On Deck: surfing the tapes and airwaves

Capone-N-Noreaga "Strange Fruit" and "Judas Theory"

Mercer: Pete Rock with the Lost Boyz (yeah, that was some hot stuff...) and now this? Seems like someone's been picking partnerships out of a hat. I don't even know is Chocolate Boy Wonder is on the mix for "Strange Fruit", but it's definitely closer to his worst than his best. Plus it's painfully apparent that he wrote his own rhyme this time. As for "Judas Theory", which gives me a pretty good impression of the album along with the two current single tracks - well, let's just say that the guys calling themselves "CNN" actually don't have the scoop on anything.

- Capone-N-Noreaga featuring Pete Rock Strange Fruit [265K]
- Capone-N-Noreaga Judas Theory [245K]

Jeru "One Day" and "Ya Playin Yaself"

O-Dub: I don't want to be negative on a song that I think is positive, but really..."One Day" isn't that great of a song. Sure, Jeru is calling out some of hip hop's big shots and what not, which is cool...but taken as a whole, the song doesn't have really great lyrics. They're rhymed poorly...off-beat, sounding forced at times and in general, strikes me as one of Jeru's worst times displayed on mic. The beat's cool...kind of a run-of-the-mill Premier production though. And it's short. So blended all together, you get a fairly mediocore song that only stands out b/c it slams some hip hop vamps. I'm not trying to dis, just trying to be honest.

Mercer: Now concerning "Ya Playin Yaself" (and any alternate spellings of that,) it's a taste of a new, full Jeru effort. There's that glass bottle sound that makes this cut sound similar to "Player's Anthem". Ironically, those are the people Jeru breaks down for three verses - basically the "gun talk" and "hooker-type suits". It's a perfectly decent composition, but no ground broken either. Remember, that first album of his wasn't the phenomenon it was panned out, and may not even stand the test of time. Pretty much the same outlook here.

- Jeru One Day [264K]
- Jeru Ya Playin Yaself [234K]

Mobb Deep "Once Again (Drop A Gem On Em)

Mercer: I'm not sure on the title yet, but this slightly fast-paced street rhyme is currently doing the mix tape/late night radio run. Essentially more of the same old - not that these guys were ever more than one-dimensional - but hey, consistency is good too. Still, don't go totally nuts here.

- Mobb Deep Once Again (Drop A Gem On Em) [243K]

M.O.P. "Downtown Swingin"

Mercer: For a group that has never got on my good side artistically, M.O.P. and Premier turned out something pretty cool on "Downtown Swingin". Not to say they've finally lived up to the hype, but I think this is a step in the right direction. In a year where average LP's were the norm, this upcoming album could end up anywhere in the standings.

- M.O.P. Downtown Swingin [276K]

Real Live "The Turnaround" and "Day You Die"

Mercer: These were caught off Big Beat's "NY's Finest '96" demo tape. I mean, Real Live's album has already been pushed back a zillion times, but my outlook is that it's still going to be only slightly above average, and definitely nothing worth stocking up on long term. Of course I like K-Def's production skills (one of the most underrated at the moment,) but Larry-O is not my ideal partner in crime. Though he's got a nice voice and good flow, he's yet to come with anything but gangsta fantasies, hardly the preferred vibe this year. "Day You Die" is currently making its rounds on indie radio as well - yes, it's another jack of Lou Donaldson's "It's Your Thing," but a creative one at that, and a possibly decent next single.

