Acey's got my vote for best-talent-with-minimal-reward artist. After FF's lackluster second album everyone figured he'd come hard with his solo album...but sales were mediocore and the entire East Coast couldn't swing with the Project Blowed style. Now Capitol's dumped on him too...one of the vicitms has been this 12" which won't see the light of the commercial sun like the Mic Check remixes. The remixes are ok...but I think the main criticism people had of Acey's album still haunts this 12", including the previously unreleased b-side: weak production. Hey, I thought that Fat Jack had a decent remix, but if Acey is going kick it, he needs to drop more cuts with beats as hype as "Feet Upon the Table". Show Your Right is definitely funk-influenced and I just couldn't get into it as much as I would have liked too. Alas, sometimes, the good guys don't win. (CAPITOL)

Don't confuse this with Mr. "Put It In My Mouth" Akineyle...though both are from NY. AK Skills is evidently some big sh*t in the Big Apple, but I've definitely heard much better sh*t outta there of late. It's not to say that this 12" is wack...I liked Nights of Fear enough to give it play on a mix tape...though I think the song starts better than it ends. The A-side needs to change names...he might as well called it "Hardcore Hip Hop"...oops, already taken...my bad. (WHITE LABEL)

The Beatnuts' Fashion is now Al Tariq and this single is essentially, a Beatnuts 12" in sound for all expressed purposes. Only problem is...I don't think it's one of the Beatnuts better singles. I mean, the formula is there...well rhymed but relatively hollow lyrics and chunky beat...but the beat ain't that bouncin' and without Les and Juju to back him up...Al Tariq just doesn't capture my ear like the last Beatnuts album did. (CORRECT)

Part 2 is one of the rare remixes that builds on the first and manages to hold its ground. I liked this Part 2 as much as I liked the first...yeah, the lyrical material is dark and a bit played, but overall, it bumps well for my taste. (TOMMY BOY)

I dug this 12" a sh*t load better than Dr. Octogon, but that doesn't mean Kool Keith is any less bugged. Represent 96 is a cool update...track left alone, but it's definitely more of the same disrespect that Keith's spittin. Funny as hell sh*t. The b-side is more on that freaky freak tip...what else can you say about a song with a chorus, "Prepare...when I come with no underwear." Whatever. It's worth noting that Keith makes a big deal out of Tuff City's bootleg releases of UltraMag sh*t...industry rule 4080? (FUNKY ASS)

My man Mercer breaks down the thinking behind these two singles, particularly the second one pretty well in the Finishline. I do think people should expect a possible remix to either song, probably Ill Vibe, done by Jaydee. But hey, the original's got bounce enough...not the best single for either artist (Busta or Q), but not bad at all. And It's a Party...sure it's crossover but hey, that's the whole point. At least it's not fakin jacks as being hardcore.

FYI, Ill Vibe has a clean version and instrumentals, the copies of It's a Party I have don't have anything but the LP version, not even instrumentals. (ELEKTRA)

The Wu stew for 96 is getting close to a boil...there are currently...what? Three different tracks by Wu members? And guess what...all three are kind of sleepy. Capadonna, who ripped it on Winter Warz just can't duplicate the lyrical fury on this cut, though it's not bad...U God represents too but in both cases, I wasn't wowed over. Same goes for the Ghostface (w/ RZA cameo) track though his franticism on the mic was better than RZA's annoying (to me) catch-up-with-the-beat flow. I think Wu riders will be happy with this 12" from the "Great White Hype" soundtrack, but suddenly the new Wu Tang album isn't looking so unbeatable anymore.

