So what was the big deal? Provided, Jesse West can make magic happen - think KRS' "Step Into a World" - but 3rd Eye is no Blastmaster, no matter how interesting the beats are. All that being said, it's still worth peeping out. 3rd Eye (as you might guess) doesn't impress me as an MC...too much off-key singing, not enough on-point rhyming. However, West's beats groove from jazzy to soulful and are much more interesting than your average NYC underground track now literring vinyl nationwide. Produced by: Jesse West
The Fellowship Two tweak out with Kool DJ EQ. Don't get confused, this one isn't on the "Beats and Lyrics" LP but is the lead-off single for Industry's "Wrecord Fiendz". For the fans, you'll want this, no doubt...for the rest, it's got a lot of good sh*t going for it except that the mixdown needed to turn Acey and Abstract's mics up a bit. But the track's got some kinetic power behind it and the dynamic duo step up to keep this project blowed as usual. Produced by: Kool DJ EQ
Arguably, this single has the best songs on Common's album (which is both good and bad. Good because it filters all the uneven crap on his album. Bad because why buy the album when you can get the "best of" on 12"?). Frankly, I thought "Retrospect for Life" was one of the best hip hop songs released all year...a beautiful song that doesn't lay on any thick pretense or melodrama. "Invocation" is this year's "Communism"...far too short for such a dope song. And for those who want to hear Common smack wack MCs up, "Hungry" and "Real Nigg* Quotes" fill the job nicely. I am concerned by Relativity's utter lack of remixes for any of their artists: No ID, Beatnuts and Common have yet to release a 12" remix. What's up with some remix love? Relativity broke or what? Produced by: No ID/Dug Infinite
It's not that I don't like him...but even with two single out, I just can't get into this guy. The right elements are there...decent production, interesting production actually. Lyrics are challenging not cliche. I mean...this guy's got personality. I guess just not the kind I'm particular geeked on. Doh! Maybe you'll like it though. Produced by: DJ Eskimo/Tru
Seattle remains one of the last big American cities to put out a legendary MC, and no, Sir Mix A Lot just doesn't count. Part of the problem has been a need to define a hip hop identity that establishes the region outside of the NYC/LA paradigm. Seattle however seems to flow between an overly specialized personality (think the Jasiri Entertainment Group) or excessively NYC alter ego. With the recent emergence of Conception as - presumably - THE Seattle indie label, there might be some renewed hope that the Emerald City's finest will finally get a chance to shine.
The trick is not so much in defining a sound...that's limiting and I think its why Jasiri isn't getting national love. A city is only as notable as its strongest MC which is why Common Sense represents Chicago, but not necessarily the other way around. In other words, what Seattle could really use is a supa emcee rather than some kind of amorphous and ill defined "Seattle sound".
Unfortunately, the Diamond Mercenaries don't seem to be the one. I'm not trying to disrespect here, but I just didn't find much to get into with their single. Seattle-ites as they may be, I couldn't really tell 'em apart from any number of MCs who are rhyming the same patterns and topics. And Mr. Supreme didn't really whip up a storm of beats for this one either.
On the flip side, Four-Fifths - Conception's other new single - is better material to work with. Production's a notch more interesting and the rhymes are too. Unfortunately, these kids are from New York, not Seattle and thus, even if they blew up...the 5 boros get the love vs. the Pac NorthWest. The struggle continues... Produced by: Mr. Supreme/Conmen
Again, why are we not seeing any remixes? At least an unreleased B-side? *sigh* Plus, "J.D.'s Revenge" is some near-sappy (but not quite) crossover hip hop. "This One" is in that arena too, but between Busta's hook and Diamond's better-than-you-might-expect lyrics makes "this one", one to keep. Produced by: Diamond
Hey, I actually LIKE this song, even if is from the Firm. Will the wonder's never cease? Or is it just the spaghetti western-influenced track? (Good money's on the latter). Produced by:N/A
Another very solid project by Frakenstein. This time it's a double 12" with a novel approach: he puts all the vocals on one disk, all the instrumentals on the other. Def Jam may have (don't remember) done this same technique for their "How To Be A Player" promo, but regardless, it's damn smart and saves the DJ the cost (maybe) of buying doubles unless they wanna rock vocals back and forth.
As for the songs themselves, a very well put together set of six songs with plenty of cameo appearances by other (presumably Canadian) artists. My favorite songs include "Quiet Storm" which is far from muzaky despite its smoothness. "Rocksumsh*t" clocks along, counting time off with Luminious and Frakenstein on the mic. The title cut is another gem, with a richly toned track setting it off lovely for Frakenstein and Meesah.
