on deck August 3, 1997 - you'll be missing us

on deck
the sure shot singles

start here


Alkaholiks: Likwidation (Loud)

For those expecting "Off the Wall", Loud decided they wanted to put out one more record for heads before they dropped an arguably, more crossover song on the mass public. "Likwidation" is their gift to the Alkie fans who want some old rhyming sh*t instead of a disco hit. Easy Mo Bee's production is decent, unremarkable, but it holds the track long enough for the Alkies to come in and tear it up for a bit. While it lacks "Hip Hop Junkies" flair for outrageousness, "Likwidation" still comes plenty fluid with the dope verses and flows. Don't worry 'bout it, it's all in there.


Beatnuts: Off the Books (Relativity)

The next Beatnuts single has rolled out and, in my opinion, it's still a mixed bag. "Off the Books" is likeable... certainly upbeat and what not...and it cameos Big Punisher (good for him) among others. It's not that I don't like the song, but I did wish A) Relativity/Beatnuts had put a B-side on there...maybe "Nigguz Know" or one of the album's better tracks or B) put a remix on that joint. Some think "Off the Books" is the best cut off the album...I think it runs more middle-of-the-road. Your call.


Brooklyn Queens EP (BQE) (Hydra)

A good sampler though of mixed quality...this represents some of the upcoming projects that Hydra is set to put out. Notable material: "Burn" by Godfather Don who's following up his "Seeds of Hate" 12" on Hydra (plus anticapating the re-release of the Cenubites EP from Fondle 'Em). IG Off and Hazardous contribute the ultra smooth "On the Air", produced by DJ Spinna. Hostyle cooks up a rocked out "Beat 'Em On the Head" (Bezo on the boards). The lone disappointment was the forgettable Gab Gotcha's "On the Job" which is supposedly produced by the Beatnuts but if so, the 'Nuts must have been asleep on the job.


Busta Rhymes: Put Your Hands Where My Eyes Could See (Elektra)

Let me first say that it's way too soon for Busta to drop another album. I'm still trying to figure out how his first one went platinum and you can bet that I'm not in a hurry to hear another album's worth of songs from the Busta Bust. Yet, this single is surprising. While the production sounds party like...old fashioned electric funk bass line could have utility in Puffy's tracks too, but Rashad Smith walks the fine line. Busta is the big surprise though...having retired his dragon style for at least one song he's actually sounding decent with a new quiet intensity. It doesn't quite carry the entire song, but it got me through the first two sets of verses at least. Is Busta switching up steelos for good? Maybe not, but it's nice to know he's not clo(w)ning himself with the same old thing.


Choclair: What It Takes rx/Just a Second rx (Day)

This single bears out two beliefs of mine. First is that Choclair has a knack for that smooth operator sh*t...and I mean that seriously. He's got the right voice and flow to make your average mack song sound likable to heads unlike someone like LL who just makes you want to vomit from the syrupiness. The second belief is that Day is a really dope producer and his reworkings of both "What It Takes" and "Just a Second" should dispell any doubts on this. Even though the lyrics are largely unchanged, listening to this 12" sounded like it was the first time I heard either song.


Common: Reminding Me (of Sef) b/w 1,2 Many (Relativity)

The A-side is bound to shock a lot of Common fans, who'll no doubt ask if the song really makes sense. Ok, bad puns aside, it's a VERY pop-influenced, crossover-targeted hip hop song that features (brace ya'selves) Chantay Savage on the R&B vocal tip. Before the cries of "sell out" rise from the faithful though, Common at least represents with lyrics that are much better than, say, Nas with "If I Ruled the World". But really though, most heads will do the quick flip to the B and bump the Doug Infinite produced, "1, 2 Many". Upbeat yet nowhere near the disco dance-y A-side, "1,2 Many" is deep, playful, and sh*tload of fun to rock to, all rolled into one. Now THAT's the Common that folks have come to expect and give mad love to.


Cozmik Law: Loot A' Getcha (Tidal Wave)

Local Bay Areans...Cozmik Law drops a humorous ode to the evils of material excess. The original mix of "Loot A' Getcha" warns against the love of money, appropiately incorporating a sample of the famliar, "money, money, money, money, money" chorus. The remix tries to be more creative musically but it's not a particularly stand out track. Cozmik Law though has a nice irreverant and creatively humorous lyrical style that comes the songs.