I finally got around to listening to how the final album sounds vs. my earlier release...and unfortunately, despite remixed tracks, it's still not as good, musically, as I would have liked. However, Freestyle Rhymes really caught on for me, most likely thanks to the "freestyle rhymes" sample on the chorus and the overall butter creamy production. Chino's got the lyrics, no doubt, what he needs is more tracks like this that can match up. (AMERICAN)

Hmm...you think the Fugees showing up on this 12" might have ANYTHING to do with the fact that the Fugees are selling albums like hotcakes while Cypress Hill is languishing in the Temples of Boom? Nah, must be a coincidence. In any case, they didn't even bother to get Lauryn to drop a verse, making this 12", or me, fairly drab and lifeless. Biddy bye bye... (RUFFHOUSE)

Absolutely, a fantastic single. I have nothing to complain about...this is one of the most intelligent tracks I've heard to date on analyzing the plagues that are infecting hip hop. Few artists can pull off this kind of admonishment without having fools trying to pull their cards. But this is De la Soul...perhaps one of the "last honest hip hop groups" and they've never sold out or fallen off. Never will. (TOMMY BOY)

DU's rise and fade from hip hop has been a bit of an enigma to me, if only b/c I don't think they actually fell off...I think they let hip hop pass them by while they went back into the lab. Whether or not their absence over the last two years was a mistake or not is hard to say. Oregono Flow isn't my pick-to-click for DU to capture the coast2coast flavor that sh*t like Doowutchyalike managed. I'm not even talking about the days of the Humpty Dance (which will still rip a party to shreds even today)...how about some sh*tl like "Carry the Way" which debuted the sick styles of Saafir? Or Freaks of the Industry?

Well, the O-town sound is as heavy as ever though I think DU has managed to set trends, not dog 'em . Even so, I liked the cut on one level, but it didn't hit me on a bunch of others...especially the all important "I'm-doper-than-thou" level. Has DU fallen into the same zone that Souls of Mischief found themselves in? Craving local love but losing national prominence? I don't know, but this sure doesn't sound much like a 12" review does it? (RADICAL)

The East Flatbush Project is establishing itself to be a strong leader for independent hip hop. Provided, this is only their second single in close to a year, but so far, both efforts have been as strong as anything else I've heard. The fact that you can have two good, back-to-back singles says a lot in an industry rife with one-hit wonders. All that being said, Tried by 12 is tight...the ill koto sample gets my vote for loop of the year...and the funny thing is...it works. Who'd figure? Lyrically, DeS is dropping that NY realism sh*t we're all getting to know, love, and perhaps tire of, but the whole premise of this song was enough for me to forgive his topical transgressions. "I'd rather be tried by 12 than carried by 6"...simple concept, but poignant, and a little funny as well. Definitely a 12" to peep for. (EAST FLATBUSH)

The Sound Barrier remix is cool, but not slammin, plus...I think most of us are REALLY sick of hearing anything remotely familiar to "Killing Me Softly". I do have to give the Fugees (and Ruffhouse) credit though b/c this single is probably a BIG reason why "The Score" has gone platinum squared. The B-side is cool though...a clean edit of Cowboys, one of the best cuts on the album, feat. Pace One, the ill Raw Digga, and that Young Zee kid who I dig. Promo-only kids, so find this sh*t where ya can. (RUFFHOUSE)

Hmm...what happened in between Leflah and this? Not that the 12" is wack, but it's certainly nowhere near as fly as the Fab 5 sh*t. For one thing, I though the Alkie's E Swift was an odd choice for this NYC posse...especially since the tracks he whips up lack real firepower. Of the two, I'd give the nod to "Da Wiggy" b/c lyrically, it's more spontaneous. Operation Lockdown is on the storytelling tip, and I wasn't really feeling it. I'm not wildly anticipating the album now, especially since I know what at least three of the songs are going to be like. (PRIORITY)

The A-side is about as good as a House of Pain cut as anyone would expect. (Read: skip it). But the B-side has Sadat X leading it off and that alone is worth noting...Lethal hooks up a nice, jazzismooth track which goes well with Sadat X and...Everlast as well...I can't front, he did decently on that B-side...you know how it goes...which side wins again? (TOMMY BOY)

Note: Nas sample #432 is found on this 12". On the real though, Beyond Real is kind of cool...as is the B-side. The production is NY jazzy, which means on the minamal side, snippets vs. samples...decent, but lacking a real punch. Lyrically, I got open on some of the lines but was enraptured by the effort overall. (BEYOND REAL)