Frakenstein's constructions are the kind of solid production that may lack the sheer adrelanine pump of a Primo beat, but they're wonderfully reliable fodder for the quality-starved. Get fed. Produced by: Frankenstein
Gab Gotcha's appeared on at least three Beatnuts' cuts, most recently "Off the Books". Now that he's trying his hand, solo-style, it's up to the Beatnuts to provide beats plus a cameo on the B-side. The A-side is nice...great music but Gotcha's lyrics fail to impress and "On the Job" sounds generically bland. I've found that the Beatnuts' production has been a lot more uneven then in past years and this single doesn't improve the average. Produced by: Juju
Above average NYC underground. "It's Yours" contains some sonic snippets from T La Rock's original but it's really Gas Chamber's quick flow that catches your ear. He has a little trouble staying on-beat at times, but for the most part, it's a likeable braggadocio track. Likewise, the B-side has Izm's deep baritone birthing flurries of abstracted lyrics that stand out over the understated track. A nice one. Produced by: N/A
Despite being Hydra's flagship artist, I've tended to find Don's work inconsistent. Sometimes he's hot, sometimes he's not and flipping on the A-side, I was definitely thinking not. However, the B burns baby burns with an iller-than-ill beat that pierces your dome and keeps the energy throughout. I'm still not realy feeling Don as an MC...verbal threats set to a 4/4 beat just is in too ready supply nowadays to warrant special attention. Produced by: Godfather Don
While this boriqua might sound like Rosie Perez on speed when she rhymes, it's hard to ignore her presence. Sure, she's no Lauryn Hill-esque mic finesser, but Hurricane can still keep that head bouncing, especially when Domingo lays down some basic basslines and dusted drums. "Wuteva" is my personal fav on this 12", but cameos by the diggety Das make the A-side worthwhile too. Produced by: Domingo
I'd like to give Munk credit for persistence...this is his third 12" in the last year and a half, plus he had an EP that no one knew about as well. Unfortunately, time's been taking its toll, or so it sounds since this latest single has been his most uninspired to date. It's not that either side is bad, it's just that between recycled beats ("True Hip Hop") and unimaginative rhymes by both Munk and Stewy Nuke 'Em, there's not much to crow about. Produced by: Militant Mind State
One of these days, I'll be able to adequately describe why I like this guy so much as an MC, but for now, I'll chalk it up to him being just a damn SMART lyricist. Listening to his verbals on "School's In", you realize that J-Live's mentals are always turned on...he never lapses into cliches or bullsh*t rhymes just to fill space. It's quality you can trust and depend on, a rare thing in a field of so many clone MCs, you know? The beat's hot as hell too...got the bump meter rocking in the red.
"Longevity 2" doesn't change up the original Ethopian-flavored beat much, but does remix the vocals with an intro ala Just-Ice & KRS One on "Goin' Way Back". J's "still kinetic but now supreme alphabetic", whipping out some smoking swagger. "Shiestie" isn't quite as hot...decent, but neither the beat nor the verbals got my motor humming. No matter, with two out of three banging like piston rods, hey, you'll do more than ok. Ah yes...the live one is back to kick off 1998 to a boombastic beginning. Produced by: Georges Sulmer/Spinna(?)
The Ummah, or better said, Jay Dee, turns in a pair of remixes for Janet's Joni Mitchell interpolation. His "Saturday Night" mix is classic Jay Dee, sounding a lot like his work for the Pharcyde's last LP...smooth but no standout. The "Revenge" mix mixes up the drums, adds some weird key action but isn't that much better. Nellee Hooper's mix gets noisy with a nice crunchy snare but it's not a good blend with the song's otherwise smoothness. The best version? Just flip the extended mix which uses Jimmy Jam and Terry Lewis' original. Surprising? Doesn't have to be...sometimes you just get it right the first time. Produced by: various
Despite the line-up, I was not moved by this much. Why do all the Wu Tang producers feel it necessary to try to follow in the steps of Rza? It wouldn't kill MFs to experiment with other music styles and this single goes into catonic shlock with a boringly generic Wu Tang track. Worse yet is Killah Priest's yelling rhyme flow...him and RA the Rugged Man should work together, for real. Thankfully, GZA and Deck save this from obscurity, but only by a thread. Produced by: Tru Master
The first single from Industry's "Beats and Lyrics" compilation is perhaps one of their best. EQ's track isn't that blazing hot, especially considering who he's producing for, but it does its job by allowing the MCs to shine. Can I just say that it's damn good to hear Cas back on the mic and a Del cameo ain't bad either. Xzibit's inclusion initially felt like an anomoly...he's just not very Hiero like, but hey, I ain't salted by it...he represents the Likwit too. Produced by: Kool DJ EQ
To be honest, I found most of this single fairly unremarkable. Even though I liked some of the tracks on Lace's Japan-only double 12", most of the songs on here didn't strike me as particularly interesting. His last domestic single, "Cut That Weak Sh*t" was strong in both beats and rhymes, but despite having Buckwild and Domingo do the beats, nothing seeps into your head on these. It's only Shaself's bouncy remix for "And One" that I liked but some out there will immdiately scream, "Hey, they just sampled David Bowie's 'Let's Dance', just like Puffy". True, BUT, I heard this song back in May and I think the same-beat phenomenon is purely coincidental. Regardless, I hear a party hit on this one. Produced by: Buckwild/Domingo/Shaself
The first song to be released off of the massively anticpated Lyricist's Lounge compilation, "Body Rock" has got the right pedigree. I mean...Mos Def, Q-Tip and Tash on the same Shawn J. Period track? Hot damn! However, in all fairness, the song is not THE sh*t, but it's pretty tight regardless. The beat could have been tuned up a bit hotter, but I ain't mad at Shawn J. for his work. Of the three, Mos Def comes off the best...Tash is cool, but he drops the same type of rhymes he drops everywhere. Q Tip was a'ight, but surprisingly unimpressive...I just wasn't feeling him. Mos Def though...funkalicious in the cut. 1998 could really be his year.