Da Rail Black: Thuz 3 Wishz b/w Pauly Paps: War Scarz (Krappz)

Both sides are VERY NYC gangster-ish, but pull off the job with enough aplomb to merit a passing grade. I really didn't find anything particularly creative in the singles, but they are listenable and most of all, don't off with the same kind of ridiculous nihilism or paranoia of a Mobb Deep song or the over-the-top gun clap trap of MOP. This single has a very specific audience in mind, but I suspect those fans won't be disappointed.


Derelect Camp: Lov Or Fame (NPE 286)

DC comes up with a winner on this song. The moog-influenced track is effectively simple with sounding sparse. Lyrics and hooks are done up nicely. I'm looking for more to say, but since I don't know much about the group, I'll just leave it at this: a good single.


Diamond (D): The Hiatus/No Wundah (Mercury)

I've gotten a sh*tload of negative feedback on his new LP which I think is disappointing, but has its moments. However, with more time, I think I'm getting into the camp of the dissenters...there's just no comparison between the new LP and his last one. This new single reveals some of the basic problems...which isn't that his sh*t is bad...it's just that it isn't that remarkable. "The Hiatus" is clearly the winner on this single (for me at least)...good lyrics and beat, but far from hype. "No Wundah" has a good concept going for it, but the beats were boring and even the De La sample on the chorus couldn't save it for me.


DJ Krush: MiLight sampler (Mo Wax)

Hmm...not all that interesting unfortunately. The track with Tragedy sounds pretty bland to me, both musically and lyrically and his pairing with vocalist *** just ran too long for me. The new LP should more MC/Krush pairings, ala "Meiso", but from the sound of it so far, I'm not tripping too badly.


Ei8ghtrack: Money I Got (Mass Vinyl)

It's official: Mase and Puffy come to indie hip hop. It's not really Mase and Puff, but goddamn if Ei8ghtrack and his potna don't pull off an amazing imitation with none of the irony as you might hope. Taking a line from Audio Two, "I got money, money I got", this now becomes the song's hook, a rather tired concept, especially when done in the Puff/Mase tag team style that was still born. But guess what? The song's infectous thanks to the beat which gets my vote for the best use of a fuzzy noise since Westside's "Bow Down". It's funky, a bit quirky, and utterly enjoyable to vibe to. It is kind of scary that indie labels are now just biting what the majors are doing versus the other way around, as it usually is, but hey, I guess it really is all about the Benjamins. So why keep this versus Puffy's latest? Hard call...I was tempted to ship this off to the bin, but it's music was compelling enough to keep. I may not be this generous with the next sound-alike 12" from these cats, but for now, it makes it.


EPMD: Never Seen Before (Def Jam)

Everyone's glad to see the E and the P back to make dollars (though isn't that what broke them up to begin with...serendipity baby) and hey, I ain't gonna sweat it. Sure, they take Public Enemy's "Time Bomb" beat line for line, but that's what paying homage is all about...giving 'nuff respect to the trend-setters and all that. The remix is actually far less interesting than the "original" (kind of a misnomer) mix though you get the same lyrical platter each time. Are we ready to call it a comeback? Drop that LP first and then we'll see if EPMD is back in business.


Funky Fresh Few with Afu Ra: Hip Hop Running Through These Veins (Central Heating)

Afu Ra is Jeru's partner from such songs as "Mental Stamina" and "Physical Stamina". Evidently, Ra's got a lot of endurance since he has to hold down this single all by his lonesome. And you know what? It works. Afu Ra is not master MC, not even matching Jeru (and that's not really saying too much) but he isn't a Group Home member either. Lest I come off too harsh (too late for that perhaps), Afu Ra does just dandy. Funky fresh and all that. Which goes for the beat too...a very nice track laced up with basslines and guitars. It's import, but worth the extra ducats.


Ghetto Concept: Much Love b/w U.L. (VII Bills)

A soulfully nice new single from this Canadian crew. So far, I have yet to hear anything I didn't like from them (but it's only been three songs) though on this single, I felt that the A-side was far and away the best cut. There is a "Much Love" remix which is overly syrupy and "U.L." was unremarkable. However, "Much Love" manages to kick its message without drowning in its own sentiment, and the production, while smooth, is wisely restrained in its pop elements. The sound mixing sounded a little faulty, but not to the extent that you couldn't hear the lyrics. Give it some love.