Man, this was a remix that needed to happen...and it's tight. Salaam Remi, who's gradually regaining some stock with me, comes with a smooth but ruff track that totally kills that butter smooth bullsh*t that the original was flipping. In this sonic context, G Rap and Nas are slaying on the lyrical tip, especially when they start trading verses. Look for this remix on the Epic Street Sampler. (EPIC)

Yawn...Erick Sermon experiments with some harder-core sound and should have stayed with the Zap clap instead. Besides, I'm jaded on Keith Murray and his compadres...I'd rather flip this puppy on the B and rock that "Funkorama" remix. (INTERSCOPE)

Yo, what a difference a name makes. Lord Digga definitely had some good rhyming and production going on that Southpaw sampler. His representation on Masta Ace's last two LPs has been pretty cool...but this 12"? It's not hella wack, but it is pretty damn middle-of-the-road. I wasn't really feeling it...much preferring to bump the Artifacts joint which is on the A-side. Man Digga, mandingo, whatever...ya need to claim your Lordship back. (BIGBEAT)

DJs...Rule #1 in buying a 12": Never believe anyone, even your boy, until you hear that sh*t for yourself. A friend of mine, who's opinion I respect, was saying this cut (on the b-side of the not-worth-mentioning Eightball and MJG single) was "ILL!". Well...maybe it has the sniffles or something, but "ill" is a bit too strong of a diagnosis for me to feel. I will say this much...if any group is doing a good job of updating the noisy Bomb Squad style of the late 80s, it's been these kids. Don't bumrush the store for this puppy, but you might want to pick it up and flip it on the listening station and make your mind up then. (EAST WEST)

'Nut's gotta get my vote for artist-on-multiple-labels award. He's been on Southpaw, the Bomb, Funky Ass, Heydey, New Breed and now, 2 Kool. This EP isn't what I'd call a must have for loyal fans, mostly b/c they'd already have half the EP...there's "The Chronciles" which was on the Bomb Return of the DJ compilation, plus an instrumental for all you grandwizard cut creators to be. The A-side flips three insty tracks, including the title cut which was on his Peanut Butter Breaks LP. The first and third cuts are new...and totally in that zoned out bugginess that made his Breaks project such a hot buy. Check for this if you can... (2 KOOL)

For all the talk about the A-side, I was most drawn to the B-side who's bassline and drum loop combo had me hooked. Pop might be down with the Wu...and it does show at times...but all in all, I think he stands on his own two better than most. Like his last single, I only really liked half the single, but that was good enough...better half fat than all wack. (SMOKE)

Overall...this debut single from the Ranjahz is decent stuff...NY jazzy...the A-side has R&B vocalizing on the vocals for a little smoothy-smooth flavor. I prefer the Clark Kent remix that cuts down on that sh*t plus has a good groove to it. On the flip side, it's middle of the pack in terms of quality. Not bad, but doesn't snap on you... (PROFILE)

Well...the title alone makes me skeptical...I mean...isn't "hardcore" just a bit tired nowadays? Actually, the single (remix too) aren't too bad, but for a Primo remix effort, I would have expected more...and lyrically, it doesn't stand out much better. I actually got into the B-side which was more fun and spontaneous.

A pick to click...this sh*t is hittin...who are these kids? Dunno, but both sides rock thanks to well selected drum kicks, infectous production and lyrics to make your head nod and say, "Awwwwww!" Indie hip hop continues to bang away in 96. No tricks. (RAW TRACK)

Better than the original...with Keith Murray...something to look for? A must have? C'mon now, let's not get carried away. It'll play well at summer parties but don't try to pull this sh*t out the sleeve a year from now. (LOOSE CANNON)

Another cut off the "America is Slowly Dying" AIDS-awareness project. I'll echo what most people have already said: it's a'ight. Actually, I'll go one worse...there are times when I'm amazed that it's the Wu rhyming on this sucker, especially in the first part of the song. RZA does decent with the track...I like this smoother sh*t after all the noise that came with Genius' album. All in all though...don't expect Protect Ya Neck part deux. (EAST WEST)