Gun clap? Oh yeah, but done well with - surprise, surprise - good production. Good mixshow filler. Produced by: Goldie
Mmmmmmm..."Dynamic" is currently my SH*T! Run Run Shaw loops some jazz beat backwards and the sound of horn hits in reverse makes this one of the better tracks I've heard in a while. It all redlines though when the drums come crackin' in and Pumpkinhead represents with some ol' lyrical swaggering that may not be on the cutting edge of sophistication, but will still leave you punch drunk after the needle clears the last groove. "It's Over" is not as john blaze beat-wise, but there's something engaging about Pumpkinhead's bluster that's hard to dislike. Ultra-tight. Produced by: Run Run Shaw/Overtime
Playful hip hop with decent beats. A solid single with three likable songs. "The Freshest" is getting the most love, which is cool because it's a nice track, but I'm flipping, "Life is a Game of Chess" is my joint. Flavored with jazz, colored with good rhymes, hey, 'tis all good. DJ Revolution's on the cuts too...what else ya want? You already got it. Produced by: Red Foo
Bay Area underground hip hop with a dash of Japanese flavor thrown in the mix. Murs, the man down with Living Legends, did this one along with my mellow Shingo (who does the dope Empire 22 t-shirts). The single should keep folks used to the Bay Area underground sound happy, i.e., it's a tad underproduced, but that's how it usually is. Lyrics are decent though the hook's the smartest thing on there. The flipside is the same song, just done all in Japanese by Shingo. Represent the Rising Sun, son! Produced by: Shingo
All in all, this might just be the best 12" that's come out in the last half a year. It's not so much because it'll blow your mind but it's got all the elements to make a solid 12". Beats are solid and - my goodness gracious - Vin Skully actually takes this sh*t uptempo beyond 95 BPM (will the miracles never cease?) Lyrically, the songs have the right touch of complexity, but they're not overdone, well-rhymed with seasoned flow. Really, what more do you want? How about the return of Divine Styler to the scene? That's what you get on "Killer Instinct" and if his cameo doesn't carry it over for you...there's simply no hope. Get this. Produced by: Vin Skully
Quiet, but catching, introspective hip hop. Of the EP's four tracks, the product is mostly good, though not infallible. "Mid Atlantic" gets vibey smooth on that ass, but the rhyme scheme flirts with being a bit corny. However, Spinna cooks up a sweet track for "Setting Sun", the EP's best cut as MC Blue Black drops an intelligent set of verses on gaining knowledge of self. "Nigg*s Like Me" has the best rhyme flow going with a verbal tag team between Blue Black and Asheru...Bedroom Wizard's track, again, is jazzy but unassuming to the point of over-subtlety. However, the Wiz heats it back up for "It's About Time" which should give head nodders their fix (now just fix that hook!). Solid EP. Produced by: The Bedroom Wizard/DJ Spinna
Decent NYC-indie hip hop. Nothing new, but both songs will get you through four minutes without much pain. Produced by: N/A
I wasn't feeling his last 12", but the touch of the funky technician made this new single a lot more appeling. It's amazing what a good beat will do to improving an MCs presence. The B-side still bores, but "Paradox" is enough to get most heads by. Check for it. Produced by: Lord Finesse
Not a bad single, but without a remix, why bother talking about it? Produced by: Artist
Yawn. Produced by: Big Greg
I was spending some quality time listening to Smif N' Wessun's debut album. Even if they did get jerked by Nervous (and who hasn't?) there's a big fu*kin' difference between that album's material and this new Cocoa Brovaz single. Number one difference has to be in production...Da Beatminerz really came pretty damn fat on the last album and their loss is inmeasurable. This new single, on all three tracks, doesn't sizzle fat, it sizzles lean. And then some. Sure, "Spanish Harlem" is theoretically groovy with cameos by Tony Touch and Hurricane G but can they pull it off without Da Beatminerz? Nope. Produced by: N/A, but who cares?