- Real Live The Turnaround [246K]
- Real Live Day You Die [252K]

Roots "Concerto Of The Desperado" and "What They Do"

Mercer: Whatever you may have heard, The Roots are just not in the live band mode of "Organix" from three years ago. "Do You Want More" was practically the same number of samples as real instruments, and "Illadelph Halflife" will be almost 100% in the electronic. Hence, people are really starting to dissect what Black Thought, Malik B and Dice Raw are coming with on the mic. Honestly though, the lyricists aren't the problem (they're either consistent or even a little improved,) it's that downward slide towards just sounding like every other rap group on the block. Not to say the live band thing was supposed to be a gimmick, but without it they just won't hold up against the best of what's around. How many people listened to "Section", solid a track as it was, and thought about what Question, Hubbard and Storch had to do with it? Same goes on "Concerto", a decent song based on orchestral string samples and not much else. Only "What They Do" has signs of stuff recorded from scratch, and even that isn't too strong, plus a singing chorus to boot. Geffen does include a taste of the original insanity on this sampler cassette with "Life Freestyle @ WNYU Radio", but they're probably not even thinking about putting that on wax.

- The Roots Concerto of the Desperado [241K]
- The Roots What They Do [241K]
- The Roots Live Freestyle @ WNYU Radio [243K]

At the plate: new and noteworthy vinyl

Artifacts "Art Of Facts" (Big Beat 0-95642)

Raise your hand if you guessed Shawn J. Period on production! Anyone? Well, I'm sure you've either had or listened to the promo with Man Digga enough times to think about it. Last seen working so-so tracks on Mad Skillz' LP, Shawn's got the single in charge of ushering interest to whatever upcoming Artifacts album. The retail 12" adds an acapella and a bonus variation with the same track called "More Facts" - a new cut which is essentially more of the same, but a little less effort. Note that "Art Of Facts" isn't any stronger than the records leading to the decidedly average debut release "Between A Rock And A Hard Place." But there's always hope for a lyrical miracle.

- Artifacts More Facts (Bonus Version) [242K]

Beatnuts "Find That Shit" (Relativity)

O-Dub: Hey, I love the Beatnuts even though they're universally panned as "say nothing" rhymers. But on this new 12", they've reached a new low, even worse than the incredibly bland, "Props Over Here". The beat is redundant, and in my opinion, pretty boring all the way around. Worse yet, the lyrics are wanna-be hardcore but don't go far enough to be hardcore for the sake of ridicule. Instead, it just kind of sounds like the Beatnuts have been watching 'Good Fellas" a little too much. On the good side, I can still dig the flow of the remaining two Beatnut members, which I think has always been one of their strengths in the face of content-less lyrics...all that being said though, I hope the new album is better than this sh*t.

Biz Markie "Studda Step"

O-Dub: On the first listen...I thought it was kind of cool...but then some quick problems came through. 1) Did we REALLY need to hear "Moments in Love" again? 2) Did we REALLY need to hear the "Substitution" break again? Let's not forget that he uses it on the "Biz Freestyle" from DJ Honda's album as well. 3) Did we REALLY need to hear Biz drop the same type of lyrics he drops on everything he does? Seriously, he spells his name so many times, you'd think he was in a spelling bee. After listening to this twice, I was already bored of it...not a good sign.

- Biz Markie Studda Step [231K]

Bush Babees "Love Song" (Warner Bros.)

O-Dub: I dig on this cut. It's smooth without crossing over and is hard not to like. It's not exactly a lyrical tour de force, in my opinion, but it has definite radio play and party potential.

Capone-N-Noreaga "Illegal Life/Stick You" (Penalty PENV-0177)

Mercer: This one kinda pissed me off. Press releases from the record label claimed this single "is the most highly anticipated record on the streets in years." Well, let's not carried away promotion interns, but these guys WERE decent on "LA, LA" and deserved to be checked out. With Tragedy on the beats on side A and the not-bad Naughty Shorts on the flip, how bad could it be?

"Illegal Life" no doubt is already being shoved down listeners' eardrums, but it's too late by now to come with the style that every New York gangsta rapper already blew out of proportion. Essentially every played-out East Coast idiom from the last year or so is packed into one song against a two-measure loop featuring a weak string and voice sample that is uninspiringly played as three notes on a keyboard controller. You can tell since the pitch and tempo are directly related - come on guys! "Stick You" is more of the same "ordinary thug shit" despite the duo's attempt to say the opposite. This track is even less of a production effort - just a crappy piano loop and not even a bassline.