Believe it or not, but I wasn't feeling this 12" as much as I would haev expected ot, or wanted to. I think Section is great. ..a nice blend of smooth production and incredible lyrics served up by Black Thought and Malik B. However, though a lot of folks are digging on Clones like it was coal mine, I still can't get into the beat which just wears on me for its repetition. Not to say that the lyricists don't represent, but even so, I lose patience listening through that far. I still think this is a strong 12" and I suspect that a remix 12" is on its way. (GEFFEN)

I'll cut to the chase, most of this 12" is blah, but Make Em Die is a more solemn, and decent offering from tha phat bastard. It's too bad that he wastes such a somber track that would seem a better fit with a reflection on violence, not a call for it. (PERSPECTIVE)

In Long Playing

Peep cuts like "Sunshine Men", "Jupiter's Journey", "For No Reason" and "Here I Am" and get a feel for how different things might have been had this LP made it beyond the limited pressings that it originally had. Don't miss out this time around. (SUN)

It's interesting...Rap Pages loved it, Ego Trippin hated it. Where's the middle ground? Well, my read on the album is that it has its moments, it even has some potential, but ultimately, it's mixed quality and the mix is on the lower side, not the higher.

Lyrically speaking, Kwest's freestylin' flow works at times...like on Blase Blah...or Dinexone or Lubrication. But on the flip side, his concept of on-beat needs to recalibrated. On some cuts, especially 125 Pennies, it's like he's just busting an acapella freestyle with no real concept of beat and then throwing a track under it, hoping to catch the snare once in a while. Contrast that with Busta Rhymes and you'll hear what a huge difference there is. Moreover, his style sounds so damn similiar on at least half the cuts that it's mad boring to listen to. Add to that, his content is about 80% sex which is probably about 50% more than he should. It really drags after a while, hitting a low point with Butta-Few-Co which is basically about he gets with a 12 year old. What's the point? And yet, when he tries to do more serious sh*t, like Herman's Head, that misses too.

Musically, it was better...in fact, on my first listening, I kind of dug on it, but after the third listening, I started picking up on the fact that a lot of beats were a bit familiar. Dinexone is fairly reminiscent of GangStarr's "Comin for Datazz" and other songs that use the same Bobbi Humphrey sample. Damn sounds a lot like De la's "Plug Tunin". 125 Pennies uses the same beats that I first remember ATCQ using on the remix for "Can I Kick It?". Even the original beat that LA Jay used on "Disk n Dat" sounds like the beat he did for the Pharcyde on the "The Rubbers Song".

All in all, I liked the album on one level, but really don't think it was that great on a lot of other levels. I definitely think that Kwest has a very thin niche where he's fat...otherwise he sounds too sex-starved or is trying to make a point but failing.

One of his best cuts though that had nothing to do with either? Damn. Damn is this cut where he pitch slows his voice down (and it sounds better for it) to rhyme like he's from Hell and it works ok as a concept. But the beat and lyrical intersection is dope...he's rhyming about all this sh*t he's let loose on Earth and stuff, it does make ya wanna say "Damn!"

If I had to rank it, I'd give it a 2.5 out of 5.

A recent URB had a short interview with Finesse, who pretty much stated he's interested in getting beyond the battle rhymes and developing himself as an artist. That sounds all good and sh*t, but unfortunately, his new EP, after a three year wait, doesn't show that much evolution in his style (Special Ed anyone?) He's still a master as metaphors and similes, but his lines are sounded less creative...kind of "easy", like he didn't try to hard to come with better sh*t.

Musically, the album is good, but not the sh*t either...the best beat on the album is probably "Speak Ya Peace" and that was done by Myke Loe, not the funky one. Moreover, the various interludes get kind of annoying after a while b/c they come off more like dead filler than anything else (in all fairness, Diamond D should have followed the same advice on his last album too).

I think it's all good that Finesse is trying to mature himself as an artist, and I doubt he's been snoozing for the last three years...still, considering how influential his first two albums were, it's hard to imagine this EP being anywhere as close in impact. One high point I will say though...his inclusion of an instrumental album is unprecedented and very welcome. I hope other artists will follow suit and realize that vinyl DJs need more than just colored vinyl. (PENALTY)

After blowing the f--- up with one of the best singles of 95, "The Nod Factor", Mad Skillz isn't able to reach that same potential on his full length LP. The album has its moments, especially on the superior A-side, but without the backing of the Extra P and the Beatnuts on the production board, plus some simply awful choruses, From Where? comes off more like Who Cares?