Group Home: Express/Run For Your Life (Tape Kingz)

Now that Group Home and Tape Kingz have decided to quit white labelling everything, the result is a low budget cover art single with a fairly bland B-side. If anyone doubted that Premier was a prime force behind "Livin Proof", you only need to listen to this new single to understand why. That's not to say I don't like either side, but overall, it sounds fairly run-of-the-mill and especially with Lil Dap and Malachi's penchant for mic banality at times (you know what I'm talkin' 'bout) you're not really left with dope beats to nod off to either. Worth listening to, but only because I haven't tired of Group Home the way I have of Mobb Deep for instance (which is why this cut was saved from the Bargain Bin).


Lord Tariq & Peter Gunz: DejaVu/Marmalade (Codeine)

A nice pair of funk-flavored tracks featuring some up an coming MCs. Gunz has apparently signed to Shaq's label (dunno if that's such a hot idea, but whatever) and Tariq has been shopping for a deal for a while. The two of 'em aren't necessarily breaking new ground, but they are busting up the scene pretty nice with Deja Vu. It's on some mic braggadocio tip with good funk backing on both cuts. Both will do ya nice, though I tend to give "Marmalade" the slight nod, but you can't go wrong with either.


Men in Black Sampler (Columbia)

Six songs, three of which are well worth the trouble of tracking down this promo sampler...and hell, even buying the entire album. De La Soul's "Channel No Fever" is incredible sh*t from the L.I. trio....as good as anything I've heard from them in the last year, including tracks from "Stakes is High". Piano break is all that, dope ass lyrics, definitely a keeper. Tribe turns in their best effort ever on a soundtrack (which actually says little since their history is weak, save "If the Papes Come" on "Mi Vida Loca" but this was after the song came out on the B-side of "Can I Kick It?"). The "Same Old Thing" is pretty accurate...it's like the same old Tribe sh*t that Q Tip and Co. used to kick before getting diverted into making the last LP. Song also gets my vote for best use of "EVA" this side of GangStarr's "Just To Get a Rep". Rounding it out is the super soul smooth "'Notic Part 2" by the Roots and D'Angelo. Their pairing sounds so damn natural, you wonder why no one bothered to stick these two groups together before. There's also "Escobar 97" where Nas notes that he went from "Nasty to Nas to Escobar". No sh*t son...we're all waiting for you to go back to Nasty. This song doesn't do that and perpetuates the detached boredom I experience listening to Nas' schtick nowadays. Fu*k it though...you have three dope ass cuts from three hip hop greats: De La, Tribe and the Roots. The rest of the soundtrack? Eh...who cares? I'm willing to put all the money down for those three and hopefully get surprised by some of the R&B cuts.


Mind Space: Life is Foul b/w Who Got the Funk (Funky Ass)

Wow...someone on Funky Ass who isn't Kool Keith? Who'd thought? This came out a while ago but I just now caught up with the group. Mind Space isn't an outstanding MC, but the production is engaging enough to hold interest, especially on "Who Got the Funk" which cooks up a dirty bassline for your pleasure. "Life is Foul" (both mixes) is decent, but unremarkable after just a few spins.


No ID: Sky's the Limit b/w Jump On It (Relativity)

As with Common's single, the A-side flirts with cross-over (even on the remix) except while "Reminding Me" was more pop dancey, this is more soulful. Either way, I had a hard time really liking the song, even though I thought it had good content (again, not unilke Common's "Reminding Me". Suffice to say, for all the praise I could find, truth is, both versions of "Sky's the Limit" get frequent fast forwards on my tape deck. Thankfully, the B-side is on some sinister sounding sh*t and saves this 12" from obscurely sitting in one of my crates. Incorporating a lot of the same elements that made the Roots' "Clone" kind of rockin', "Jump On It" has an ill piano loop and thick bass lines. While you've heard the hooks before: "C'mon everybody, let's all get down" and "jump on it, jump on it", it lends to the song's festive 'tude and feel. It's not the best song from the album, but it definitley holds its own.


