Another quality indie 12" out there...outta NYC. Does sound a bit like the Trendz of Culture lyrically, but overall, the A-side is a good blend of East Coast sprase production and attitude-laden lyrics. The B-side is also tight...they flip the "Hand Clapping Song" by the Meters (the track, not the vocal sample) and it comes off well. Sometimes, doing less IS doing more. Definitely peep for this 12". (KICK LIVE)
Wow...who'd think you'd be hearing this brother on the mic again? Hell, call it a come back 'cause Chill Rob has been on the DL since...what? The "Power"? No matter, his return in '96 is quite welcome with a hella tight 12". The A-side has a sinister piano laden track (reminded me of something the old Kool G Rap might have used)...and Chill? Bangin' lyrically.
The B-side flips the pace, using a subtler key flavored track that kind of cruises along. Chill is more laid back on this cut too, just kind of easing back in the cut and dropping some dope flows. My only complaint about this 12" is the absence of instrumentals. Otherwise, definitely look for this puppy. (ECHO)
I wrote about the A-side last time...and I still think it's cool lyrically but boring production-wise. The B-side on this single is cool. The production still doesn't kick, but the rumbling bass compliments the lyrics by Gravitation (Chino and four of his boys). Chino still stands out as best, partially b/c of his verbal flow, and of course, for his punchrhymes. (AMERICAN)
I know this is a bit late since "Lady" is actually D'Angelo's newer cut, but I just got 'em. I usually don't like remakes b/c it's hard to improve on a classic, and D'Angelo doesn't necesarily but Smokey to shame...BUT, he does manage to come with a very nice, grooooovy cut (the word fits). This 12" has four remixes and I'm not going to go over all of them...I will say that I liked the "God May Be Funky" remix the most...very smooth, a bit more bass heavy than the other ones...and with a nice intro for mixing.
The b-side has King Tech's remix of "Brown Sugar" which was ok...more of a hip hop beat and rhyming by Kool G? Sounded like him. Nice single...if you can still find it...you might want to take a taste. (EMI)
AV8 is back in the house...not all their material bangs...and a DJ can only do so much with breakbeat 12"s after a while, but still, I like at least half of this 4 track EP a lot. No delusions...these are made for parties and little more, but it still sounds hella good. I recommend A Brooklyn Thing and Juice + Gin. A Like This Ya'll doesn't really move me until they get off Dre's jock (and hop onto RZA's instead). (AV 8)
Though the 12" looks rather unassuming (i.e. generic) it has an interesting premise...Side East and Side West. Overall, I'm not sure if fans of either sound are going to get bowled over by either side, but I kind of dug on "So Test Me". Their interpretation of the "East" is a minimalistic beat, mostly flavored by a couple of key notes. It's cool...and lyrically, it's not mind blowing, but listenable. I didn't really feel the B...it's just my sense of aesthetics but if they were trying to sound "West"...they succeeded...too well. (CEE LOW)
Well...kinda funny that the E-Double would remix his own quality song with a track that Jermaine Dupri just so-so def-ed all over Kris Kross with (on "Tonight's Da Night". Even more ironic that EPMD used the track before if I'm not mistaken...meaning that Erick jacked himself (how often to you hear that? Marley Marl excepted of course). I like the track, but all in all, was this really necessary? And in this fashion? (DEF JAM)
Normally pretty good, this particular volume has some outstanding cuts, including my man Peanut Butter Wolf's Hippyest (UMC and Pete Rock fans should recognize the sample). Don't sleep on the Troubled Horn by New Harlem Sound or I-Cue's slow drifting groove called Sensei Dance. The Prunes have a nice track in Vinyl Anal and I really enoyed DJ Smash's faster tempo and smooth Bassanova. Not exactly for the heads, but well worth the price for those who did the Fat Jazzy Grooves. (NEW BREED)
What did Merc say? That Fat Joe is the rapper people love to hate? Or maybe I just said that. Anyway...Joe is still coming better than he did on his debut, but ugh...what a wack A-side. Blatant Marvin Gaye sample (gee, what a surprise, L.E.S. produced it)...and horrible R&B vocalizing on the chorus...plus Joe's lyrics really aren't much to pay attention to.