For one thing, his crossover attempts on "Get Your Groove On" and "Move Ya Body" are horrible and an insult to the other tracks that are on the LP. Moreover, I don't know Bigbeat wouldn't spring for sample clearance or what, but his self-done choruses on tracks like "The Jam", and especially "Tip of the Tongue" are the worst I can remember in recent hip hop history (yes, even worse than some of GURU's).

In all fairness, there is some good stuff on here..."Tongues on Some Other Sh*t" was kind of nice...and in general, I enjoyed the A-side stuff. Unfortunately, the problemwith being punchline dependent is that, sometimes, you just run out of really good material and I think Mad Skillz can't carry his whole album on that concept...or even most of it. We'll see...I expect at least one more single to be released and with a decent remix and maybe a B-side, Mad Skillz can save his career from going the way of other one/two hit wonders like Big L. (BIGBEAT)

With four albums now, Da Youngsta's can't really be seen as new kids on the block. They've definitely evolved as artists...not unsimiliar to how Mobb Deep and Kris Kross have tried to change with the years. However, the transformed Illy Funkstaz hit their high point with their last album, which was a good blend b/t jazzy production by folks like K Def as well as constantly improving lyrics.

I'm not suggesting that I'll Make You Famous is bad per se, it's just that Da Youngsta's have never managed to get out of the shadow of more successful artsits/concepts. This time around, there seems to be little coincidence b/t the Infamous' rise to fame and the DY's incarnation the fourth time around.

With title's like "Gotta Get Da Cheese", "Bad 2 Da Bone" and "Murda" this Iladelph crew is coming with more "reality" than the late night news. Unfortunately, it just feels false, especially given Mobb Deep's success with the same concept and a quick check with their last album which was nowhere near this dark.

On the positive side, most of the album is self-produced, one strong similarity that they share with their Queensbridge cousins. And overall, it's a decent listen...unfortunately, their transition to the famous Pop Art label should have given them greater freedom for artistic creativity. Instead, DY's opted to go with the flavor of the month. (POP ART)

Not that I like the Dogg Pound much either, but I wasn't really that dazzled by this supposedly "retaliation" single. It's not to say that the rhyming was nice at times, but the whole of jacking someone else's beat, and playing with the name should be a response. I didn't really feel like 25 to Life had anything to say directly to Dogg Pound, and while I believe that sometimes, just reprsenting lovely is better than going on a dis-fest, the fact that they didn't really change up the beat leaves me to wonder why I'd really want to pick up this 12" otherwise. (white label)

Straight from the bricks...the El the Sensei and the Tame One are back in the 96 with "Art of Facts". Having matured since their debut album with two dope ass singles, this new track should bring smiles to heads' lips. The groove this time a round is more mellow, lacking the infectousness of "Dynamite Soul II" and "Who I Am", but it's smoothness washes over well (don't know who produced it though). Lyrically, they've definitely only gotten better since the last time around. Peep for this puppy on a double single along with Man Digga (aka Lord Digga). (BIGBEAT)

Surprise, surprise...the remix isn't what's catching people's attention (though it's not that bad). The unreleased b-side though is definitely making some noise. It's got a good beat and decent lyrics going for it. Personally, I'm kind of tired of reality rhymes, but for their's are, at least, listenable. This probably won't get commerically released so get it where you can. (PROFILE)

Appearing on the anything-but-well-known Vestry label, this cut has been making a huge mystery buzz from coast to coast. It's one of the tracks that DJs sneak onto mix tapes to get their man asking, "What's that?" For starters, the acoustic bassline powered track by DJ Cutt is some head nod sh*t; one of the best products from the NY school of beat minimalism. Add in a superior lyrical performance by M.I.C. and you already got a vicious one two punch combo. The left upperhook to the jaw is Cutt's scratching on the breaks. Put it all together and you got TKO of a 12", further proof that indie hip hop's coming with some of the dopest sh*t out there...the only thing major about this single is how much play it should get in the underground. (VESTRY)