Rampage: Take It To the Streets b/w Flipmode Enemy #1 (Elektra)

With an Elektra contract under his belt, Rampage is one of the first artists in the last two years who've been able to nail down some industry love on the strength of being "put on" by one of their most famous peers. In the Last Boyscout's case, Rampage did show up twice before, once on the "Flava In Ya Ear" remix and once on his own 12", but neither was particularly outstanding, which equally goes for his cameos on Busta Rhymes' album where he became just another Sean Black (Sadat X's boy). His debut single on Elektra might change some opinions (my own included) b/c on the B-side, Rampage finally finds a groove that fits him well: a raw beat, hard to the core type rhymer who's expected to rock the hell out of the mic though not necesssarily blow minds along the way. Sure, it means that he's gotta bite "Public Enemy #1" to get there, but who isn't happy to sample PE nowadays (see EPMD)? Though the A-side is forgettable, "Flipmode Enemy #1" gets the nod to keep in the crates for its qualities, but judgement on Rampage is still pending for his album.


Ranjahz: Friction (BF-001)

Now that their project with Profile was unceremoniously ended, the Ranjahz are back on the indie tip with a surprisingly nice little single. Have no illusions, this is very much a NYC half party/half street single...no one samples "Planet Rock" randomly unless they're trying to go for a certain vibe, but damn if it don't work well. Sh*t kicks.


Rezidue: Inner City Blues b/w Droppin Rezidue (DataBase)

From the same folks that brought you the slept-on "Boogie Down's Got the Flaovr" ('cept they were called Foundation and Rezidue), this new single has merits, but reveals some of the limitations in the main MC. "Boogie Down's" had the flavor because of a smooth, jazzy beat that mezmerized. "Inner City Blues" tries to do the same, but comes off plainer than its earlier cousin. More than that though, you realize that the MC just isn't all that engaging. He never came with ultra-butter rhymes on the last 12", but without strong musical backing, his liabilities are further revealed. "Droppin Rezidue" comes more wicked, but I didn't find it to be that remarkable either...preferring to stay with the smoother A-side.


Scienz of Life: Power of Nine Ether/The Anthem (Fondle 'Em)

While not as interesting as MF Doom or as sheer bugged at Cage, this latest Fondle 'Em release won't disgrace the family by a long shot. It's rather lyrically ambitious, and doesn't always meet the challenge, but not in any embarassing way...good sound mixing might have improved it, but alas, this has so far been Fondle 'Em's Achilles' heel. Beats are nice though...I particularly liked the jazzy vibe on the A-side, but the ***** on the B held my attention too.


Supafriendz: Much Too Hot/Unseen World II b/w Danja Mouf: Come Get It (Flavatown 804)

Their last single, "Vowel Movement" was some creative lyricism...a seemingly dying trend among today's word-slingers. This new 12" features a new cut by the much-praised Danja Mowf and a cameo by Mad Skillz and is bound to please fans with such punchlines like "I'll let you talk sh*t on credit, but you'll pay for it later". My main disappointment was that of the three songs, only "Much Too Hot" had production that engaged me. "Unseen World II" and "Come Get It" both have mediocore, sparse and jazzy beats to them that lacked punch or verve.


Vooodu: Southern Calif. Nights b/w Dark Regions (Patchwerk)

A good single but not without some nitpicky things. First of all, let's just say that the single is worth picking up. Both versions of "Southern California Nights" is sure to please the laid-back/chill types looking for a relaxed party-type song. "Dark Regions" is for the lyrical heads. BUT, here's the nit picks: 1) Why use the "Bonita Applebaum" beat again? The remix shows how well a less-obvious beat can do for the song and it's the standout joint on the 12". The original sounds ok, but sounded too familiar. Speaking of which, Vooodu commits the unthinkable on "Dark Regions"...he reuses the exact same set of verses he threw down two years ago on Key Kool's "E=MC5". Why? I have no idea but it's painfully obvious to heads in the know and just seems really unnecessary. Vooodu clearly has lyrics so why recycle his old ones? Otherwise, the song merits a listen, but that deja vu effect nags badly.


Xperado: The Entity/Verbal Reality (Official Jointz)

This was close to the bargain bin, but a re-evaluation of the A-side made me reconsider. DJ Shok does production on both sides and I'm sorry to have to say this AGAIN, but his sh*t has failed to impress me at least three times now. "The Entity" is the best beat so far, but is so far understated, I can see why I missed out on its better qualities the first time around. "Verbal Reality" sounded like warmed over pop. Xperado is not a remarkable MC either and comes from the QB school of hooks which needs to start lowering enrollment. His work on "The Entity" was decent enough to merit a listen, but I'm not bowled over.


The Bargain Bin aka The Un-E.S.S.E.N.T.I.A.L.