Ah, but fools be flipping that wax to the B and taking sips of the Firewater. Hey, it doesn't hurt to collaborate with the likes of Raekwon and Showbiz to come up with a fat track. And in general...it's likeable. But hey, the Wu are everywhere right? You can do betta. (RELATIVITY)
When I first heard this cut on my man Pal 58's show, I had to call in. NICE jazzy track with doesn't have much more than a four note saxophone sample, that's all it needs. And lyrically, it fits together well. Unfortunately, the B-side was...well...boring. Track wasn't much and neither were the lyrics...but the A-side was so butter, I gotta still give it a stamp of approval. Canada (where these kids are from) is dropping some tracks well worth mentioning and recommending. (GROOVE A LOT)
First of all...I have to say that Salaam Remi came correct on this track...after a looong string of mediocore production. And Greg without Smooth is quite fine by me on this cut...I mean, you know what to expect, but it's still a cool 12", made well for the clubs and mix tapes...definitely support. (PAPER MUSIC)
A decent find from the indie crates. The A-side wasn't that great...it's definitely a track that tries to be subtle and in a chill type mood, but it went a bit too far I think...plus there's this annoying yell in the middle of the song. But the B-side is kind of bangin'...it starts with a hitting drum track and the siren whines that UTFO(?) made famous. Then the bassline, murky but prominent, comes in. Lyrically, it flows much better, surfing the track with skill. (
I've reviewed the A-side already... The B-side is cool...BUT, haven't we already the EPMD beat used just ONE too many times now? It's still a very worthwhile single, but after hearing the album snippets, I'm not anticipating this LP as much as I could. (ROCKAFELLA)
Same track...new lyrics. Redman cameo's. It's ok, not a must have, but better for Reggie Noble's presence than without it. (RUFF HOUSE)
I wasn't expecting to like this, but hey, even I get surprised at times. It's on an LA-state-of-mind and no one's going to lose sight of that, but while the album versions were all-too-typical, the Backstreet remixes for both tracks come wicked with some sinister sounding sh*t that had me turning my head. I wish I could say the lyrics improved but then again, I think other's will feel these guys more than me. (MENES)
Hmm...I thought it was going to be called "Mad Professor" but no matter, no matter...the Extra P is on the scene after a HELLA long time. Seriously! He told us back in '93 to check the album when he dropped it and damn...it's like 96 now. In any case, Mad Scientist is a decent debut cut but it's more subtle than I would have expected. That doesn't mean I don't like it, but I was kind of expecting something a bit bouncier. The track is well constructed and subtle...no complaints here...it's smooth without being too much so. Lyrically, he comes pretty good...better than he did on "That Bullsh*t" and "Extra Abstract Skills".
Spacey is kind of weird, mostly b/c he didn't produce it himself. I mean, that's kind of like Pete Rock rhyming on a track that someone else did. In any case...I wasn't feeling it too much...not very memorable despite an uncredited cameo appearance by a second rhymer. Listen (Blast Off) is just an instrumental track...very dusty and raw sounding...cool, but sort of unnecessary. I'd recommend this 12" on the strength of its decent (but not great) merits and who's doing it. (GEFFEN)
A strong EP of mixed quality...this is some indie sh*t out of San Diego, produced by the Chop Shop crew who had a tight breakbeat LP a while back. In general, the production is strong...blending jazzy elements with some ruff n' rugged attitude. However, the most common criticism I've heard is that the lyrics are quite up to par, and honestly...I wasn't that moved by their flow or content. Still, worth checkin' out... (ANGEL TRAX)
I like this independent effort. Mr. Complex will probably impress some, annoy others...mostly b/c he tries to live up to his namesake lyrically, and sometimes, it doesn't quite come off too well. Nonetheless, the production on these three tracks is provided by Organized Konfusion and Peace of Mind and the sh*t is NICE. Quick aside: How come Organized can't sound consistently this good when they produce themselves? Anyway, this 12" comes complete with a full array of instrumentals too so that makes it all the MORE desirable as well. Check it out. (CORECORDS)
The K Def remix is worth mentioning...pretty decent remix by him. In general, K Def has good production but I have yet to hear something totally fat from him. Joe Quixx throws one down too but he uses the same loop that was on Pete Rock and CL Smooth's "Lots O' Lovin" and was more recently sample for Cutie's "Got It Goin On" remix. I'm surprised b/c Joe usually comes with fatter material. Overall, I still like the single but the remix 12" isn't a must have. (MCA)
The so-called "lost remix" doesn't seem to be that big of a deal, to me, to have merited the attention it's gotten. It's ok and all, and Organized come off on the rhyme, but I can think of tracks off the "Stress" LP I liked better and this definitely is NOT one of my more favorite efforts by Buckwild that I've heard. (PRIORITY)
This album is 3/4ths throwaway in my aesthetic opinion (but West Coast kids will probably like it a lot better with songs by the Luniz and the Click). However, there were two tracks worth mentioning. The first is Boston's Almighty RSO with Mobb Deep on yet another track that the Infamous produce, War's On". I've said this before, but these kids are REALLY impressing me with quality production...and lyrically, I think they make dangerous cameos b/c often times, they'll come off better than the artists their cameoing for (see Illy Funkstas for another example). The Almighty aren't that bad at all, but Mobb Deep comes better. Cool cut.