A four cut 12", it's some breakbeats from the New York side of hip hop...decent sh*t. It's on the same tip as the AV8 concept...definitely sh*t for the party crowd and maybe quick mix tape filler. Though I have way too many breakbeat 12"s and LPs than I ever use, I still think this is one of the better ones, worth grabbing for the DJ looking to cut in some flavor. (CUTTING)

Hmm...this is one of those remixes where you really to ask yourself...why? Same beat, same initial lyrics, then they tag on extra folks. Unlike the "I Got Five On It" remix...this one seems like an awkward fit b/c they kept the original intact and just pasted on the end...feels sloppy. I still like the song for what it's worth, but I think the Dangerous Crew could have done more with the remix. (JIVE)

While I think that Brother J is diong a good job of stretching hip hop's boundries...I'm just not feeling his efforts that well. This new 12" is ok, and while I think he's got a good concept going lyrically and what not, it's just not that fly to me. The Ultra Maralis remix has got a decent jazzysmooth feel to it, but it's not dope. And Vibes of the Pro Black isn't that much either...making me wish for the days of X-Clan's greatness. (ISLAND)

Plus, the B-side is dope...HS didn't release it as a commercial 12" last summer...promo-only ditty. It does use the same loop that Buckwild used for the Show and AG remix of "U Know Now", but it still sounds fresh (probably b/c I know it came out before Buckwild's remix did). A keeper, no diggety. (PRIORITY)

Though nowhere near as prolific his NYC/DJ peer, Funkmaster Flex, Frankie Cutlass has done decently...with at least three singles (in my own memory) released over the last two years or so. This latest 12" is the strongest lyrically but musically, it was almost a wash. Lacking the infectous groove on "Boriquas on the Set" and "Puerto Rico" both the original and remix didn't go over too well. Plus, Frankie's verbals aren't hella wack, but like Cube told Dre..."stick to producing." I am curious to know if he wrote his own lyrics too...considering he's not exactly known for his wordplay.

All that aside, this 12" is saved by the KD Party Mix...ok, sure, it uses "All Night Long" which isn't that original, but it still sounds better than the other mixes and with Sadat X and Redman on the mic, you know it's gotta have some flavor. (RELATIVITY)

On one hand, I'm disappointed b/c it's pretty obvious this single was aimed at the crossover market even if Groove Theory isn't dripping all over the damn place. It's a lot like the RZA remix of "Cold World" w/ D'Angelo b/c the track's unchanged. However, "The Realness" is probably the best track off the album and putting it on the 12" kind of balances out whatever problems I might have with "Suspended..." (PAY DAY)

A goooood 12"...it's good to see Pete Rock back, working with someone from his own fam vs. remixing for anyone. His sh*t is always better that way, you notice? This cut has been buzzing for quite a while and now is finally available. The production on both the original and remix is very jazz influenced and does have some vintage Pete Rock-isms in it, nonetheless, both are cool. I prefer the remix myself, but that also includes new lyrics too so there's two reasons to like it. The B-side, Props, reminds me of some of PR's "Mecca and Soul Brother" stuff, decent material, but not necessarily the bomdigi. (ELEKTRA)

Showing that greed has its costs, I think Jr. Mafia made a mistake in remixing one of the best singles off their otherwise mediocore album. The remix, though adding new lyrics, is no where near as good as the original, plus...do we REALLY want to hear B.I.G. singing on the chorus? Answer: NO! White Chalk is ok, but go for White Chalk II on the "Original Gangstas" soundtrack instead. (BIGBEAT)

I thought the B-side had better elements of both and I tend to bump that instead...I especially like the one-bar intro before Kwest goes off. All in all, I wouldn't say it's a pick to click, but it's got enough flavor to warrant a listen. (AMERICAN)