Yes, there are the remixes of "LA, LA" added onto this 12", but anyone with a clue knows that they're already avaialble with instrumentals on Stretch Armstrong's Dolo label, a much better cause. Stick with what you know, people.

O-Dub: Yawn...what? Another chip off the Mobb Deep block? Regardless of who was where first, this sh*t is the same sh*t I've been hearing out of NYC for the last year or so and frankly, I'm kind of tired of it. The beat sounds like Mobb Deep's and while it's not bad, can't some of these producers find some more interesting and innovative beats? And lyrically...I thought both kids had flow, but who wants to hear the same street life bullsh*t AGAIN. F--- that...I'm sick of it...

Charizma & Peanut Butter Wolf "My World Premiere" (Stones Throw STH-2001)

Mercer: Like it or not, Charizma's best selling point is that he's already dead. Now, honoring a posthumous rapper is not a new idea, keeping Kid Hood's verse on the "Scenario" remix in mind. And while Hood wasn't exactly blowing the top off the mic, there was the combined forces of Quest and LONS to spark the track immediately afterward. So far though, Charizma hasn't had the honor of guesting on anyone else's cut. Not stomping on his spirit, but "That's Word" on Peanut's "Step On Our Ego's?" EP didn't really prove he could swing it solo. Plus some of the more talented artists on that compilation (Encore, 50 Grand) still don't have any major releases yet beyond perhaps limited local product, yet a whole 12" of Charizma is now out retail.

Even so, the big name here ironically isn't the lyricist, but the producer. P.B.W. is already known as a "Bomb DJ" and has slowly proven to be consistent with simple but very punchy beats. Disregarding the rapper, every project that Peanut is involved in has potential for head nods. But as it turns out, the most powerful cut on this single is not his work, but one of Marvel Love from 1993 entitled "Top Notch Competitor." It's a pure rap music staple, two-turntables-and-a-mic style, with catchy brag rhymes against a slammin' single measure going between the 1 and 2's. What's even more suprising then, is how the exact same lyrics lifted from that song can sound lifeless on versions "My World Premiere", which replaces the traditional DJ element with cheesy drum machine work and no other instruments to back it up. Hey, if it ain't broke...I find it insulting that there's an A-side instrumental, like someone will find a use for it.

"Methods" is at least a fully orchestrated track, but there's not much more excitement. It's a bit on the slow side, and insists on that chessy electronic kit that simply doesn't work anywhere on this 12". So what's the encore? A "Fresh For '86" version that has JUST the drum machine (cringe!) Overall, everything here is a waste beyond the original '93 demo - _that's_ the real tribute, when an MC came on his own and came phat. Just hearing "Top Notch Competitor" proved to me that Charizma was someone to be reckoned with at one point, and I'll miss him from now on. I guess Peanut tried to honor things in his own way, but I think the approach was much more than he had to do, considering it didn't even come across that well.

O-Dub: Merc and I normally engage in Siskel and Ebert type bantering, but since I actually had a chance to read his review first, I gotta disagree with it. While Merc pans the production, I think that's one of the beauties...here's a review on the EP I wrote for URB:

Bay Area rhymer-on-the-rise Charizma departed this existance far too early a couple years back, but thanks to the devotion of his former producer and partner, Peanut Butter Wolf, he's been resurrected in the form on this fivecut EP. Even though Charizma's lyrics represent an era of street corner, B-boy lyricism that's passed on (and not necessarily to better things), tracks like "World Premier" and "Topnotch Competitor" are simply RAW in sound and feel, and that's the whole reason the sh*t is tight to begin with. Especially in a time when rappers want to rhyme about gold links and Channel boots, Charizma only really gives a f--- for his Timbos and spends most of his time rhyming about getting props and dap, not keys and gats. Peanut Butter holds up his end through minimized, static-crackling tracks with simple samples and kick ass drum loops. Though Peanut has lately been better known for lusher, more musical tracks, his work for Charizma matches the rhymer's raw energy perfectly. Though we may never know how far Charizma might have gone, this EP captures a strong portrait of the artist as a young man, making his memory all the more vibrant.