Animosity: Get Touched (Broken)

A fairly standard (and thus, boring) NYC indie song that sounds a lot like a NYC indie song. Average in almost every cateogry I could think to talk about. Not bad, it just doesn't stand out.


Delik: Take It To the Head/Booda 1 2 (Harlem World)

While the lyrics make little impact on me, I really thought the beats were weak. The A-side sounds like some lazy 4-track material, and believe me, I've heard dope ass 4 track beats before and this falls way short of potential. And no, the B-side doesn't make up for it either.


F.A.T.A.L. Fountain: All About Wars (Vinylyzed)

Your typical NYC keepin' it real single.


Foxy Brown: Ill Na Na b/w Big Bad Mamma (Def Jam)

I've already noted that "Big Bad Mamma" is mostly just bad commercial rap to me, but I can't help but like "Ill Na Na". The reason is simple: that "Brick House" bassline that the Trakmasterz pumped the hell out of, plus Method Man's gravelly voice adds the right touch to the chorus. Sure, it seems like a silly song until you think about...part of male braggadocio is rhyming about your dick, why not give equal time to Foxy's genitals too? Equal opportunity brought home through hip hop...almost brings a tear to the eye. This was a close call to get saved from being classified as "non-essential" but if you already have the album, then this 12" doesn't add much to your collection. And if you really like "Brickhouse", buy the Commodores instead. They need the money more.


How To Be A Player sndtrk (Def Jam)

On one hand, it has two more hip hop songs than the MIB soundtrack which is clocking in with six. However, don't confuse quantity with quality since even just half of MIB's songs are better than most of HTBAP's. Redman's "Down With Us", a straight jacking of KRS' "Still #1 Beat" is interesting for about the first set of verses, than gets monotonous real fast. EPMD's "Never Seen Before" is enjoyable (reviewed above) but aside from that, there's not too much else I liked. Mic Gerinomo's "Usual Suspects" was on some straight East Coast gangsta sh*t and was a major disappointment after stunning me with "Unstoppable" half a year ago. Foxy Brown with Dru Hill? Please, if I wanted to hear "She's a Bad Mammajamma" I'd pull the original from the crates. Blah blah blah. DJ Icewater thinks the Junior Mafia cut, "Young Cassanovas" is a'ight, but I wasn't really feeling it that deeply. You'd be better off just getting the EPMD single instead...it's the only song that you'd want to keep around after this soundtrack blows over.


Men of Steel (Qwest)

Further proof that quantity of cameo MCs doesn't equal quality. And we can all now say that KRS rhymed over a Wackmasterz track. I'm waiting for the So So Def remix of "Blowe".


Mobb Deep feat. Big Noyd & Rakim: Hoodlum (Loud/Interscope)

Blasphemy for me to say this, but this single bores me and I don't care if it does feature Rakim. Mobb Deep finds a new low production-wise (boring as f---) and the Infamous and Big Noyd don't pull out too many compelling verses on this joint. As for the "18th letter forever", his cameo seems uninspired as well...not bad, but unremarkable. Given the buzz around his newer material, I think I'll take a pass on this one and wait for the next sh*t.


Psycho Realm: Psycho City Blues b/w Confessions of a Drug Addict (Ruffhouse)

A more likeable song than their last promo 12", but Psycho Realm still sounds like a gimmick act to me. It's a kind of twist on horror-core...call it psycho-core and the theme tires rather quickly, especially when you play "Who's the real B-Real and who's the bite off?" That being said, I actually did like "Psycho City Blues" for its bouncy rhymes and beats, but I can't imagine what the full LP might sound like.


Puff Daddy and the Family: It's All About the Benjamins (Bad Boy)

I could say a lot about this, but why bother? Chalk Puffy up another perfect party cut that says close to nada. Even though everyone seems to think the Lox is fresh like sushi, he sounds canned like tuna to me. Only Biggie sparks if up and Puff wisely switches up the beat just for his deceased partner. Pour a little out for the Big man, crank up the volume and ask yourself this existenial riddle, "Is it really all about the Benjamins?"


Rhyme Recka: To My Lady/Blowin Up Spots (Nexx Level)

Message to Nexx Level: If you want people to buy your records, make sure the name of the single is located on the OUTSIDE of your sleeve. Your logo's not impressive enough to move units. Message to Rhyme Recka: If you're going to have Smoothe Da Hustler on your syrupy A-side love song, it's not a good idea to bite his style (with a healthy dose of Busta's flav) on the B-side.


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