/Skillz Ta Thrill" (Steppin Bigga SBR-003)

O-Dub: This was Saukrates' first 12", from 1994, on the now defunct Steppin Bigga label. Most people think his first joint was "Father Time", or they'e just peeped the mediocore "Kalifornia", but "Still Caught Up" was where Saukrates really should've caught fire. Everything from the flow to the production on both versions of the song are hitting, especially the R&B tinged remix (it works, trust me). As his future grows (and it should), it's nice to know that his start was just as fly. The bomb


Sic Sense "Positional Bypass/Onemantality" (Luge LUG-001)

Mercer: The copyright says '95, but heck, I haven't seen it before. Further proof that Canada has what it takes to effortlessly sneak into the indie scene in any US market, "Positional Bypass" rolls heavy on the bassline and smooth flow. That's replaced by a decent vibe loop on the b-side, but the lead track and instrumental alone make this definitely worth.


Slum Brothers "Stop Fronting/Regular N----s" (Michu SR502)

O-Dub: The Slum Bros had a nice single last year in "Sure Shot". The next time around...they've pretty much kept the same formula...maybe a little too much. For the most part, I liked "Stop Fronting", but it borrows HEAVILY from "Sure Shot"...everything from the minimalistic, piano laced track to the rhyme flow is similiar to last year's single. "Regular Ni***s" is forgettable on top of that. Still a decent cut, worth checking out, but don't expect the next sh*t. A'ight


Sunz of Man "Bloody Choices" (Wu Tang/Priority SPRO 30071)

O-Dub: I'm getting kind of tired by these guys...maybe I just can't feel their spirtual/religious overtones, but mostly, I just can't feel their moody beats that lack RZA's sense of raw finesse and lyrics that lack flow and frankly, interesting content, as far as this reviewer is concerned.Bleah


Thrust "Rage/Lights, Camera, Action" (Blueprint BPRV-01)

Mercer: No joke - the closest thing to the independent New York scene in terms of musical and lyrical styles has got to be Ontario, Canada. Look at a map, and Toronto's really not much farther to the boros compared to Boston and DC, yet neither of those other cities have come with an underground vinyl mentality like those in the 416. "Rage" is a lyrical tribute to a fallen friend - the original bounces kinda quick with minimal samples but definitely works overall. Still, my vote goes the remix with its nice melodic elements and smooth rhythm that complements the flow better. "Lights" is pretty cool as well, more of a shuffler but with another pleasing musical loop. The remix of that is the plainer bass-and-rhythm set - basically this and the original version of "Rage" will be easier to mix into radio sets, but the other two are just as nice for single listens. It's a great two sides of vinyl regardless, and if you sleep on Canada you sleep on some of the best indie product out there.


Tribe Called Quest "Stressed Out" (Jive JDAB 42419-1)

O-Dub: In the post-Fugees era that we've entered, a cut like "Stressed Out" has that "Killing Me Softly" potential in it: R&B crossover, but still keeps the respect of hip hop heads. Jive could probably just sit on this and force people to buy the album, but I think there were two compelling reasons for them not to: 1) They have yet to release a commercial single for the album. "1nce Again" was, surprisingly, promo-only from my observations. 2) Phife wasn't on the album version.

I hadn't noticed this part until later, but yeah...it's kind of weird that Tribe would put Consequence on but leave Phife off, ESPECIALLY if this cut is guaranteed sell-able, which it is. If I was Phife, I might be a little steamed if that single went gold or plat. and my voice wasn't gracing it. Luckily, the 12" has the Baby Phife version prominently displayed, including Phife Dog into the three man MC cipher.

The cut itself, if you haven't heard it...is smoooooth. Faith's vocals work well with the track and Q Tip and Consequence turn in a nice set of lyrics. I wish I could say the same about Phife, but his pseudo-ragga style just seems misplaced in this song...he needed to just come out and rip some lyrics, proving that he should've been on this joint to begin with. A'ight


Trigga featuring DV Alias Khrist "Hitman For Hire" (Blank Label KR-001)

Mercer: Not as good a deal as other recent bootlegs, but supply and demand I guess. The obvious target audience is those still reeling from "Broken Language", since it has the same overflowing style and a decent track to keep things moving. Maybe because of the fact that the cut just flys by you before you can throw any intellect into it, it'll catch on for a little while. At least it's a touch better than Smoothe Da Hustler's "My Brother My Ace/Hustler's Theme remix", which if you'll notice I didn't even bother to review.

O-Dub: Freaking that Turtle's track that got De La into sampling trouble back in 1990, Trigga's unreleased track might have been the sh*t if it wasn't for his "Broken Language" style of lyrics displayed on this cut. Personally, I still can't figure out why Trigga is getting so much attention...he's good, but he's not THAT good. People will probably want to pick this up just b/c it's unreleashed and on bootleg only but I think releasing the instrumental would've made this a better cut overall. A'ight

- Trigger featuring DV Alias Khrist Hitman For Hire [265K]


Westside Connection "Bow Down" (Priority SPRO 30061)

O-Dub: East Coast heads will probably dis the hell out of this track...and heck, why not? All three MCs, especially AmeriKKKas Most Playa-Hated Ice Cube are just stepping up the sheer ego battle on step higher. Overall, the beat's on what I call the new LA G-beats 'cause they put the beat back into the funk. Lyrically, I can't give that much dap...Westside Slaughterhouse should have begun and ended this whole sh*t...another cut just seems superfluous. Don't trip


Wise Intelligent "Rastafarian Girl/So Low" (Contract CRC3106)

O-Dub: I'll be honest...Wise (or Contract) is clearly aiming for a crossover audience on this cut...the one that likes syrupy hip hop love songs. Personally, I thought this was one of the weakest joints off the album, lyrically speaking. It's not bad...but it probably won't be for every head out there...I'd rather flow with Pharycde's "She Said" if I wanted something similiar. Maybe that's why Contract kicked no less than FOUR versions of the songs. All four remixes are actually strong, on a musical tip...I'd big up Chops' Philly phunk-laden remix and the Superbone remix for the better examples. "So Low" thankfully gives us something for the rest of the heads to enjoy. A'ight