- Charizma Top Notch Competitor [262K]

Chuck D "No" (Mercury MELP-103)

Mercer: At one glorious point, Mercury's distribution lineup included Black Sheep, Diamond D, Ed O.G. & Da Bulldogs (first album mode,) and Yaggfu Front. Of course nowadays, this label plays "me too" with guys like Blahzay Blahzay and Ill Al Skratch, and lately their hottest mover is...Gina Thompson? So what a surprise to see this newest promo enter initial circulation. You know it's Chuck D when the record lists a "Revenge Of The Anti-Pimps Acapella"!

"No" can be described as a hybrid between ATCQ's "What?" and Smoothe Da Hustler's "Broken Language" - a detailed hip hop commentary purposely flowing nonstop and offbeat. Gone is the trademark noise-beats from the Bomb Squad and the angry but dull tracks from Gary G-Wiz and friends. In fact, "No" is crisp and funky, almost live-sounding, imagine James Brown 1996. Chuck D always sounded a bit like Bobby Byrd, and when he says "what were going to do here is go back...way back...back into rhyme", it feels like Star Time (though he says "no please, please, please!" against that idea.)

This record sounds remarkably different than the current market's offerings - it's either a few years behind or perhaps a few years ahead. The light staccato snare, horn hits, and melodic rhythm section are all miles away from the current preferred practice of punching away at an SP-1200. Another major difference from the usual PE style - scratching is minimal. In fact, given some of hip-hop's more purist definitions, this project may not even be considered "real." But listening to "No" indicates that all we needed was someone with even more experience than Quest and De La to show us how it once was done in a rap galaxy far, far away.

- Chuck D No (No Holds Barred Part One) [243K]

Common "The Bitch In Yoo" (Relativity RPRO LP 0480)

O-Dub: At last...Common's infamous Ice Cube dis cut comes out, and as an A-side 12" no less. I guess Cube's next album won't be appearing on Relativity. In any case, the Pete Rock beat is good and surprising b/c it doesn't actually sound like a Pete Rock cut. For one thing, you don't actually HEAR Pete Rock on the track anywhere...imagine that. That's like listening to a KRS One track w/o hearing KRS on some cameo tip. Nice bassline and overall composition...I dug on it. As for Common...it was kind of fun the first time, but after a while, I had to ask..."Com...why you doing this? Everyone knows you the sh*t...why spend all this time ripping on Cube when you could've dropped something really fat." It's not a bad song mind you, but at least with a dis record like Black Sheep's "H.A.A." they were coming with more low blows than a baby boxing...hell, they could've been talking about anybody and that sh*t would STILL have been funny as hell. And with Tupac's "Hit 'Em Up"...he started blatering so crazily that it was just a trip to listen to him. With Com though, it just gets kind of tired quickly... Again, I still think it's got merit, but all in all, Common and Cube aren't on equal playing grounds to compete. Until Cube finds his lyrical mastery as displayed in his golden days, Com doesn't have to do much to make Cube look bad. A whole 12" just seems like overkill.

DJ Krush "Meiso - Another Maze" EP (Sony YUM-007)

Mercer: This Japan-only release sounded like a winner: new Evil Dee and Krush remixes of the title track (featuring the Roots), a bonus Japanese rap "Kiro", and a new version of CL Smooth's "Only The Strong Survive". Add the already-released DJ Shadow mix of "Meiso" and 7 short instrumentals, and you've got one hot import product, potentially.

Naturally I'm saying this since this record does fall a bit short. Krush's remix of "Only The Strong Survive" was strong using a simple, hard hitting drum stack (similar feel to the original with less melodics,) but the rest of the EP is disappointing. I sense that light, bare bones tracks were the theme for this release (as it did work for CL's cut.) But how dull can you get? Evil Dee's version is just blah, dead drums and bassline that just repeats over and over. Krush's remix does feature those potent drum sounds he's been cooking up lately, but in the end suffers from this buzzing non-melodic synth patch (the Ummah's remix of "Ill Vibe" has the same bad effect.)