Well...I'm kind of tiring of these two yelling Westside! without saying much else...Ice Cube's transformation from AmeriKKKa's most wanted to another West Coast balla is a pretty sad statement in my opinion. Still, I can't say this 12" is bad...just like the last single, "Westside Slaughterhouse", the beat is banging, just like the title. Don't expect new lyrical content...it's still West Up... Cube's gifts seem to have shifted to the console vs. the microphone and while I'd prefer him back, serving death certificates, his touch on the track makes for a head nod groove sutible for a Crenshaw Blvd. drive-by. (PRIORITY)

Mad Lion's put out practically every single on the album...or so it seems...but hey...with KRS producing, it's hard to really criticize since most of the 12"s have been fat. This one's no exception...the A-side has a particularly ill Blastmaster track along with vocals from KRS himself...I didn't really need the cameo, but I can't say it ruined it. The B-side is on that rugged but smooth tip---rugged vis a vis the Substitution flavored beat, smooth thanks to Brenda K Starr's vocals on the chorus. Nice sh*t, both sides. (WRECK)

Back to the single. Forgetting the remix, this 12" has two of the better tracks on an already strong album. It's a shame that they didn't offer an instrumental of "Whoever You Are" (album version) but have fun with the dopeness of Men vs. Many instead. Toss in an acapella and aspiring remixologists can drop the next sh*t instead of that played out crap. All in all, it's like "Lifecheck", you're not getting a new track, but then again, what are you complaining about? Dope is dope. (BLUNT)

Off of the "Sunset Park" soundtrack, this is vintage Mobb Deep. I do like this track with its simple but bass groovy production...and Havoc and Prodigy represent as well as they have on their other singles and what not.

I don't have anything bad to say about this single, however, I'd like to suggest that the Infamous stop relying on the formula that they designed and have succeeded in so well. Their transition from kiddie-rhymers into one of hip hop's finest is a great success story and their talent, both on the mic and on the boards is a goal that many artists should strive for. However, with biters galore trying to be the next Mobb Deep, they need to worry about being copes of...themselves. (EAST/WEST)

Charlamagne may not have either the RZA's or Premier's reputation, but his producing talents are steadily growing through projects with the Natural Elements, L Swift, and now, a new 12"/EP by Mr. Voodoo (not to be confused with Vooodu! from Los Angeles). This three track joint has strong lyrics by Mr. Voodoo and the Elements crew but the production is what stuck in my head the most. While both Lyrical Tactics and Hemlock feature hard-hitting, minimalist beats, Shine does just that. Flavored by a soul sample, a dusty piano loop and low end bass, the track goes crazy like a fox on your neck bone. Despite below-average engineering, this 12" should be a big stepping stone to Charlamagne's ascenion to into hip hop's inner court of producers. (FORTRESS)

Produced by Iladelphian, Militant Mind State, this is the second offering by Munk... Overall, it's a decent 12"...though I liked the first one a bit better. The lead single is a reality check on life in the Philly streets, flavored by a familiar loop. The Shadows remix is ok as well...though some what surprising since the last 12" had two remixes of the same cut. The b-side is darker, a blend of a shadowy bassline and piano loop. Overall, the 12" is a good mix of styles and feels. Militant Mind has got definite talent as a producer, expect more from him and Iladelph Records as 96 progresses. (ILADELPH)

Forthcoming...

The ?! remix, done by Jay Dee (producer of the moment?) is cool...not necessarily better than the original, but a decent interpretation of it. Jay Dee's sure getting a sh*tload of business and I can't complain about it...unlike producers like Easy Mo and Buckwild, who had rashes of remixes/productions over the last two years, Jay Dee has yet to disappoint me with his jazz-influenced grooves. Overall though, this is a cool 12", but I wouldn't say it's the bomdigi b/c none of the remixes took the songs to the next level. (DELICIOUS VINYL)

When EPMD split, Erick Sermon definitely had the better after career thus far. PMD has had to struggle through a lack luster album, plus his Hit Squad crew's success has paled next to the Death Squad. Despite that, Parrish is struggling on, with a new label, Boondox, and a decent 12". Production manages to be smooth with stomp and should start bouts of head noddin. Lyrically? I wasn't exactly dazzled (but no one's ever confused EPMD with De la or anything) and the content seems kind of played. Still, I think PMD's picked a better single to reintroduce himself to the hip hop world vs. "Solo". Take a listen and decide for self. (BOONDOX)