D'Angelo does rock. The result doesn't. Produced by: D'Angelo
Booooooring. Like we really needed to hear Nas over a series of Wackmasterz and Puffy tracks. Or like we really need to hear Doo Wop do his version of "The Ten Crack Commandments"? I'd rather watch Chuck Norris as "The Forest Warrior". Produced by: N/A
If these guys aren't Native American, it's a pretty lame attempt to capitalize on some Indian-metaphoric bullsh*t. Even if they are...it's still a pretty lame attempt to capitalize on some Indian-metaphoric bullsh*t. Produced by: Paul Metto/Big Al
A single as vapid as the name of the crew. Produced by: Tempamental & Smokehouse
The "In the Beginnng" concept sounds interesting, but as more time goes by, you realize that something vital's lacking: creativity. "Rapper's Delight" might have historical significance, but let's be honest...it just isn't a remarkable song, even back in the early 80s and certainly not in the mid-90s where the Def Squad bring nathan new to the song. Produced by: Erick Sermon
The beat's semi-interesting, but the lyrics are not. Underground mix show filler. Produced by: Harvey Frierson, Jr.
Yawn part 2. Produced by: Artist
All together a rather disappointing single. I've liked these kids since "EZ on the Motion", but I had a hard time finding much to bump on this 12". Lyrically, they've never had much going for them, but at least their production has held up. Not here htough. Despite a three song selection, only "Livin' It Up" came semi-nice with some jazzy flourishes, but it's not enough to warrant repeated listening. Produced by: Jay-Rome/Madlocks
Typical near-crossover NYC fare. Just by the title alone, your bullsh*t meter should start clicking and once you hear the cookie-cut rhyme delivery, there's not much else to do but sigh and wait to hear this on Hot 97's evening mix show. Produced by: Brent Toussaint
Letter to Def Jam: You guys have some good groups and strong singles, no doubt. Both EPMD and the Cru's new singles are pretty tight, good workhorse cuts and LL turns in a surprisingly tight posse cut, but can I just ask a favor? How about a remix for something? Anything? Call me crazy, but are labels unwilling to front some cash to bring in an outside producer to make some magic happen? Sure, "4,3,2,1" has a remix with Masta P, but the track sounds almost exactly the same. Back when I was just a mere lad, a remix meant a NEW TRACK. Whole new vibe. Am I missing something here? Produced by: various
The latest pop song to become the victim of Bad Boy producers is Rod Stewart. The 70s stud's "If You Think I'm Sexy" gets garbled into the - hack, hack - "If You Think I'm Jiggy." Need I really say more? Produced by: Dame Greese
Just curious but is Timbaland's production really slow or really fast? Since his shuffling hi hats are more condusive to pop locking more than fluid stylings, it's simultaenously fast AND slow. Freaky. Produced by: Timbaland
Unremarkable rhymes and beats except that they jack Shadow's "Organ Donor" beat on one of the beats. Unfortunately, they also interpolate Pink Floyd's verses from "The Wall" in a fairly unfunky version. Peep, "We don't need no playa hating." Naw, we just don't need no wack hooks trying to bite the next man's style. Produced by: N/A
Call me an unreasonable bastard, but I just can't get into this group. The only reason I'm even bothering to review the single is because Pete Rock puts down a decent remix for the cause. But beyond that, I just can't swing with the Realm's whole steelo. Produced by: Muggs/Pete Rock
Really...I tried to like this guy. Even forgetting his past as part of Crustified Dibbs, he just sounds corny with his McGruff voice and simplisitc rhyme schemes of doom and gloom. Nor is the production that big of a dealProduced by: Dirtman
Yet another undistinguished single from this Philly squad. Sounding typically Tri-state, there's just not much to really get deep into. Both sides are fine: you got decent rhymes and beats but little more to separate it from the rest of the Tri-State herd. Produced by: N/A
Someone must like this guy because he's gotten a fair amount of play for someone who I consider just another chip off the Wu Tang block. Not surprisingly, this 12" doesn't change my mind much. He can't seem to rhyme on beat and Lord Jamar's beats are uninspired and them some. Produced by: Lord Jamar
Rather typical Tri-State indie hip hop single, you know their steez. B-side's got the better beat, but neither side is gonna change your world. Or even the radio station. Produced by: Kid Flex/Solomon