The other cut is Jr. Mafia (sorry, Lil Kim is NOT on this track) and it's called White Chalk II...it's not stellar, but it has its moments...plus Minnesota deserves mention for a well done, dark production effort. (NOO TRYBE)
Ah...after quite a hiatus, the "Pos" is back to work the night shift. This time around though...he doesn't come as bangin' as I remember. For one thing, the Easy Mo Bee remix of the title cut was horrible. You hear Q-Tip's remix for Cypress Hill's "Illusions"? Well, this is sort of similar, just worse, as if that were possible. Bleah. The original track is much better...blaring horns on the intro, some BUMPING drums and a sloopy keys which sound like their out of a carnival ride. Lyrically too...I dunno...I'm used to Pos splaying himself all over the track and I just didn't feel his presence as strongly.
Mr. Jiggiano was better overall. The track isn't as fun to listen to as on the A, but it's got 'nuff sinister funk and bump to it. Plus Pos' flow comes off better, proclaiming from the get go, "You know the M.O." Yes indeed...braggadocio, pimp, Positive K style. I still don't feel the cleverness that made "The Skills That Pay the Bills" such an enjoyable listen at times. (CREATIVE)
This is not a new single...this is their older one (before "Got It Locked") but I just picked it up the other day...and I'm glad I did. I like this crew...they come with good, deconstructed (i.e. sparse) production and the trade-off in lyrics works well on the songs I've heard so far. I like the A-side better on this cut...despite a very simple track, the lyrics move the song from beginning to end. The B was noisier, but not better...if you liked "Got It Locked" it's worth peeping. (RUGGED SCIENTIST)
Just to go to show that you can't judge a 12" by its cover, I was all ready to stick this puppy in the sell back bin but decided to flip it on, just for the hell of it. I was pleasantly surprised. The A-side features a stripped down track of keys and a drum machine loop and at least three rhymers trading off verses of varying quality. I'm not sure if the title is supposed to suggest that the cut is a blend of East and West, bottomline, it's worth listening to and some of lines are clever. The B-side wasn't as impressive but was decent...a more bass heavy track but it wasn't that interesting and neither were the lyrics. Worth checking out. (RIDICULOUS)
What's up with Smoothe and his weak A-side? I totally slept on "Broken Language" b/c I couldn't get past the first song. Hustler's Theme is just...well...bleah. Sounds way overproduced and just dopey. Murdafest is ok, but it sounds too much like "Broken Language" in some ways...both musically and lyrically. At least Trigga managed to STOP rhyming in similes like he did on the last single and on "Danger Part II". (PROFILE)
Premier's remix of the song is actually not very exciting in my opinion. Mostly it's b/c he uses a very similar bassline on here that he did on KRS' "Outta Here" and the other sound effects didn't hype it up too much. I actually liked the album, bass-heavy version better. It's plainer, but it fits better IMO. (PROFILE)
My man Rasta Cue Tip is one of the people responsible for this 12" and while I initially got it to support his efforts...hell, it's pretty damn tight so charity or no charity, it's in my crates for good. The first cut has a nice jazzy track, powered with a clean drum loop and some high pitched keys. The lyrics are ok...the flow's cool, but the content is just "ok". It's funny though...both tracks sound very NY-ish, but the label is out of the East Bay. The Dopeness is ok...I didn't like the track as much but the KRS sample was cool. Check this 12" out. (BLUEPRINT)