Don't know what the name is supposed to mean...but Pop Megga's 12" has got some flavor to it. A lot of people like the B-side, Raw, which has an ill beat on it...I like both sides actually, though the freestyle from one of the versions of Ghetto News didn't dazzle me. Look for this to make some noise. (PROFILE)

Ya know...I've never been a huge Sadat X fan, but I've learned to appreciate more as time's gone by. Unfortunately though, I wasn't too hyped about this 12". The A-side is waaaaay too far out on this cowboy themeology. I liked the Show-produced B-side beat, but his lyrics don't seem to pack the same dopeness that you've come to expect from the former Derek X. (LOUD)

Don't know why this wasn't released or where it was supposed to be released on, but it's definitely a fly track from this Boot Camp Clique duo. Though the harmonized vocals at the beginning might throw some, give it four bars more and you got a dope beat (probably done by the Beatminerz). Lyrically, it's nothing new content-wise, but fans of SnW won't be disappointed by the verbals on this 12". (white label)

How does this guy do it? Once again, another WACK A-side. I don't give a f---...both his A-sides have been hella weak. Unfortunately, while "Murdafest" is a decent B, it's not "Broken Language" (though Trigga's presence and lyrics confused the issue a bit). Overall, I heard his album was of mixed quality too. Wait, don't tell me...the A-side was weak right? (PROFILE)

Ok...take the beat from EPMD's "You Gotz Ta Chill"...add in a cameo by the E Double himself and then lay it all under a new R&B group. Whatcha got? Another flavor of the month formula creation. (PRIORITY)

Straight up...a dope 12". Some might be able to swing with Wise Intelligent's sing songy, dancehall tinged lyricism but PRT fans know what time it is. Add to that strong production from one of the most underrated peeps in the biz, Tony Dofat, and you got a fat ass 12" off of the Sony subsidary, Contract. Both sides are tight and yet offer completely different flavors to savor. A definite recommend. (CONTRACT)

Loud continues to build their stable up with Xzibit, the "dysfunctional member of the Alkaholiks family". I didn't feel the RZA-ish beat too well...it's not bad, however. LA is kind of far from Shaolin, and you couldn't tell by listening to the production. Xzibit also sounds a bit too much like a combination of Lord Digga and Akinelye...despite that though, his cut is a strong debut. Though songs criticizing the materialism in hip hop aren't that rare, this is a good effort by Xzibit to berate his greedier peers for selling their skills solely for scrilla. Put a E-Swift beat behind this boy? Beware. (LOUD)

Are we sufficiently sick of this song yet? I did like it...once...before commercial radio decided to suck it dry for every play it was worth. Well...here's the remix and Bounty Killer's come to try to liven it up a bit. In all honesty, the remix was decent but I didn't feel it that tightly. Mostly, I thought the beat wasn't all that great...it sounds kind of cluttered to me. Lyrics are cool, especially the L's and Bounty Killer's addition is ok (though I'm sick of his "have mercy")

I prefer the B-side a lot more...Cowboys is such a fat ass song from the album...with Wy, L and Pras sharing the m.i.c. with Raw Digga (ill!), Young Zee and Pace One. There's also Fugeela...again, for some reason. Look, the song's done played out. Leave it that way! (COLUMBIA)

Forthcoming

This is actually on the B-side of that Mack 10/Ice Cube "Ho Banging" 12". This is NOT Ras' best work, though I didn't think it was hella wack. It just doesn't live up to the man's abilities. The track is ok and his lyrics showcase some of the skills that's making Ras the talk o' the town. But, if you miss out, don't trip...wait for "Soul on Ice" instead. (PRIORITY)

I thought the remix was cool...it was basically a new song with new lyrics and beats and what not. Worthwhile...though Redman didn't seem as fly to me. Erick Sermon raps on this joint too. Pretty tight 12" for those Death Squad fans out there (INTERSCOPE)