"Kiro", with all-japanese lyrics by Twigy and Rino has to work with a similar feeling as the other songs, and amidst below-average flow (at least to these American ears) isn't something with worldwide appeal. If you want a better taste of Nippon rhymes, pick up some King Giddra or peep the all-star collaboration of Kaminari's "Shougen", coming soon.

- DJ Krush featuring CL Smooth Only The Strong Survive (Remix) [249K]

Ghostface Killer "Daytona 500" (Razor Sharp RS001)

O-Dub: Jumping out on Razorsharp...Rza's indie joint, this new 12" sounds like one of those of white-label, Ron G mix tape ditties that ended up bootlegged...hell, maybe that's where it got it's start b/c the production on it sounds like it was done live with a DJ cutting and switching b/t the 1s and 2s. Lyrically, it's a pretty hot piece...kind of what you'd expect from most Wu collaborations of late (Wu Wear being a very noticeable exception). The 12" is lacking in a radio edit though, which I would have liked, plus both A and B side are the same: street version, instr. and acapella. Good 'nuff to rock though and definitely won't disappoint the Wu riders out there.

Godfather Don "Styles By the Gram/World Premiere/Properties of Steel" (Hydra HYD-414)

O-D.U.B.: Fresh off of his Cenubites duet with Kool Keith, Godfather's new 12" on Hydra has its moments, but just barely. The A-side sounds typically guns and funds NYC to me, nothing interesting. World Premier is a little better, at least the beat is better, and I think Don's got a strong flow, but I still couldn't get too deep into this track (hmm...I wonder if the Beatnuts produced, sounds like it could've been them). The last track is the best beat-wise...an ill piano loop and high hat heavy drums is definitely on some head nod tip. It's here where Don's lyrics stand up, though him and Trigga might have to battle it out for flow-style.

Mercer: While never the lyrical genius or flow master, Godfather Don is good at bringing good tracks to the table and rapping sufficiently enough to make a solid product. No different on this three-cut 12", especially "Styles" which just bounces hard all the way through. The main advantage is Don's use of drum sounds, which punch through efforts like "World Premiere" that would otherwise be below average. Creating automatic head nods is a forgotten art, I think sometimes. Finally, "Properties" has a slow, repetitive loop which is overshadowed by competent rhymes - it'll either get on your nerves or bring you down to chill mode. With instrumentals for each cut, I don't hesitate recommending this record to anyone.

- Godfather Don Styles By The Gram [260K]
- Godfather Don Properties of Steel [267K]

Group Therapy "East Coast/West Coast Killas" (Interscope INT8P-6047)

Mercer: RBX, KRS, B-Real and Nas sharing verses? Dre on the boards? I mean, I've heard about this project a lot, but it seemed more like mix tape exclusive shit than something that might have a chance to hit commercial wax. The forthcoming full-length effort is called "The Aftermath" and if this doesn't get anyone's attention, I don't know. Verses don't really have anything to do with each other, and there's no rivalries shown either. Just a little all star collaboration with perfectly competent rhymes and a bounceable track Dre-style that doesn't lean too G-style nor east coast blah. Or was that the point?

- Group Therapy East Coast/West Coast Killas [260K]

House Of Pain "Fed Up/Heart Full Of Sorrow" (Tommy Boy TB744)

Mercer: "Fed Up" should have been the lead single instead of "Pass The Jinn", but in all likelihood this single will stay promo-only to lead up to the appropriately-titled new LP "Rise Again." First note: Tommy Boy screwed up the center label, indicating instrumentals (which would have been nice for the A-side) where it appears only to have Radio/Album of each cut. Anyhow, A dark-sounding production by Lethal and Everlast works here, proving that they don't need outside remixes to necessarily survive (be nice if that was a long term thing.) Vocals are lower in tone and more relaxed, though repetitive choruses and gimmicky flavors (like the pseudo-ragga guy at the end) always put HOP on the crossover edge. Still, who would've thought these guys would make it this far with occasional decency? As for the album, third time might be a charm, but don't count on it.

O-Dub: You gotta give House of Pain credit...after fading faster than a stick of Fruit Stripe gum with the second album, their new singles have had decent material on it. But yo, I'll be candid...I just am not feeling Everlast. I didn't feel him back in the days when he was down with Ice T and dressed up in Armani suits. I didn't feel him when he got the buzz head and sold something silly with HoP's first LP...and I still can't get into that rough voice of his on his new stuff. I did like "Fed Up"s beat though...it was way better than that "Pass the Jinn" joint which needed to be thrown out like soured wine. As for the B-side, "Heart of Sorrow" was Sadat gets second life...hmm...you think it might be b/c Sadat has more credibility than all of HoP? Or maybe Tommy Boy just got wise to the fact that neither "Pass the Jinn" nor "Fed Up" alone would guarantee sales.

- House of Pain Fed Up [246K]

Innersoul "It's The Right Time" (Mix-It-Up MIU-1000)

O-D.U.B.: This 12" is starting to make some noise on Billboard...but overall, I'm not too wowed over by it...the lyrics, while decent, aren't too memorable...and the production on the main mix is in the same boat. Only the remix really catches some flavor, thanks to a nice jazzy track that held my attention. You'll probably be hearing more of this as the summer plods along so don't trip if you haven't seen it yet.

Mercer: Surprise me why don't ya? At first glance this looks like the WRAP/Ichiban-type material that I'd normally pass on. But on closer view, you see Carlos Bess (Wu-Tang, Shabazz) on production, someone who's quietly done solid work over the last few years. Best of all, the rhymes (the element I was most afraid of getting disappointed by) come of quite intelligently. Against what's a half-melodic/jazzy, half street drums track, there's no need for label bias. Even better than Bess' mix is the one by DJ Choco, which breaks things down to the bassier parts and passes off any of the more boring "real underground" stuff plaging New York indie radio. I'm saying "passes off" since there's no background/location info on either the artists nor Mix-It-Up records, but who knows? It's a good example that proves never to judge until the needle drops.

- Innersoul It's The Right Time (Remix) [251K]

J-Live: Braggin Writes remix (Raw Shack)

O-Dub: The original was a B-side classic...some back-in-the-day sh*t with just two turntables and mic. The remix is definitely not as barebones, but yo...my man George Sulmners and up-and-comer DJ Spinna gets props for a great effort that made this song sound fresh all over again. Very uptempo jazzy...kind of like "Longevity" in terms of style, but definitely with more kick-ass potential to it. A definite hit in my book even if the cut is over half a year old.

Large Professor "$100 Bill"/Redman "Funkorama" remix (Blank Label BLUE SIDE/RED TRACK)

O-Dub: The Funkorama remix was ok, but largely unnecessary. The thing about remixes is that you really should pick a song with lyrics so dope, you can only hope to meet it halfway with dope beats too. I mean...someone just put out a bootleg remix of "Dedication" by Funkdoobiest. My question: why? Who cares? Same things applies with the "Funkorama" remix. As for the Large Professor's "$100 Bill", I'm starting to believe the camp that says he's overrated...that may not be completely true, but I think he falls short of potential a lot...this cut being an example. If I heard this I wouldn't be yelling, "Damn, Extra P comes off", b/c he doesn't. Don't sweat it...just wait for the MUCH delayed solo album.

- Large Professor $100 Bill [$259K]

Nas "If I Ruled The World"/Ghostface Killer "Daytona 500" remixes (Blank Label WR1)

Mercer: Unlike some of the other recent blank labels which were actually professional releases put out on the DL, this is an amateur pressing which I hear is just some kid pushing them store-to-store. Shipped only in a paper sleeve with no outside cover, and known only as "WR1", that story may just prove true. Offering remixes of one of the most popular current singles, as well as a so-far-promo track so new I don't even have a vinyl copy of the original yet, it practically sells itself. But there's still the question that most people tend to ask AFTER they buy into the hype - is the shit actually any good?

Through the first verse of "If I Ruled The World", it's tough to say anything negative about it. The drums are perfectly in sync with the acapella, and a fantastic piano loop brings back a concept long forgotten in hip-hop music - chord progressions! Yes, it's incredible what a simple key change will do inside a verse. But then the chorus, oh my - this guy apparently didn't take enough theory lessons because it's WAY off key, I mean, you can't miss it. It's terrible, whenever there's singing the remix is trashed. If there's no way to get harmony between the new track and the original, you should take the conflicting parts out, kid! I'm sure it's been done before, just pull back on the fader at the right times and scratch or sample something else in instead. I'm still pounding my head about this - man was THIS close to coming with a magnificent bootleg remix.

Oh well, there's still another side. Now, remember I haven't checked the original "Daytona 500" yet beyond a radio dub, so spare me for comparison comments. I'm saying this becuase I'm just not feeling this remix OR the lyrics too much here. Flow is sloppy and uninspired, slightly below even "Semi-Automatic Full Rap Metal Jacket". Most disturbing is the singing chorus which is totally unnessary, plus it removes any seriousness from the entire effort. Most of the track is based on a repetitve two-note bassline, which at least changes key to accomodate the chorus, but overall is flat against eerie light chords in the background - an "uncomfortable" composition.

- Nas If I Ruled The World [Bootleg Remix] [243K]
- Ghostface Killer Daytona 500 [Bootleg Remix] [243K]

Poor Righteous Teachers featuring KRS-ONE "Conscious Style" (Profile PRO-7460)

O-D.U.B.: The KRS track was pretty much par for the Blastmaster...not bad, but nothing too special. What makes the track special is how all the MCs flow over it with energy. Moreover, lyrically, it's a strong assualt on wack rhymers...part of the Sugar Hill backlash which (thank god) is going on strong right now. The remixes are ok...I especially liked the one that stripped the track down just to a drum loop (taken from the Meters' much sampled, "Hand Clappin Song"). It's a good 12", no doubt, showing that PRT still knows how to rock this funky joint and KRS is still banging out the hits, Bronx-style. Heads stay alert!

Mercer: Magic three words - NOT COMING OUT. That's the latest word on the industry beat for PRT's return single produced and featuring KRS-ONE. In fact, the bootleg guys already took the initiative to produce look-alike promo 12's, which would seem genuine had it not been shipped in odd black and white stripe covers. I would understand the label's decision if the rumors turn out to be true, as only the "Novus Ordo Seclorum Remix" does any justice, with the hand-clapping rhythm associated with Del's "Same Ol Thing." The rest of the mixes KRS conjured up are dependent on unmusical tracks and rhythms. Not to say they don't hit hard Blastmaster style, but PRT was never quite the angry revolutionists here. Even dropping the trademark accent significantly and demonstrating a harder delivery, Wise Intelligent isn't too convincing compared to the original mode which suited him just fine for three albums. Quiz: which other Profile artist also flipped his style significantly (alienating his past fans) but didn't come good enough in the new mode to justify it? We don't need another "Special" case here.

- Poor Righteous Teachers featuring KRS-ONE Conscious Style (Novus Ordo Scelorum Remix) [251K]

Ultra "Big Time" (Our Turn 1003-1)

Mercer: Tim Dog's back! Well more importantly, he's back with the only crew that actually likes him, Ultramagnetic. I personally think Ultra is the only group who can rap about anything they want and be weird enough not to be considered wack, so Mr. Fuck Compton fits in nicely for the ousted Ced Gee. Meanwhile, Keith is on his merry rampage of indie labels, and "Big Time" pretty much fits in the middle in terms of word and track quality. Harsher critics of Ultra, however, will scoff at the high-pitched funk track and the money/playa mentality displayed here, citing a changed mode towards sellout. But true believers know how serious to take these guys when the X blurts out "your girl felt my pee pee."

- Ultra Big Time [255K]